Press
CAPE TOWN PHILHARMONIC ORCHESTRA (CPO) REVIEW: PIANIST LEO GEVISSER
[…][Leo] simply seems incapable of clumsy phrasing, and every theme and pattern is explored in minute detail and mined for the maximum emotional and musical content. His playing seemed to align Beethoven’s First (but the third he had written) Piano Concerto with the concertos of Haydn and Bach: crisp fingerwork with crystal-clear articulation made a case for Beethoven as a composer of line, rather than the richer pianistic textures that more developed modern pianos would afford him 20 or 30 years later in his career. Gevisser made the most of contrast with lighter-pedalled scampering to those Mozartian drops into melodic material where the lyricism takes precedence.[…]
MZANSI PHILHARMONIC ORCHESTRA’S APPEAL TO HOPE
[…]the addition of Cape Town-born piano prodigy Leo Gevisser was a call to quieter contemplations.
Gevisser gave a gorgeous rendition of Rhapsody in Blue by George Gershwin, a 1924 musical composition conceived as a treat for solo piano and jazz band.[…]
KWA-ZULU NATAL PHILHARMONIC ORCHESTRA (KZNPO) WINTER SEASON REVIEW: CONCERT 2
[…]The highlight of the evening, however, was undoubtedly Leo Gevisser's performance of the Saint-Saens Piano Concerto. Technically very challenging for the soloist but allowing for some contemplative and rhapsodic playing, the concerto is a favourite with pianists.
Gevisser's performance demonstrated his complete technique and mature sensitive musicality. His humble respectfulness of the music rather than showy personal display stood out for me, as did his lovely 'singing' piano tone in the mercurial scale runs, powerful chords and delicate soft notes. After a resounding end to the finale, he offered up an exquisite calm, quiet encore ... It was sheer musical delight![…]
JOHANNESBURG PHILHARMONIC ORCHESTRA (JPO) REVIEW: GEVISSER OP 19’N SOLIS VAN STATUUR
[…]Toe die 19-jarige Leo Gevisser die podium opstap om dié werk te vertolk, kon ʼn mens dalk nog wonder oor sy graad van opgewassenheid vir dié taak. Na afloop daarvan was daar beslis een senrale, dominante gedagte in dié luisteraar se bewussyn: Gevisser is bepaald ʼn helder nuwe ster op die Suid-Afrikaanse pianistefirmament. Met die JFO en die uiters ervare en ondersteunende Bernhard Gueller letterlik aan sy sy, was die tafel gedek om Gevisser se benadering, deurgronding en musikale karaktetekening van dié werk te ervaar. ʼn Helderheid binne ʼn allesomvattende pianistiese betoog was die resultaat, met ʼn volwassenheid wat hier wyd verby die vermoëns van pianiste in hul tienerjare strek.
Albei Allegro vivaces (eerste en derde deel) reageer uitsonderlik en natuurlikerwys op die solis se kombinasie van briljantheid en uitdrukkingsvolle intensiteit. In die openingsdeel was die energieke hegtheid tussen solis en orkes onmiddellik opvallend. Nieteenstaande die tempofluktuasies wat voorkom, is die onderliggende momentum oortuigend volgehou. In die genoemde Largo was die dinamiese wisselwerking tussen die solis en orkes op ʼn verhewe vlak. Dit verras omdat ‘n mens dit gewoonlik as minder geaksentueerd ervaar. Gevisser is opvallenderwys steeds soekende na pianisties genuanseerde spel en, waar dit geregverdig is, bereik hy ook vlakke van demoniese virtuositeit – alles saamgevat rondom pianistiese finesse.[…]
