Review – Concert March 02 2020, Kempten – Stadttheater Kempten – Stuttgarter Philharmoniker
„Musical themes and motifs are no longer written down and merely varied over, but are – one would say as in real life – in constant change and are already developing. The orchestra under Christian Zacharias succeeded in bringing constant changes into an understandable form and interpretation, not only in its clarity, but in its great pleasure. After this performance one liked the Eroica. Huge applause.
Published at: “Kreisbote” on March 06 2020, Jürgen Kus

Review -Concert January 29 2020, Stadthaus Winterthur – Musikkollegium Winterthur
Repertoire: R. Schumann : Piano concert A minor op. 54, Dvořák : Legends op. 59
„Christian Zacharias once again surprises. On Wednesday, the German pianist and conductor conducted Robert Schumann’s Piano Concerto in A minor from the piano: an event of special quality. […] And I admit: I have never heard this concerto so transparently and illuminatingly played. It was chamber music with the orchestra at its finest. […] Zacharias thanked the audience for the strong applause with an intimate orchestral encore.“
Published at: „Der Landbote“ on January 31 2020, Sibylle Ehrismann

Review – Concert May 09 2019, Jena – Volkshaus Jena – Jenaer Philharmoniker
Repertoire: Bruckner: Symphony No. 8 C minor WAB 108, (Mozart: Piano Concerto No. 12 A major KV 414)
„[…] Christian Zacharias and with him the musicians of the Jenau Philharmonic Orchestra have far exceeded all high expectations. First of all, Anton Bruckner’s 8th Symphony in C minor in the version from 1890 was on the program.  Christian Zacharias conducted without a bathon and formed a large-scale sound sculpture with his hands. […] Christian Zacharias led the musicians to a finely balanced interplay that produced a constantly transparent and at the same time massive Bruckner sound. Such an authentic Bruckner sound was experienced for the first time in Jena. The audience celebrated Christian Zacharias and the Jena Orchestra with storms of enthusiasm for a performance of Bruckner’s „Eighth“ that can otherwise only be seen in the metropolises of our country.“
Published at: “Thüringer Allgemeine” on May 09 2019, Dietmar Ebert

Review – Video „Christian Zacharias Lecture-Recital at Wigmore Hall“
„It’s deep dive into Schubert’s musical world, but Zacharias consciously avoids jargon, making this video a fascinating watch for newcomers and aficionados alike.“
Published at in January 2019
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Review – Concert November 12, 2019 Croydon – Fairfield Halls Croydon – English Chamber Orchestra
„[…] Firstly as a pianist, latterly a conductor too, Christian Zacharias is a wise, experinced gardener of Classical-era repertoire. He digs into Haydn’s fertile soil with an ear and eye for such points difference, although not so deeply as to turn over the movement’s ordered from and leave a pile of postmodern debris. Harmony reigned here and in the slow movement’s shy melody on first violins, accompanied by a walking bass on a single cello, like a girl singing to herself at night and trying not to wake the neighbours.“
Published at : in November 2019, Peter Quantrill

Review – Concert October 20 2017, Germering – Orlandosaal – Stuttgarter Philharmoniker
Repertoire: Bruckner: Symphony No. 6 A major WAB 106, (Mozart: Piano Concerto No. 24 KV 491)
„Christian Zacharias conducted without a baton, his sound painting with arms, hands and fingers was so inspiring and at the same time structured, that wonderful music was created. The huge orchestra […] found an impressive individual sound in the brilliant tutti of the Maestoso movement. It was also true for working with small motif figures, which were repeated several times in different orchestration and shading, which were not lost in their filigree arrangement. The Adagio had the right amount of romantic pathos, various effective sound levels were interwoven in the Scherzo.“
Published at: “Süddeutsche Zeitung” on October 22 2017, Klaus Mohr

Review – Concert August 10t 2017, Gstaad – Kirche Zweisimmen
Repertoire: Schubert: Piano Sonata No. 4 A minor D 537, Walzer und Ländler, Ravel: Valses nobles et sentimentales, R. Schumann: Davidsbündler Tänze op. 6
„One man, one piano – and the world around can disapper. Christian Zacharias can do magic. […] Franz Schubert’s Sonata No. 4 in A minor, as well as his ‚Valses sentimentales‘ and ‚Valses nobles‘ were presented on Thursday in the well-attended Zweisimmen church. The great pianist put his brilliant technique at the service of the message and gave the delicate compositions a delicate transparency and softly swinging elegance.“
Published at: “Berner Zeitung” on August 11 2017, Ursina Humm

Review – Concert July 18, 2015 Pittsfield – Koussevitzky Music Shed Arts Center/Boston Symphony Orchestra, Sarah Connolly (Mezzo-Soprano)
Repertoire: Mozart: Piano Concerto no. 25 C major KV 503  & Mozart Aria KV 505 „Ch’io mi scordi di te? Non temer &  Mozart Aria „Deh per questo istante solo“ from La clemenza di Tito, Act II & Mozart symphony no. 38 D major KV 504 „Prague symphony“
„If you ever want to witness a miracle, just watch Christian Zacharias perform a Mozart piano concerto in the dual role of conductor-pianist. You really must see this to believe it, because such performances are exceedingly rare […]. Of course, Christian Zacharias was well prepared. This would have been obvious to anyone who happened to notice the conductor hardly glancing at his score. Also obvious was the BSO players’ complete trust in Zacharias. The result was something akin to magic, and the crowd sensed it. It was truly glorious.“
Published at, David Noel Edwards
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Review – Concert May 20, 2015 Ottawa – Southham Hall/National Arts Center Orchestra
Repertoire: Haydn symphony no. 91 E flat major Hob I: 91 & Schönberg Chamber symphony no. 2 E flat minor op. 38 & Beethoven Piano concerto no. 5 E flat major op. 73 „Emperor“
„Haydn’s Symphony No. 91 was a delight, rhythmically steady from the outset and rich in fine detail such as a brief exchange between bassoon and strings. Players and conductor had a firm grip on the work, and the performance likely prompted more than a few listeners to dig into LP and CD collections to re-explore this music afresh. The two middle movements with their dance rhythms and structure were genuine treasures, the second movement, Andante, being almost a Ländler in quarter time and the third, an exquisite Menuet of elegant subtlety.“
Published at, Charles Pope Jr.

Review – Concert May 20, 2015 Ottawa – Southham Hall/National Arts Center Orchestra
Repertoire: Haydn symphony no. 91 E flat major Hob I: 91 & Schönberg Chamber symphony no. 2 E flat minor op. 38 & Beethoven Piano concerto no. 5 E flat major op. 73 „Emperor“
„The Haydn performance was enlightened, with all the composer’s bold use of syncopation and chromaticism etched out in clear relief. The Schoenberg, a brooding masterpiece 30 years, two world wars and a couple of countries in the making, was nobly served by Zacharias‘ exquisite feel for counterpoint and instinct for colour. The second movement created the perfect illusion of an ironic, decaying Viennese waltz.“
Published at, Natasha Gauthier

Review – Concert October 09, 2014 Boston – Symphony Hall/Boston Symphony Orchestra
Repertoire: Schubert Incidental Music Rosamunde D797, Mozart concerto for piano and orchestra no. 17 G major K 453
and Schubert smyphony B minor D 759
“Zacharias, who had a score on his music stand all evening yet seemed never to turn a page, led a perfectly shaped performance with gestures that were demonstrative but never exaggerated. He deployed a full complement of strings onstage, including no fewer than nine basses; their prominence heightened the melancholy atmosphere. The rhythms were surprisingly nimble for the ultra-refined sound he achieved.”
Article published in „The Boston Globe“ on October 10, 2014, David Weininger
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Review – Duo-Recital with Frank Peter Zimmermann, August 29, 2014 Edinburgh – Queen’s Hall, International Edinburgh Festival
Repertoire: Beethoven Sonata for violin and piano op. 12 Nos. 1-3 & Beethoven Sonata for violin and piano op. 24 „The Spring“
“Yesterday, as I listened to these great musicians bring out all of Beethoven’s characteristics – from the dynamic shocks, the abrupt accents, the breathtaking key changes, the startlingly new explorations of texture and register, the streaming lyricism of The Spring, the sudden fierce pounding of the bass notes in opus 12 no3, to the witty, rollicking Rondo at the end – I couldn’t sense any shade of Mozart; all I heard was pure Beethoven.”
Article published in „Herald Scotland“ on August 30, 2014
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Review  – Concert July 5, 2014 – East Neuk Festival/Recital
„Master of all things Schubert, though, was pianist Christian Zacharias, who signed Saturday off with the colossal B flat Sonata. His instinctive musicality, every tonal touch a meaningful gem, was absolute magic to the ears.”
Article published in „The Scotsman“ on July 4, 2014
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Review – Concert February 13, 2014 New York – Alice Tully Hall/Recital
“A colleague whom I rode the elevator with on Thursday night, as I was heading to Alice Tully Hall to hear the pianist Christian Zacharias, asked me why he’s among my favorite living musicians. I answered: because he’s a pianist of ideas. I always learn something important about the compositions he performs, about the composers whose works he’s playing, about music as such, from the way he plays. Thursday night was no different, but the specifics turned out to be things I’ll be thinking about for as long as I’ve got music in mind.”
Article published in „The New Yorker” on February 15, 2014
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Review – Concert February 13, 2014 New York – Alice Tully Hall/Recital
A Haunting, Sepulchral Note, and Then a Swirl of Hyperactivity
“You could barely hear the most memorable note in the pianist Christian Zacharias’s recital on Thursday evening at Alice Tully Hall. It came in the first work on the program, Beethoven’s Sonata No. 12 in A flat. The third movement of that changeable work is a funeral march that provided a model for the masterly one in that composer’s “Eroica” Symphony just a couple of years later.”
Article published in „The New York Times” on February 14, 2014
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Review – Concert January 8, 2014 London – Wigmore Hall/Recital
“His Mozart and Schubert recital last night was played, uninterrupted, in front of a completely packed Wigmore Hall […]. It was in the slower movements that Zacharias was at his most alchemical. A particularly serene and well-judged moment was the Andante sostenuto second movement of Schubert’s final B flat Sonata. That movement starts with eight bars of a melody in the right hand and an identical repeated pattern of four C sharps rising through the octaves from the left hand, the final note of each figure played with hands crossed. That short but eloquent episode seemed to crystallize Zacharias’ strengths, his depth of understanding of this music, and his desire to communicate it.”
Article published on „The Arts Desk” on January 9, 2014
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Review – Concert July 5, 2013 East Neuk – Crail Church/Recital
Crail Chruch Christian Zacharias
“It was enlightening and provoking – a masterly performance.”
Article published in “The Herald Scotland” on July 8, 2013
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Review – Concert July 4, 2013 East Neuk – Crail Church/Chamber Music Recital
Christian Zacharias, East Neuk Festival, UK – review
“… offering a masterclass of reason, temperament, imagination and integrity in his majestic rendition of Beethoven’s Piano Sonata No 12. That alone would have been worth travelling to the furthest corner of the land.”
Article published in “The Financial Times” on July 5, 2013
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Christian Zacharias interview: ‚Bach? Too boring! Chopin? So corny …‘
“This German pianist and conductor has always imposed his own vision on over-familiar works”
Article published in “The Independent” on 08 June, 2013
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Review – Recital January 13, 2013 London – Wigmore Hall/Recital
Christian Zacharias (*****)
“…that’s what his art is all about – not imposing a view, but letting each piece grow at its own pace, and this movement was powered by a loose-jointed, singing tone.”
Article published in “The Independent” on January 14, 2013
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Portrait and Review – Concert December 13, 2011 New York – Carnegie Hall / Recital
Musical Images
“Zacharias is a pianist who is, so to speak, ready for his closeup, the key to which is the revelation of the face as an idea, of the gesture and the look as a universal. He’s a performer who is suited for the world stage – which is to say, for the equivalent of the international cinema.”
Article published in “The New Yorker” on April 23, 2012
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© 2013 by Christian Zacharias