ANNA KISKACHI RECEIVES RAVE REVIEW FOR ‘FIREBIRD: INFERNAL DANCES’
Anna Kiskachi debuted her new program at Capriccio on November 4, 2023. And what a show it was! Her performance garnered an exceptional review from the Washington Classical Review’s Andrew Lindemann Malone who summed her program up as being ‘unconfined by tradition, thriving on juxtapositions and creativity yet always riveting’. It unfurled over four Tableaux. Tableau I opened with G.F. Handel’s Suite VII in g minor which Malone noted had a ‘taut rhythmic spring and dashing articulation’. Anna followed with Johan Huy’s contemporary piece ‘Ceci n’est pas une passacaille’ and Malone concluded at this point ‘.. ithat t became clear that Kiskachi .loves to shake things up… [she] spread the music across two harpsichords and an ottavino, mixing and matching merrily. At one point she played both harpsichords at the same time, sitting on the bench between the two with an insouciant expression to sell the chaos. At another point she put her whole forearm on one of the keyboards as if she was settling back into a chair, with a tiny smirk at the clatter. It was a delight to hear the baroque form so expertly assayed and then exploded.’ In other Tableaux Anna performed her own transcriptions for harpsichord , including one of Purcell’s’Cold Song’ from the opera ‘King Arthur’. Tableau IV brought the evening to its climax with her transcription of Igor Stravinsky’s ‘Firebird’ which ‘…shone with a multitude of colors, bristled with tension, and relentlessly pushed forward…’
Read the Washington Classical Review’s full write-up at: https://washingtonclassicalreview.com/2023/11/05/kiskachis-infernal-dance-expertly-assays-and-explodes-the-harpsichord/
