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| "Magical… Scriabin devotees are always on lookout for the next authentic Scriabinist, someone who puts the bloom on the flower and is on par with the composer's most celebrated protagonists: Sofronitsky, Fyodorova,
Goldenweiser, Horowitz, Neuhaus, Pletnev, and Richter...
Well, I've found her....
Halida Dinova is indeed a great Scriabinist. In the most breathtaking recital devoted to the composer I've heard in more than 30 years, Ms. Dinova proves she has everything, at least where Scriabin is concerned: a complete command of a subtle rhythmic idioms that govern the ebb and flow of the Byzantine figurations and its relation to interior structure: a preternaturally refined listening apparatus that delineates registration as if each voice belonged to a different world: a thorough identification with the music's philosophy. That the navigation of daunting technical challenges is hardly a consideration, in Ms.Dinova's case is only a bonus. It's as if she lives in the world of the conceptual - an extraordinary achievement given the labyrinthine difficulties of this repertoire. Add to this the extraordinary subtlety and vivaciousness of her pedaling and the sexy, limpid allure of her tone and you have an Scriabin interpreter destined to lead all others, one who is most likely to pick up where the Sofronitskys and Fydorova's of the world left off.....Among the best readings of the elusive Tenth sonata are ones by Michel Block, Dg Achatz, Robrto Szidon and Anatoli Vedernikov. Even so, few performances have been as persuasive as this one. In this work she is entirely at home, offering a visceral, larger-than-life account that, if not as diabolical as Horowitz's or as emotionally unsettling as Sofrontsky's easily holds its own in comparison. "Concerto symphonique ( by Ernest Bloch) is a comparatively late work and, although in only three movements, is cast somewhat in the mold of the Brahms B flat major Concert , with the powerful piano role.....Halida Dinova plays it with conviction and panache, and has equally vigorous and spirited support from the St.Petersburg players under Tchernushenko" "So what do Halida Dinova and the St. Petersburg Academic Philharmonic Orchestra bring to the Brahms Second Piano Concerto? Although the great women pianists of Russia are much less well known than their male counterparts, Dinova may just shine a welcome spotlight on how good the women are, and probably have been..…First off, Ms. Dinova is the possessor of a uniquely limpid and singing piano tone. She can handle awkward chords as if she were singing them, and Brahms has plenty of these. Rapid passages fly and skitter about, pretty much as they must, giving off brilliant flashes of light, and sometimes musical heat. She is a grand lady, and her manner is full of poetry. She phrases with maestoso grandeur, and never seems afraid of letting a phrase unfold with plenty of rhetorical weight. Her heart is sincere, so her grandness of phrase and pacing strikes the listener's ear as real musical declamation. Dinova gives Brahm's music an Old World seriousness of attention and narrative inflection that instantly accords it a place in modern musical history without slighting its importance in the least. But her immense poetry and fire in playing the Brahms definitely piques my interest. Ms. Dinova has a unique and special kind of piano tone -- airy sheen and fulsome beauty for which Ms. Dinova's touch is justly becoming known. The artist is young and has such considerable gifts that she is still coming into her own. Her sheer poetry, her passion, and above all, her incredible tone would do credit to any pianist of any age or stage of musical insight. "She boasts a liquid tone and flexible phrasing, coupled with an acute sensitivity to Scriabin's often acrid harmonies and to the jumpy way his ideas develop. She's therefore well equipped to convey both the faded regret of the earlier pieces and the hallucinatory suggestions of the elusive late works....The recital is both seductive and convincing, you should find it well worth your attention." The major work is Concerto-symphonique on which Bloch labored for two years..…It is a big, three-movement piece, 40 minutes long in this sinuously played recording by Halida Dinova…It seems to have become a woman's concerto. Now we have Halida Dinova as the newest champion, who plays it with combination of bravura and tracery. If I can imagine Martha Argerich and one of her coterie of conductors giving a performance more hell for leather, that likelihood is nil, giving CHANDOS holding a winning hand. Recommended. I without question prefer the greater color Tchernushenko draws from the orchestratrion and the more varied touch and phrasing Dinova gives her part ... In the Laurel (London Symphony Orchestra) Concerto Symphonique, I miss the beauty that Tchernushenko offers (St. Petersburg State Cappella), while in the Chandos I miss the bite of Amos. Absent a recording that supplies both, I lean to the Chandos ..…The superiority of the Chandos Scherzo and the attractivness of the tone poems makes a decision easier.” "Halida Dinova interpreted less-known works with a poet’s touch…What the Cleveland based, Russian born pianist didn't neglect was expressive generosity. She always focused on the shape of the lines and the connections between phrases …She played as if privileged. The audience could listen with the same feeling. Recital November 2003 "Dinova is a pianist with extraordinary technique and musicality. The program, which was dedicated mainly to Russian composers, convinced me that I am dealing with an artist possessed of characteristics which I am trying, unsuccessfully, to find in others. It is a rare combination of spontaneity, temperament and instinctive musicality: everything in connection with excellent Russian schooling... In Dinova's playing there is nothing ostentatious, but she commands an immediate attention and projects authority. The most important feature is that the young artist not only can achieve a real legato, but Rachmaninoff's "Lilak", and Medtner's Canzone-Serenade more resembled beautiful vocal music … Dinova amazes me also with her unusual virtuosity -such control she has! She played Rachmaninoff's Etude, Op.33 in a sweep; and with ease and elegance played two demanding etudes by the Hungarian composer Ligeti. At the end of the concert she played an extremely difficult fantasy "Islamey" by Balakirev…No one has played this piece as fast since the times of the legendary virtuoso Barer… Once again, we could admire the pianistic ease and joy of playing of this extremely talented artist…The moral is that not having a famous name means nothing, as far as the audience's enjoyment of the recital is concerned. I would like, in my work as a reviewer, to encounter more such wonderful surprises. Come back, Halida!" "A wonderful sense of line, coupled with refined rubato, served Dinova well in Scriabin's earlier compositions. These include Chopinesque mazurkas and the 1894 B-Major Prelude, the cantabile theme of which emerges with glowing warmth… Scriabin's revolutionary fare benefits from Halida Dinova's feathery touch, rock-solid technique and probing musicianship . Equally captivating, for similar reasons, is the Sonata No.10. After building with dissonant-flavored trills amid great climaxes, this bear of a work fades away with economy into disarming quiet." "The special fullness of sound, the finess, the trembling pedal of Scriabin's music were performed very convincingly… "Preludes of Chopin were perceived as a tragic composition. One thought about death, loneliness, sometimes there was a prayer or light sadness… After the break "Kreisleriana "by Shumann was played: The illusion of the listener's participation in that music - was unusual. Love, madness, despair, the author's voice… A pianist of definite and individual talent. Her performance produces the impression of creation of music on the stage … "Music's humanity soars in pianist's expressiveness …
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