Review from David Truslove for Classical Source:
Review by Karl Hornsey for Yorkshire Magazine of Schumann Piano Concerto with Hull Philharmonic and James Hendry: The evening’s programme opened with the overture to Weber’s opera Der Freischutz, or The Marksman, which allowed the clarinet and horns in particular to come to the fore. The evocative horns, four of them to be precise, denote the life […]
Gershwin Concerto with Kensington Symphony Orchesta conducted by Russell Keable at Queen Elizabeth Hall in London: Review from Brian Barford for Classical Source:
Review from Kate Mackin for Vancouver Classical Music of my concerts in Canada earlier this month. Following on the momentum gained from hosting the ISCM World Music Days in 2017, David Pay and Music on Main continue their 5-day Modulus Festival this year, featuring a rich diversity of artists and offering an excellent sampling of […]
As part of the city’s Debussy Festival, Birmingham Contemporary Music Group presented a series of events focussed on Debussy and his legacy. For ‘Debussy’s Heirs’ (in December 2017) I joined Stephan Meier, Julian Anderson and Paul Griffiths at the CBSO Centre for an event looking at how Debussy’s music influenced composers up to the present […]
Review of Schumann Concerto, with Robin Browning and the Havant Chamber Orcehstra: “…Next on stage was Richard Uttley playing Schumann’s Piano Concerto in A minor. His rendition was flawless. The piano has its moments of being really up front and the soloist carried that off with boldness. But it also blended harmoniously with the whole […]
With The Choir of King’s College London (directed by Joseph Fort), Mary Bevan (soprano), Marcus Farnsworth (baritone), and James Baillieu (piano duet), on Delphian Records. ‘A well-paced account that achieves a calm and noble strength of expression … James Baillieu and Richard Uttley outshine the competition … with playing of admirable power and refinement … […]
A short write-up of my Klangspuren Festival concert from Ursula Strohal, for Tiroler Tageszeitung (auf Deutsch):
From El Espectador: “La vida cultural en Bogotá es impresionante. Hay decenas de eventos sucediendo al mismo tiempo: desfiles, conciertos, danza, recitales, teatro, etc. El domingo 27 de agosto, en medio de esta intensa actividad, la Sala de Conciertos de la Biblioteca Luis Ángel Arango nos ofreció un remanso de sonido, el trombonista Peter Moore […]
Having performed Bartók and a piano duo I wrote last year in Multi-Story’s Chamber Music Series at Bold Tendencies, this year Kate and I played Stravinsky’s Rite of Spring in its piano duet arrangement by the composer. Review by Fiona Maddocks for The Observer: Now that the Multi-Story Orchestra has been admitted into the mainstream for […]
Review from Simon Cummings (5against4) of my recital at hcmf// 2016: “Having packed out Phipps Hall at HCMF last year, pianist Richard Uttley‘s Saturday morning recital found him in the considerably more fitting space of St Paul’s Hall. Taking place on a stunningly cold day—local temperatures hovering around -1°C—the audience was healthy in size but […]
from Bude & Stratton Post, by David Robinson: Richard Uttley thrills the audience at Minstrels Music Centre in Canworthy Water Wednesday, 30 November 2016 BUDE Music Society was delighted to welcome back Richard Uttley, the young, gifted concert pianist who gave a wonderful recital at Minstrels Music Centre on Sunday, November 20 to a large […]
Review of La Voix from Christopher Dingle in BBC Music Magazine:
La Voix was selected as ‘Le Disque du Jour’ in French arts magazine ARTAMAG, and reviewed by Jean-Charles Hoffelé: “Smart’s second recording is once again on a French theme which is executed with flair…It is an inspired idea to open the recording with Poulenc’s capricious Violin Sonata. He plays it darkly and mysteriously with fantasy, […]
The Strad magazine selected La Voix as a Recommended Recording in their June issue. It was reviewed by Julian Haylock: Accompanied by an illuminating booklet note that captures the essence of Fauré’s A major Sonata as being composed ‘against a backdrop of heartache’, Callum Smart and Richard Uttley gently caress the finest of his early […]
Review of La Voix by Stephen Pritchard from last Sunday’s Observer: “If you need any convincing that the choice of title for this album is an appropriate one, just listen to the dreamy intermezzo of Poulenc’s sonata for violin and piano, FP 119: in the hands of Callum Smart and Richard Uttley its vocal quality […]
Review here of my Grieg Piano Concerto with Haffner Orchestra and Justin Doyle, from Henry Prince for the Virtual Lancaster News Blog.
Paul Driver (The Sunday Times) “… Naomi Pinnock’s new Lines and Spaces, included in a brilliant recital at Phipps Hall by the pianist Richard Uttley, was explicitly inspired by Martin screenprints and a canvas. The alternation of “Space” sections — static, evacuated, quiet — with the plain mini toccatas of the “Line” ones was satisfying, […]
Reviews from my recital in the opening weekend of Huddersfield Contemporary Music Festival 2015: Kate Molleson (The Guardian) “Some of the day’s most arresting moments came in a recital by Richard Uttley. I was enthralled by his composure, lyricism and ability to hold a moment without forcing it. Tristan Murail’s La Mandragore was tender and soft-hewn; […]
Mark Berry’s review of my recital at St John’s Smith Square, for his Boulezian blog and Seen and Heard International.
Review of Ghosts & Mirrors, from Robert Hugill for Planet Hugill. Pianist Richard Uttley sees the works on his new disc, Ghosts and Mirrors (on the Artists Recording Company label) as each being a reflection upon something. What the pieces also have in common, in addition to their 20th and 21st century origins, is a concern with the re-invention of […]
A little write-up of Ghosts & Mirrors from Paul Driver in the Culture section of the Sunday Times yesterday:
Delighted to have been reviewed on 5:4, a blog I have huge respect for and have read for years. Check the article out here.
Review from Frances Wilson (aka The Cross-Eyed Pianist) of Ghosts & Mirrors on her blog.
Wednesday’s launch was reviewed in the Telegraph by Ivan Hewett: Richard Uttley, The Forge, review: ‘amazing decisiveness’ Video was a mixed blessing at the launch recital of Richard Uttley’s new album, Ghosts and Mirrors, says Ivan Hewett Sound and vision: Richard Uttley performing with video at the launch of his album Ghosts and Mirrors Photo: NAT […]
Review of my recital in Cheltenham, by Ben Easey for the Gloustershire Echo: Meticulously positioning himself at the foot of the marvellous Steinways grand piano, youthful talent Richard Uttley began his concerto to the setting of Cheltenham’s Pittville Pump Room. Under the enchanting light of a chandelier, Uttley poured his passion for the classical genre into […]
Paul Kilbey wrote the following for Bachtrack after the New Dots concert in May: New Dots is a new initiative devoted to supporting emerging composers and performers in contemporary music, and this was its second-ever concert, at The Forge in Camden. Four world premières and one UK première – all New Dots commissions – plus […]
Review from Colin Anderson, for ClassicalSource.com: …Richard Uttley delighted the ear with solo piano music. Benjamin Britten’s Holiday Diary (1934) is of precocious prestidigitation, and Uttley caught unerringly the music’s rippling evocation, its rhythmic flair and its hustle-bustle. If not always obviously by Britten there was no doubting a young man’s talent and confidence, mirrored […]
Review from Brian Hick for Lark Reviews, on my performance of Mozart’s Piano Concerto No.23 with Brighton Symphony Orchestra: After the stridency of the Verdi, Mozart could have seemed rather too relaxed but Richard Uttley brought a crispness and classical finesse to his playing of the Piano Concerto No23 which was completely convincing. What a pleasure to […]
Review from recital in Leicester Mercury: Graduating from Clare College, Cambridge in 2008, Richard Uttley is a rising star as a recital pianist. In 2010, he won first prize in the Haverhill Sinfonia Soloist Competition. Richard began a short recital with three waltzes by Chopin. Each was played clarity and feeling bringing out the simplicity […]