Judith Jáuregui



Blog En Clave de Fa

Tribute to Clara, by Asier Vallejo Ugarte

One of the most eagerly-anticipated concertos was No. 6, as seldom in our halls do we get to hear the Piano Concerto of Clara Schumann, one of the hidden talents of 19th century music, wife of Robert and platonic image for Brahms. Composed when she was still a teenager, this is a strange work in many ways, with a unique form and highly conventional orchestration, although it possesses a wealth of ideas and is dominated by a very strong personality. Judith Jáuregui (sensitivity, presence, character) did well to interpret Clara, as it is always fair to pay tribute to those who deserve it.


Televisin Espaola - La2

Judith Juregui, an international pianist

She still has a few years to go before she's 30, but the Spanish pianist Jáuregui is already causing a stir in the concert halls of half the world. After performing in Bavaria, she will then travel to Germany and Denmark, before embarking on a tour of China where she will give 8 concerts in 7 cities.

We were with her during the rehearsal for the tribute concert to Francisco Tomás y Valiente, held on 19 February at the National Auditorium of Madrid and organised by the Autonomous University of Madrid. On this occasion, Judith played Mozart's Concerto for Piano and Orchestra No. 20, with the Community of Madrid Orchestra (ORCAM) and under the expert baton of Víctor Pablo Pérez.


Msica Autnoma Magazine

Judith Juregui exudes peace, by Diego Pelez

As soon as she came on to the stage, Judith Jáuregui flooded it with sensitivity. With a subtle attack, she made the piano keys seem like silk, a type of silk that had to be handled with the utmost care, and this was where, thanks to the delicacy of her hands, the peace appeared. In spite of her young age, her technique is masterful, and she knows how to thrill the audience with an expression not only reflected by her hands but also by her face, feeling each individual key and note. To finish, she offered a little Mompou encore that filled the auditorium and had the audience erupt into cheer and applause.


Blog Beckmesser

Review of the tribute concert to Toms y Valiente, by Jos Luis Prez de Arteaga

The traditional tribute of the Autonomous University to the memory of Professor Tomás y Valiente had the presence of the young pianist Judith Jáuregui (San Sebastián, 1985), performing Mozart's Piano Concerto No. 20 in D minor. Few Spanish artists under the age of 30 - apart from Leticia Moreno perhaps - enjoy such high media coverage as Jáuregui. But promotions aside, Jáuregui is a splendid pianist, full of musicality, capable of successfully unravelling a piece as dense as Mozart's. She rounded off her joful performance with a magical nterpretation of Mompou's "Scènes d'enfants".


Radio Clsica

Interview for the programme "La Drsena"

Today we celebrate our 100th programme by chatting with one of our greatest musicians of the moment, Judith Jáuregui. The day after tomorrow, the pianist is taking part in the tribute to Tomás y Valiente, organised by the Autonomous Universty of Madrid and being held in the National Auditorium, and will be performing Mozart's Piano Concerto No. 20 with Víctor Pablo and the Community of Madrid Orchestra.



Chamber Music in Elmau, by Pierre-Jean Tribot

The programme boasted the stars of the moment: Lisa Batiashvili, Emmanuel Pahud, Paul Meyer, Eric Le Sage, Ilya Gringolts, Vilde Frang and the excellent French-German cellist Nicolas Altstaedt (winner of the International Classical Music Awards in the Chamber Music category in 2014). But we also discovered young musicians such as the Turkish quartet, Borusan, and Spanish pianist Judith Jáuregui.

In a matinée performance, Judith Jáuregui proposed a journey from east to west, from Mozart to Albéniz, taking in Schumann and Debussy along the way. In Robert Schumann's Papillons, the artist demonstrated her narrative talent and delicate touch. She was particularly comfortable in Debussy's Estampes, simultaneously transmitting the modernity of the notation and the sense of the colours in a sensitive and evocative reading of the composer's palette. She then took off to her country of birth with the Suite Española by Albéniz, exploring Spain's entire lixical field, and truly in her element both stylistically and rhythmically.


Harper's Bazaar

It's a question of talent

A piano prodigy, born in San Sebastian, passionate and methodical and always keen to remove the sobriety associated with the instrument. The pianist Judith Jáuregui performs Isaac Albéniz' 'Sevilla' for Harper's Bazaar.


Opera World

Interview with Judith Juregui, by Isabel Negrn

The pianist Judith Jáuregui couldn't have seen out 2013 in a better way. In addition to the release of her acclaimed second album, "Para Alicia", she also recently debut in the United States, a country that had always welcomed the much admired Alicia de Larrocha with open arms, and to whom the album is dedicated. Along with her energy and positive attitude, Judith brought with her a varied programme for her recital at the Yamaha Artist Services Piano Salon in New York. The concert featured Mozart, Schumann, Debussy and Albéniz. We enjoyed a coffee with her on a cold but sunny New York morning. She spoke to us about her career and her future projects, of which there is no shortage.


Melmano Magazine

The best albums of 2013

This year Judith Jáuregui threw herself into the deep end with the creation of her own record label: BerliMusic. This ambitious and exciting project has resulted in an album which takes in some of the works of the three most important Spanish composers: Granados Valses poéticos, Cuatro Piezas españolas by Falla and Suite española by Albéniz. In this tribute to Alicia de Larrocha the Spanish pianist demonstrates a naturalness and flirtatiousness that embraces the listener from the very beginning of the album. Her refined romanticism leads the listener into a beguiling and passionate climax which makes this a reference work that takes our national repertoire to the highest level.


El Correo

Recommended albums of 2013

The great Spanish music for piano, which Alicia de Larrocha spread troughout the world, is included on the repertoire of this album through which the young Judith Jáuregui pays tribute to the Catalan pianist. Here we have Granados ('Valses poéticos', played with intensity), Falla ('Cuatro Piezas españolas', full of aromas of the land), and Albéniz (a 'Suite española' which offers moments of true poetry). Even the design of the album is an exercise in good taste.


El Norte de Castilla

Judith Juregui, wise and personal, by Manuel del Ro

Judith Jáuregui belongs to the latest generation of young Spanish musical talents. She commenced her recital by interpreting Mozart's 'Fantasy in D Minor', where it was evident that her ingenious and thorough pulsation would enable her to tackle the expositions and theme developments, endowing them with a beautiful significance, whilst successfully achiecing a warm, intimate and very cantabile sound. In Schumann's 'Papillons', her interpretation revealed the empathy she feels towards the composer, attaining a lovely sound and sonorous effects in the abrupt musical changes, fruit of the dualism of the opposed and complementary characters, Eusebius and Florestan [...]

In Debussy's 'Estampes' she managed to clearly differentiate the sonorous levels, displaying a spectacular left hand in the principal thematic intervals and a right hand that dominated the wide distances with ease. She offered a careful intepretation of Albénis'z 'Suite Española op. 47', inspired by the styles of different Spanish regions, each one with its own characteristic rhythms, and she presented us with an effective flexibility of tempos that were overflowing with musicality. As an addition to the programme, she played Mompou's 'Scènes d'Enfants', where each note and chord was appropriately weighted and played with refined taste. All this, combined with the pianist's extrovert personality, was greatly applauded by the audience.


Doce Notas Magazine

Judith Juregui makes her dbut in New York

With the support of Yamaha Artist Services, on 26 November the Basque pianist will make her début in the Yamaha Piano Salon, on New York's Fifth Avenue, with a programme that comprises a journey through different musical styles.

2013 is proving to be a very intense year for Judith Jáuregui: an agenda full of concerts which has taken her all over Spain; the creation of her own record label, not only for editing her own work but also for backing the young talent from our current musical scene; and the huge enthusiasm received for her latest album, 'Para Alicia' (a tribute to Alicia de Larrocha), which is the first work to be released by BerliMusic.

Fresh from her participation in the opening of the season for the Basque National Orchestra under the baton of Andrey Boreyko, with concerts in Vitoria, Pamplona, Bilbao and San Sebastián, and after her concert held in the Juan March Foundation in Madrid, Judith Jáuregui is now about to face a new challenge with her début in New York.

While she is enjoying a short break over Christmas, Judith Jáuregui is preparing her agenda for 2014, which includes interesting international proposals, such as her presentation in the emblematic Schloss Elmau Festival in Germany and a tour around China.


El Arte de la Fuga

Judith Juregui on Fifth Avenue

After great expectation, on Tuesday 26 November, Judith Jáuregui's international career will take a considerable leap forward when she débuts in New York. Jáuregui will offer a recital in the Yamaha Piano Salon, located on the emblematic Fifth Avenue, with a programme comprising works by Mozart, Schumann, Debussy and Albéniz, four composers closely linked to the Spanish pianist's artistic universe. The event is the culmination of what has been an extraordinary year for Jáuregui; her agenda has taken her all over the country, and she has also create her own record label, BerliMusic, with her sights firmly set on the future. Tha label will not only be used for editing her own work, but for also backing the young talent from our current musical scene. The first CD, 'Para Alicia' (a tribute to the great Alicia de Larrocha), has been received with considerable enthusiasm.


Noticias de Navarra

Honoured, by Teobaldos

The first concert of the new season started with the calm, quiet gaze of Pablo Sorozábal on our mountain landscapes and ended with the sublime excitement of Stravinsky's The Rite of Spring. And, with the two extremes of emotion, we had a stupendous orchestra. In the middle was an equally serene version of Beethoven's first concerto, with Judith Jáuregui at the piano. All in all, a complete evening.

Boreyko and Jáuregui tackled Beethoven's first piano concerto with the orchestra offering up a full-bodied sound, but leaning towards classicism: crisp drums, roundness in the sections, etc. The elegant pianist achieved sound that was fluid but had undeniable power -the left hand way spectacular in the key sections- and offered us spot-on rubatos, which were more in the vein of Romanticism. The Beethovian accent, already characteristic in this first concerto, is fundamental for both orchestra and soloist. The conductor was always aware of this nuance. Contrast and accent. The largo maintained the tension of the lento tempo, full of music, with the pianist delivering this nice melancholy -more than sadness-, of the beautiful melody. The dialogue with the orchestra, serene and thick-textured, very warm. In contrast, the soloist's resolute attack in the third movement led us to the brilliance of the Rondo, to the repeated enjoyment of the theme delivered by piano and orchestra. The undestanding between the two was total, with the conductor always attentive to the soloist. Judith Jáuregui finished up with a delicious Granada -Suite Española-, by Albéniz.


Diario Vasco

Review of the concert with the Basque National Orchestra and Andrey Boreyko, by Teresa Albero

The concert, which began with two Basque pieces by Sorozábal, gave an indication of the elegance that the evening had in store. The pianist Judith Jáuregui was in charge of defending Beethoven's "Concerto no. 1 in C major". Jáuregui played for the first time in the principal hall of the Kursaal Auditorium and, judgind by the warm welcome from the audience, they were waiting for her with fondness and enthusiasm. It was in the second movement that Jáuregui offered an excellent differentiation of sonorous planes, with delicacy and precision. The touch and clarity in the connections were the qualities that demonstrated what a good moment she is experiencing now. Jáuregui and conductor Andrey Boreyko were impeccable as regards their mutual understanding and musical dialogue. The BNO spolied the pianist and she allowed herself to be spoiled.



El arte de la fuga

Judith Juregui in "Stars"

The artistic career of Judith Jáuregui (San Sebastián, 1985) seems to have no limit other than that self-imposed by this sensational pianist who, in just a few years, has carved out a path that many others take decades to achieve. Since she debuted as a soloist at the age of 12 with the San Sebastián Conservatory Orchestra, Judith Jáuregui has gradually confirmed to audiences in many parts of the world that she is one of the most promising pianists around today, even at such a level. She has also proved herself with her performances on some of the most important international stages (including the legendary La Roque d'Anthéron Piano Festival in France) and by playing with internationally-renowned orchestras and conductors (the list is substantial, but let's just mention her performance with the Simón Bolívar Orchestra, which we give a little taster of in the video below) so that her status as 'promising' has now given way to an exciting reality.

Judith Jáuregui has known perfectly how to combine the artistic aspect with the personal management of her own career; her extrovert character, her natural friendliness and boundless energy that she applies to everything she undertakes, has led her, among many other initiatives, to create her own record label, BerliMusic ("Berli comes from the Spanish word 'libre', meaning 'free", says the pianist, "and freedom is the most that any artist can aspire to"), with which she launched Para Alicia last spring, a very personal and heartfelt tribute to the grand dame of 20th-century Spanish piano, the Catalan musician Alicia de Larrocha, and which Arturo Reverter, in his review for the Diverdi Magazine, described as "radiant and luminous pianism". Para Alicia was the second monographic CD released by Jáuregui since, a few months prior to that, Columna Música released a CD dedicated entirely to Schumann, which was also very favourably received by the critics and which was awarded Best Classical Album at the Independent Music Awards.

Upcoming dates include her debut in New York, in the Yamaha Artist Services Piano Salon, as well as performances in iconic festivals like Schloss Elmau, in Germany. In 2014, she will undertake her first tour of China. In Spain, in addition to the concerts she has been performing with the Basque National Orchestra, she will soon be playing at renowned halls as the National Auditorium and the Juan March Foundation. On her elegant website you will find up to date information about her hectic agenda.

Lastly, to learn more about this extraordinary artist, we recommend taking a look at a few links from the aforementioned review by Reverter to some recent interviews in various media, both written and audiovisual, in which Judith explains her philosophy of life and art. And, as a bonus, there are three videos allowing music lovers to witness first hand the high quality, powerful technique and indomitable energy of Judith Jáuregui.


La Nueva Espaa

A long and sensitive evening, by Joaqun Valden

Back in time, Beethoven's "Piano Concerto No. 1 in C major op. 15" extended the possibilities of translucent textures, and does so this time in a concerto. Although both the soloist and the orchestra in general offered a careful performance, they were rather unbalanced in respect to the piano; either the effects of the orchestra needed to be reduced slightly or the soloist had to increase her sonorous presence, something that does not appear to correspond to the sensitive and delicate interpretation proposed by Jáuregui. The "Allegro con brio" oponed with a slightly different tempo to that with which it ended, and in between Jáuregui gradually imposed her pulse and her accomplished pianistic work. With very sensitive, exquisite musicianship, but on the limit between strolling and walking very slowly, they tackled the central "Largo" movement. "Rondo. Allegro scherzando" awakened the briliance of the piano solo performed by a Judith Jáuregui who was successful in interiorising and transmitting her version of the concerto. As an encore, Jáuregui interpreted Albéniz's "Granada", rendering beautiful transparency and expressivity.


Blog La Msica en Siana

And the film ends, by Pablo lvarez Fernndez

Although currently with a full agenda, Judith Jáuregui returned to Oviedo for a third time; on this occasion with Beethoven's Piano Concerto No. 1 for piano and orchestra in C major, op.15. It is wonderful to be able to listen to concertos when there is total understanding between the conductor and the soloist. Here the Allegro con brio opened without excesses in tempo, so that when the piano entered for the first time we were given a taste of the classical yet fully Beethovian style, with the solos, orchestra and players structured in perfect balance and a delicately captivating final cadenza emanating from the fingers of Judith, who was overflowing with musicality. The musicians performing the Largo movement oozed poetic sweetness and clarity, with the conductor constantly aware of the pianist, something which always helps. The well-worked sonorities from the piano were always well supported by the orchestra, so that they could attack the Rondo. Allegro scherzando without pause, marking the ebullience of the final movement, with everyone listening and responding, and slight rubatos that were well resolved by an attentive and precise conductor for an accompaniment that excelled the limits, achieving a true collaborative rendition of Beethoven's "first", which led to the culmination with the "Emperor". An excellent version of the Jáuregui-Álvarez-OvFi triumvitate.

After the bows the pianist told us of a journey, also emotional no doubt, and presented us with a gift of great interpretive level and which is included on her CD "Para Alicia", a rendering of Albéniz's Granada as an approximation and tribute to the great Alicia de Larrocha, a romantic escapade to very personal visions which Judith Jáuregui shared with us all. Another fine display of musicality for this work that she has already interiorised and which, from her vision, never sounds the same.


Elle Magazine

"I have a soft spot for France", by Belinda Guerrero

We're here talking about travel with Judith Jáuregui. This San Sebastian pianist is one of Spain's finest interpreters and perhaps the pianist with the greatest international reach of her generation. At 28, she admits that after a successful concert she likes to celebrate with a good wine, and she firmly believes that some of Beethoven's rhythms could have marked the beginning of House music.


El Pas Semanal

The passion of Judith Juregui, by Jess Ruiz Mantilla

A piano career is a hard-fought battle. It's not about getting lucky, but rather about constant dedication. Young pianists are aware of this. Judith Jáuregui is an example of that pursued talent, of continuous and sacrificial vocation. Born in San Sebastian in 1985, she belongs to that brilliant generation of Spanish musicians that graced the front page of El País Semanal, and she is now the protagonist of the magazine's campaign wich launches this Sunday. This will be the first instalment of a series with which El País Semanal seeks to put a face to our heroes and especially to give young artists an opportunity to demonstrate their talents to our readers.

A student of Suchanov's in Munich, a city which she returned to in 2008 to fight for her career as a pianist in Spain, Jáuregui has recently launched herself as a soloist and is starting to give recitals and concerts with orchestras like the Simón Bolívar and the Radio France Philharmonic Orchestra. She has just finished recording an album -which she released under her own label- which demonstrates her respect for roots and tradition. It's called Para Alicia (For Alicia), as a tribute to Alicia de Larrocha, an undeniable worldwide reference in piano and of whom Jáuregui professes to be a loyal fan.

Judith Jáuregui's repertoire includes Albéniz, Granados, Falla, Bach, Beethoven, Schumann, etc... She alternates Spanish legends with all-time and emerging greats. Now Jáuregui sits at the piano in the Teatro Real in Madrid for our readers, an artist who creates in private and withouth barriers, which shows her strength and talent.


El Pas Semanal

The passion of Judith Juregui, by Jess Ruiz Mantilla

A piano career is a hard-fought battle. It's not about getting lucky, but rather about constant dedication. Young pianists are aware of this. Judith Jáuregui is an example of that pursued talent, of continuous and sacrificial vocation. Born in San Sebastian in 1985, she belongs to that brilliant generation of Spanish musicians that graced the front page of El País Semanal, and she is now the protagonist of the magazine's campaign wich launches this Sunday. This will be the first instalment of a series with which El País Semanal seeks to put a face to our heroes and especially to give young artists an opportunity to demonstrate their talents to our readers.

A student of Suchanov's in Munich, a city which she returned to in 2008 to fight for her career as a pianist in Spain, Jáuregui has recently launched herself as a soloist and is starting to give recitals and concerts with orchestras like the Simón Bolívar and the Radio France Philharmonic Orchestra. She has just finished recording an album -which she released under her own label- which demonstrates her respect for roots and tradition. It's called Para Alicia (For Alicia), as a tribute to Alicia de Larrocha, an undeniable worldwide reference in piano and of whom Jáuregui professes to be a loyal fan.

Judith Jáuregui's repertoire includes Albéniz, Granados, Falla, Bach, Beethoven, Schumann, etc... She alternates Spanish legends with all-time and emerging greats. Now Jáuregui sits at the piano in the Teatro Real in Madrid for our readers, an artist who creates in private and withouth barriers, which shows her strength and talent.


Codalario Magazine

Review of the album "Para Alicia", by Alejandro Martnez

Dear Judith, in the way that your album is a letter to our beloved Alicia de Larrocha, I wanted to write my review of the album in a somewhat different manner and befitting the circumstances; basically, in response to this letter that you no only address to Alicia but somehow to all of us who listen to the CD and who appreciate your accomplished piano work. Thus, these lines are my evaluation of your work, a sui generis summary of my impressions, again in the form of a letter.

The first surprising and pleasant thing about your album is the repertoire you chose. It's a breath of fresh air at a time where there are abundant, and even sometimes an oversaturation of, concerts and recordings that revolve around pieces by Schubert, Schumann, Chopin and Brahms, as if there weren't any other worthy repertoire out there, from Ravel to Falla and taking in Scriabin and Britten, for example. In this case, and with a clear nod to the musical roots and distinguishing features that shaped Alicia's repertoire, you give us the gift of a CD replete with Spanish music. Free of complexes and chauvinism. Simply because the tribute and the chosen pieces deserve it. It is time for Spanish musicians to be the first to claim the fruitful production of a long line of maestros: Falla, Albéniz, Granados, Mompou, etc. Let's hope it is not the case that so often occurs, that people have to come from abroad to discover all the great valuable assets we have here in Spain. So, well done for this bravery and absence of complexes.

I refuse, therefore, as you see, to be the picky, medding critic. Your album is a continuum of sincerity, of heartfelt expression, fresh and brilliant. A natural communication, in which interpreter and techinique put themselves at the service of music, without fuss or grandiloquence, simply with expressive vocation. Inspired is how those Granados' Poetic Waltzes sound, full of echoes and distances. And the same is true of Falla's Four Spanish Pieces, imbued with a nostalgia-filled future. It is a work that is both ambitious and personal and the tension is palpable in your reading. And lastly, you give us a gift of the sweeping sequence of numbers from Albéniz' Spanish Suite, which is perhaps the most accomplished compendium on the album in terms of technique and expression, worth listening to over and over again, with its sense of rhythm and inherent dynamism.

I have to say that the sound of the CD is splendid but perhaps not as excellent as it should be in some, very sporadic, moments. Sometimes the sound is too metallic here and there, instead of sounding smooth and internal. It is just a minor detail, because the album, in terms of its sound and aesthetic presentation, is generally exquisite in detail and offers excellent quality, and certainly a marvellous presentation for your own record label.

Finally, I didn't want to end this letter without once more emphasising your courage. And in this case I'm referring to the fact of having created your own label to free yourself somehow from the laws of the great record market and to not be dependent in any form. If music is anything, it's the language of freedom. And what greater gesture of freedom is there than to create your own record label to record your work? It's the "do it yourself" philosophy, which can place so many obstacles in your path but which at least provides an equal number of satisfactions. The proof of a job well done lies in the empty shelves in the record stores, with your CD sold out scarcely a fornight after going on sale.

Hats off to a great job and I wish you courage and passion to persevere in the way you do things and the way you create music. I hope you will keep that smile and attitude for many years and the dedication you give to your work.


Melmano Magazine

And Judith met Alicia - "Para Alicia, inspiracin espaola" album of the month and winner of the Melmano de Oro award

We could almost say that we've watched Judith Jáuregui grow up. The San Sebastian pianist is without a doubt the most representative musician of her generation. With this second work she not only delves deep into the Spanish repertoire but also launches BerliMusic, her own record label.

If her first album, El arte de lo pequeño, dedicated to Robert Schumann, was a true revelation and a discovery, with Para Alicia, inspiración española the young artist unveils a sonorous universe full of feeling and humility. A universe nourished and inspired by Alicia de Larrocha, to whom this tribute album is dedicated. The legendary Catalan pianist, who would have been 90 this year, has been a great inspiration for Jáuregui, whose career continues to reach new heights.

The album includes three masterpieces by Spain's three most important composers: Valses poéticos by Enrique Granados, Cuatro piezas españolas by Manuel de Falla, and Isaac Albéniz' Suite española. Three works and three composers as contemporary as they are different. With Granados, we soak up the purest of late-Romantic tradition, Falla demonstrates a highly talented treatment of folklore, and Albéniz is played in the tradition of national style music. But they all find a common ground in the hands od Judith Jáuregui, who shows herself to be consistent, versatile and chameleonic from one work to the next.

It's a difficult work that she has handled with a naturalness and coquetry that embrace the listener from the very beginning of the album. It is precisely this feeling that is emitted by the recordings of Alicia de Larrocha, always fresh and vibrant. Jáuregui is capable of filling and imbuing each key she touches with beatiful meaning, showing her for the talented Romantic musician she is. She creates a beguiling atmospheric climax, bewitching, which we can hear in the Valses poéticos by Granados and in Falla's Montañesa and Andaluza of the Cuatro piezas españolas. In addition, her impeccable touch lends extraordinary passion and overwhelming vitality to the always sensual, and even exotic, Suite española by Albéniz.

This is a reference work that brings our native repertoire back to the fore, a repertory which Judith Jáuregui will hopefully continue to disseminate with the gracefulness and pristine execution with which she has set her stamp on this album, Para Alicia.


La Opinin de Mlaga

Juregui and Sibelius-tradition and future, by Alejandro Fernndez

The hall was just over half-full for the 12th season's concert by the Malaga Philarmonic Orchestra. This was an eagerly-awaited concert not only because of the works on the programme -Chopin and Sibelius- but also because it was the debut performance of the young Basque pianist Judith Jáuregui with the OFM. Under the baton of Korean conductor Shinik Hahm, and with an unusual technical maturity, she smoothly tackled the first of Chopin's concertos, a paradigm of Romantic piano distinguished by the uniqueness of Finlandia and the classical and Romantic inspiration of Sibelius' Second Symphony.

Many fans will inevitably associate the first of Chopin's piano concertos with the Spanish pianist Judith Jáuregui. The Basque pianist exuded the youth, technique and emotion contained in this piece. An unforgettable version, where balance prevailed over the dramatic exaggerations with which the work is sometimes dispatched. After an extensive and somewhat cold introduction, Jáuregui laid bare the two themes of the first movement and then serenely approached the poignant central movement, a veritable challenge for any soloist given that it requires a sustained cadence to be played by the left hand while the right hand is inspired by Bellini's bel canto. Finally, the dancing tempo of the concluding rondo tested the agility and virtuosity of this comprehensive pianist.


Mlaga Hoy

Don't shoot the pianist, by J.M. Cabra

Cervantes Theatre, 12th Malaga Philharmonic Orchestra season's concert; Conductor: Shinik Hahm; Soloist: Judith Jáuregui; Work: Chopin Piano Concert No. 1 [...]

Judith Jáuregui displayed excellent piano technique with an immaculate, and simultaneously exhaustive, drive; an elegance that fluctuated from nakedness -which at times seemed somewhat excessive- to a captivating aquatic resonance. She displayed a truly judicious use of rubato, as was fitting. 


Blog Aforo Libre

Chopin and Sibelius - Juregui and Hahm, by Alfonso Urdiain

There were three tempting reasons to attend this 12th concert of the season: the appealing Romantic programme, the controversial choice of guest conductor, and the interest in the young pianist Judith Jáuregui [...]

The Malaga Philharmonic Orchestra began the evening with the performance of an exultant Finlandia, by Sibelius, a cry of resistance and national pride and considered to be the second national anthem. A good version which led to the first main course: the first piano concerto -which is in fact the second- by F. Chopin, in which the wonderful San Sebastian pianist, Judith Jáuregui, offered us a fresh, natural interpretation, complementing this beautiful score with her excellent technique and expressiveness and imbuing it with lyricism; without overloading; transcending; giving us much more than a mere demonstration of the extraordinary agility and speed of her fingers. Outsanding piano dialogues with the woodwins, especially with bassoonist Antonio Lozano. Interesting second movement -Romance (Larguetto), premonitory of the spirit of the famous nocturns, which the conductor tackled, choral-style, with the baton on the stand -knowing how to convey the feeling intended by the composer: "romantic, calm and melancholy. It should produce the same impression as if gazing upon a landscape that we love... for example, a beautiful moonlit night..." The audience showed their appreciation with resounding applause for this memorable interpretation of the Polish composer, repaid by Judith with a moving Granada by Albéniz.


Blog La Msica Clsica

"Let's hope the current situation we're in doesn't take away our dreams"- Interview with Judith Juregui

Judith Jáuregui (San Sebastian, 1985) is savouring a particularly sweet moment and is starting to reap the rewards of many years of effort, study and tenacity. After continued success in concert halls, the young pianist has now released an album as a tribute to Alicia de Larrocha on the 90th anniversary of her birth. This has all served as a prelude to the launch of her own record label, BerliMusic. The name comes from a play on the letters of the Spanish word "libre" (meaning "free"). "Which is how I feel with music, in life and on this journey I've now embarked upon", says the artist. "With this project I will be free to create and make my own decisions about future recordings".


La Voz de Galicia

Laura Alonso recommends "Para Alicia, inspiracin espaola"

This is an album not to be missed: Para Alicia. Inspiración española by Basque pianist Judith Jáuregui, dedicated to Alicia de Larrocha. And who better to do it than this impressive, highly talented pianist. I found it surprising that she remembered a pianist such as De Larrocha, since in Spain we are not much given to honouring our artists, and even less so if they are no longer alive. The album is completely Spanish, something not particularly in fashion either, and contains magnificent works by Granados, Falla and Albéniz, performed with excellent technique and sound judgement. We often forget that this type of music exists, specially in communities like Galicia. Radio programmers don't generally include Spanish music, though it is ranked among the best and boasts some of the most well-known composers in the world.

Judith Jáuregui ingeniously selected the programme for the album, which she edited herself! And that's why I sing her praises here, for her consistency and her courage. I wish we had many more artists like her in Spain.


Diario de Sevilla

"Young people have to take risks", by Pablo J. Vayn

Judith Jáuregui (San Sebastián, 1985) is one of the most outstanding and courageous pianists of her generation. Her second album, which she dedicates to the great Alicia de Larrocha (1923-2009), also serves to launch her own record label, BerliMusic.


Cultura Re-Suena Blog

Judith Juregui: Spanish Inspiration

In a short space of time, Judith Jáuregui (1985), from San Sebastián, has become the Spanish pianist of the moment. After studying at the San Sebastián Conservatory with Cristina Navajas, the Conservatory of Music in Salamanca with Claudio Martínez-Mehner and the Richard Strauss Konservatorium in Munich with Vadim Suchanov, she began to break into the main national classical music festivals.

When, in February 2009, she participated in the Scherzo Foundation's Ciclo de Jóvenes Intérpretes (sharing the line-up with Yuja Wang and Alice Sara Ott) she already knew what it was like to play at the Peralada Festival, the Granada Festival, at Musika-Música (La Folle Journée) in Bilbao and the San Sebastián Festival. In 2011, her career gained new momentum after recording her album dedicated to Schumann, which won the Best Classical Album award at the UFI Awards. She then debuted with the Basque National Orchestra, the Spanish National Orchestra and at the European Piano Festival in Caracas with the fantastic Simón Bolívar Symphony Orchestra in Venezuela (May 2012).

She is now presentig her new album, on which she performs works by Granados, Falla and Albéniz. She produced it with her own record label, BerliMusic, thus avoiding the pressures of major labels. Berli doesn't have the commercial support of big labels such as Universal or Sony behind it, but it does have Diverdi, distributor of many independent labels in Spain. This album is dedicated to Alicia de Larrocha, the grand dame of Spanish pianism, who is undoubtely one of her biggest referents. This type of tribute may have a commercial whiff to it, but that's the least important thing, because the album contains over sixty minutes of music in which Judith truly "lays herself bare" to the public. I mean, even if this album wasn't dedicated to Alicia it would still have exactly the same musical value. And if this sells more records, well great: great for her, great for independent labels and great also for Spanish music.

The Valses poéticos by Granados, Cuatro piezas españolas by Falla, and Suite española Op. 47 by Albéniz. Good heavens, it looks like a pretty lightweight repertoire! Are these works not the little sisters of the Goyescas, the Fantasía Bética and the Iberia Suite? They are largely, but Judith is still opening new ground, she's very young, she has time. The important thing is that the music is very good and the interpretations sunny, bright, and warm.


Telva Magazine

"Leisure-Music" section, by Isabel Ribada

At 27, Judith Jáuregui is considered the most brilliant pianist of her generation. When she was four she started to play the violin, and gave her first solo recital aged 11. She later studied in Munich with the Russian teacher Suchanov. "I always knew I wanted to be a pianist, but I hate the words virtuoso and child prodigy". After debuting with the Spanish National Orchestra and the prestigious Simón Bolívar Orchestra in Venezuela, she hast just released Para Alicia, inspiración española. "It's a tribute album to Alicia de Larrocha. I grew up admiring her. On it I perform Granados' Valses poéticos, Falla's Cuatro piezas españolas, and Albéniz' Suite española". 



"I return to La Concha beach when I need inspiration", by Pilar Quijada

At five tears of age she started to play the piano; when she was eight she got up on stage for the first time, and gave her first recital at the age of 11. By that time she was "naturally hooked on the stage". Now, recently turned 28, Judith Jáuregui from San Sebastián has a hugely promising career ahead of her. "I'm not one of those pianists who sits in front of the piano for eight hours; I need to get out and breathe some fresh air". And these breaks generally involve nature. "There are always some notes flying around in your head, that's why I need to breathe, close my eyes and just let myself drift, to realise that I am more than someone who sits in front of a keyboard, and to see myself within the perspective of nature, which makes you feel part of the world". Since living in Madrid, her places of refuge are the city's parks, like "El Capricho", her favourite, with its romantic nature in which she sees herself reflected, she explains. And she has a point, since this space dating back to 1874 is possibly one of the most beautiful spots in the capital, though many people are unaware of it. On other occasions Judith explores the city's busiest park, El Retiro.

She says that an hour spent outdoors gives her "much more than the same time spent in front of the piano, because what you have worked on develops internally, is processed somehow, and because music is life, it's communication, and so you have to have a life away from the piano". When she goes on longer outings she heads to Rascafría in the mountain ranges outside Madrid. There she likes to follow the path from the El Paular monastery which clims up to the Purgatorio waterfall at 1,500 metres, "a wonderful walk when you need some peace and quiet. Its icy water reminds me a little of my own". And by "my own" she means the landscapes of San Sebastián and La Concha beach in particular, "...my place, where I grew up and spent many great hours. It's my beach, my sea, what I miss the most when I'm in Madrid, and what I always return to when I need inspiration and relax". She tells us that contact with this place that is so emblematic for her, and with other natural areas attached to her childhood, is "the best way to disconnect for a while and recharge your batteries". 


La Razn

"Young people have to take risks", by Jess Amilibia

Occupation: pianist. Born: 1985, in San Sebastián. Why she is here: to present her album "Para Alicia, inspiración española" (BerliMusic).


AR Magazine

"Piano is my life", by Pilar Manzanares

She is one of our pianists with the greatest international reach and, now, with the release of her new album Para Alicia, she debuts her own record label, BerliMusic. All this at the tender age of 27.


Aforo Libre Blog

Judith Juregui's Tribute to Alicia de Larrocha, by Zahira Rodrguez

Last Thursday we attended one of those concerts that combine the charm of the venue itself and that of the artist. The Sala María Cristina has that special aura capable of converting a musician and a piano on a stage into a unique event. And that was the case with Judith Jáuregui.

Judith Jáuregui, a native of San Sebastian, exuded elegance and freshness. She appeared on stage with a big smile and captivated us with her performance. We really wanted to listen to her live, because her curriculum and the reviews she receives after every concert have transformed her into a frontline figure. A valued pianist in Spain and abroad, she is also known for her numerous recordings for the media, and for winning the award of Best Classical Album in the Independent Music Awards.

Excellent technique from the San Sebastian pianist, with sensational phrasing of Granados' Valses poéticos, beautiful sound delivered in both the fortes and the pianos and a display of great pedal control, achieving good sound effects in the sudden changes in musical character. Highly accomplished impressionist sonority of de Falla's Montañesa, thanks to a notable differentiation of sound levels -evoking rather than describing- as the nature of the work requires. Concluding this group of Piezas españolas were the incisive and rhythmic attacks in the Andaluza, bringing out the essence to be conveyed and delivering a performance that was untarnished by vulgarity.

The whole Suite española deserves special mention as, despite the different character of each of the pieces, the pianist knew how to lend them coherence, conveying the feeling of musical unity. The Asturias was magnificent. Piano interpretation of this piece created for guitar presents particular technical difficulties, such as leaps and crossed hands. However, Judith managed to handle them all successfully and without neglecting the musical aspect.


El Cultural

Judith Juregui in the mirror, by Rafa Bans

Judith Jáuregui (San Sebastián, 1985) is savouring a particularly sweet moment, reaping the reward of many years of effort, study and tenacity. After continued success in the concert halls, the young pianist has now released an album in homage to Alicia de Larrocha on the 90th anniversary of her birth. She started the year off with a concert at the Zaragoza Auditorium, accompanied by José Luis Temes and the JONDE (National Youth Orchestra of Spain), followed later by a recital at the Oviedo Philharmonic Society, where she performed a duet with cellist Adolfo Gutiérrez. This all served as a preamble to the launch of her own record label, BerliMusic. The name comes from a play on the letters of "libre" (maning "free"): "That's how I feel with music, in life, and on this journey I've now embarked upon", says the artist. "With this project I will be free to create and make my own decisions about future recordings".

As a follow up to her beautiful album dedicated to Schumann, she couldn't have chosen a better collection to launch her new label than Para Alicia, inspiración española. For Jáuregui, de Larrocha is "an inspiration and a reference". So she has opted for three scores that were triumphantly played around the world by the great pianist from Barcelona: the Valses poéticos by Granados, the Cuatro piezas españolas by Falla and the Suite española by Albéniz. Just like her illustrious predecessor, Jáuregui has that extraordinary ability to capture the essence and the popular context of these musical pieces without ever lapsing into facile display or the slightest hint of vulgarity. However, and logically so, she plays them with her distinct personality and a style now becoming unmistakable, in a unique blend of Basque restraint and Mediterranean passion. 



"Musicians must be united now more than ever before", by Susana Gavia

Judith Jáuregui gets a special twinkle in her eyes wjen she holds her second album "Para Alicia, inspiración española" in her hands. "It's born! What a birth...! I've gone through all the different stages", the Basque pianist says, laughing.

And she has plenty of reasons to feel proud. First of all, it's a tribute to another pianist, the great Alicia de Larrocha, who would have celebrated her 90th birthday this year. "It was an ideal time to thank her, with all my respect and with the permission of her daughter, for everything she has done. She opened the world up to the next generation of Spanish musicians, and brought our music to the best auditoriums".

Another reason for her enthusiasm is that with this recording the Basque performer, who will be 28 in two weeks time, launches her own record label: BerliMusic. The word is an anagram of "libre" (meaning "free"), which is how Jáuregui says she feels when she sits in front of her instrument: "It's my time. A time when I can be myself, and the piano, though it may be my great compacion, doesn't judge me; it accepts me as I am. I also consider myself to be a very free person and having the record label will allow me to control my own career".


Diverdi Magazine

Fresh air and lots of light, by Arturo Reverter

She certainly doesn't lack courage, Judith Jáuregui, the active and enterprising young Basque pianist who is at the beginning of what promises to be a great career. After an album dedicated to short Schumann pieces, which I wrote favourably about in these pages, she now fearlessly launches onto the market this new CD dedicated to Alicia de Larrocha, as indicated by the title of the album (Para Alicia, inspiración española). And, logically, she has chosen a number of highly representative works from our pianistic landscape that were once popular with the Catalan artist and other Spanish colleagues.

We like Jáuregui because she always takes things straight on, without avoiding the difficulties, without meandering, seeking subterfuges or taking refuge in dark pianism. Quite the opposite in fact; she gives us radiant and luminous interpretations, like most of the music she has chosen. The pianist displays a series of qualities that help us complete the image we have of her through Schumann. Namely, a magnificent and pure sense of rhythm. She knows how to mark up, to centre the agogic character of each piece right from the beginning.


El Mundo

Digital encounter. Live Q&A session with Judith Juregui

"Para Alicia, inspiración española" was born of a deep admiration for one of her most important references: Alicia de Larrocha. This is a special tribute to the pianist, with music by Granados, Falla, and Albéniz. Considered one of the most promising Spanish pianists of her generation, Judith Jáuregui will be performing her new album over the coming days in Barcelona, Málaga and San Sebastián. Today, in a live session, she answers questions posed by users online.


El Pas Semanal

A new generation of classical musicians, by Jess Ruiz Mantilla

They are known as the generation of '85; Spanish soloists, brilliant musicians with a great future ahead of them. This magnificent crop of musicians are confidently tackling the crisis with their respective instruments and achieving international success.



Interview for the programme "Hoy por hoy", with Gemma Nierga and Pepa Bueno

"Classical music is made to be felt. You have to close your eyes and not think about social classes". In our "Cuidarnos" section, with María Talavera and Javier Cansado who join us today, we going to relax with a little music. So we've invited the pianist Judith Jauregui along to perform a live rendition of Granados' Valses Poéticos for us. 


El Imparcial

"It's time for young people to make a stand", by Alicia Huerta

"Berli viene de libre" (Berli comes from the Spanish word for "free"), Judith Jáuregui assuredly tells El Imparcial when asked why she created her own record label. She adds, even more emphatically, "The main reason is because you're free to decide when and how. And it means being behind the whole process, which is also interesting". Judith also says she's an inquisitive person who likes to learn about everything: "I'm a 27 year old girl who lives in this world and so, although my work is at the piano, I also like to know what goes on behind the scenes. I think that for all of us involved in art and culture it's important to know how it works. And now, more than ever, is the time for young people to tackle this terrible situation we're confronted with today and to take the bull by the horns, to stop talking about what we're going to do, and just do it". The young pianist has certainly taken the bull by the horns and has a very firm grip. But of course, it hasn't been a total leap into the unknown.


Radio Nacional de Espaa

Judith Juregui: "Para Alicia" - interview for the programme "Los clsicos de Radio Nacional", by Mikaela Vergara and Carlos Santos

Live interview with the young pianist Judith Jáuregui who pays tribute to the great dame of Spanish piano, Alicia de Larrocha, with works by Albéniz, Falla and Granados. We'll be hearing Aragonesa, by Manuel de Falla; Asturias by Isaac Albéniz, and a selection of the Valses Poéticos by Enrique Granados.


ABC Cultural

Review of the album "Para Alicia", by A.G. Lapuente

Pianist Judith Jáuregui confronts market uncertainty by creating her own record label, BerliMusic, a name which she says is derived from a play on the letters of the word "libre" (meaning "free"), which ultimately reflects her own nature. Hence her decision to create her own company, which entails an element of risk and is reliant on a weapon as fragile as the consolidation of the success of one who represents modern music today. It is true though that Jáuregui takes this leap with a safety net in place. She has sought the endorsement of a name which is synonymous with the history of Spanish pianism: Alicia de Larrocha, the "inspiration" for this album and the reason for the pieces chosen (Granados, Falla, Albéniz). However, the important thing is to remain faithful to the legacy while avoiding the imitation, and Jáuregui does this with a transparent, clear and uninhibited style, understood as certain nonchalance, free of dogmatism. Modernity from style, and a tribute that avoids nostalgia.


Diverdi Magazine

Judith Juregui, new record label and tribute

The enterprising pianist Judith Jáuregui has just joined the list of artists who have embarked upon the adventure of creating their own record label, with BerliMusic (an anagram of the Spanish word "libre", meaning "free"). And she's done it in style, opening her catalogue with a tribute to Alicia de Larrocha to mark the 90th anniversary of the pianist's birth. In an interview in this magazine in March 2012 she announced her intention to record a repertoire of Spanish composers; and she couldn't have chosen a better occasion than this to fulfil her dream, by paying tribute to the much-missed Catalan pianist with a programme that includes the three big names in Spanish nationalist music of the late 19th and early 20th centuries: the eight popular pieces that comprise Albéniz' Suite española, the beautiful Valses Poéticos by Granados, and the Cuatro piezas españolas by Falla which were premiered by Viñes in Paris in 1909. All the various elements have been handled with great care and detail -documentation, design, iconography, and digipack presentation-qualifying the album as a cultural object, enhanced by the moving note of the letter Judith addresses to Alicia on the cover of the booklet. Two great artist who, with six decades between them, are united in their love for great Spanish and international music. The record label, open to incorporating other artists, will be distributed by Diverdi and this first recording will be available in stores from the end of February.


Televisin Espaola

Interview for "Programa de mano"

In the studio, Clara Sanchís is interviewing the San Sebastian pianist Judith Jáuregui, one of the most promising pianists of her generation. 

Endowed with great technical skill and expressive force, in recent years she has become a regular feature on the main stages, including the National Auditorium of Madrid, the Auditorium of Barcelona and the Euskalduna Palace in Bilbao, and has performed at the prestigious festivals such as Quincena Musical in San Sebastián, the Peralada Festival and the Granada International Festival of Music and Dance. She was also invited to perform as a soloist with orchestras including the Basque National Orchestra, the Castilla y León Symphony Orchestra and the Spanish National Orchestra.

Judith Jáuregui releases her latest album "Para Alicia" (For Alicia), this month, a tribute to the great pianist Alicia de Larrocha. In our studio she plays the theme Granada, from Isaac Albéniz' Suite española.


El Correo

Portraits of a generation, by Julia Martnez

As a baby, Judith Jáuregui (San Sebastián, 1985) slept to the sounds of her older sister Ainhoa playing the piano. At five years of age she herself started to play, and when she was 11 she gave her first solo concert. She lives from and for music. She dreamed of it and now she has achieved it. "Music has given me so much...", she says. She is currently promoting her second album. She faces the difficult times with a smile and emphasises that to achieve something you have to fight for it.


Codalario Magazine

Review of the concert in Zaragoza with JONDE and the Amici Musicae Choir: in praise of youth, by Alejandro Martnez

Beethoven's Choral Fantasy for piano, choir, orchestra and soloists is undoubtedly a brilliant work. Widely felt to be a precedent to the choral movement of Symphony No. 9 by the genius from Bonn, it possesses a tone, balance and serenity which are the hallmarks of great and inspired music.

Judith Jáuregui’s piano work in this Fantasy is splendid, demonstrating a technical security that has become emotional vocation. Communicative, elegant, and serene. She makes the difficult seem easy, like all great performers do. The Fantasy sounded authentic and outstanding in the hands of JONDE (Spanish National Youth Orchestra) and Judith Jáuregui’s piano. As an encore, the San Sebastian pianist gave a poetic and dreamy interpretation of Granada, by Albéniz.


El Peridico de Aragn

"Classical is music that is felt more than it is understood", by Daniel Montserrat

Judith Jáuregui (San Sebastian, 1985) is one of the greatest pianists of her generation. Tonight and tomorrow she plays with JONDE and the Amici Musicae Choir, with whom she will perform Beethoven’s Choral Fantasy in the Mozart hall, where she gave this interview.


La informacin

A night with Falla at the National Auditorium, by Ylenia lvarez

Judith Jáuregui proposed over a year ago to put jeans on classical music. Now it seems that the young San Sebastian pianist proposes that we listen to the great Spanish composers as much as we do Bach, Beethoven, Mahler and Tchaikovsky. So, a few months after her debut with the National Orchestra of Spain, Jáuregui returns to the National Auditorium of Music in Madrid accompanied by the Santa Cecilia Orchestra and the maestro Héctor Guzmán to perform Nights in the Gardens of Spain by Manuel de Falla. The programme, a monograph by Falla, will be rounded off with La vida breve (The Short Life) and El sombrero de tres picos (The Three-Cornered Hat). 


El Pas

The girl who tamed the piano, by Miguel Prez

Her appearance could fool you. Judith Jáuregui is not yet thirty, her face exudes sweetness and her blond hair makes her look a few years younger. But don’t be misled, when she sits down at the piano she doesn’t allow herself to be controlled by it. In front of the keyboard, Jáuregui tames the melodies and handles the leaps from octave to octave with ease. She is one of our promising young pianists and is playing next Thursday at the National Auditorium. The programme is one that she has just given in a concert with the Simón Bolívar Orchestra: Nights in the Gardens of Spain, by the maestro Falla. Accompanying her will be the Santa Cecilia Orchestra, who will complete this monographic concert with La vida breve (The Short Life) and El sombrero de tres picos (The Three-Cornered Hat). 

Come and see her play live, get caught up in the magic of this woman. Don’t lose sight of her: we tend to undervalue certain Spanish artists because of their youth and let them be discovered by foreign experts. But Jáuregui doesn’t need to be discovered: her talent at the piano speaks for itself.


On Madrid

Judith Juregui at the National Auditorium

Jáuregui was a child prodigy. She performed her first recital at the age of 11 and soon began to win awards and prizes everywhere. She’s not yet 30, but her interventions both as a soloist and with an orchestra show that the ‘young prodigy’ syndrome is well behind her. She’s now a reality, which she demonstrates superbly in her recording for the Columna Música label, which includes works from Schumann. Now she’s performing Falla’s most iconic piece for piano and orchestra, Nights in the Gardens of Spain, perhaps the Cadiz maestro’s most magical work. Accompanying her from the podium is another good signing by Excelentia, the Mexican director Héctor Guzmán, who displays a splendid, consolidated curriculum which establishes him as a renowned organist. 


Diario ABC

Music with Excellence

Michael Jurowski, George Pehlivanian, Renaud Capuçon, Judith Jáuregui and Jacob Koranyi, highlights of the new concert season of the Orquesta Santa Cecilia in the Auditorio Nacional.


Spanish National Radio

Judith Juregui, the princess of the piano in jeans, by Mikaela Vergara and Carlos Santos

Interview and live performance for "Los Clásicos de RNE" of the young basque pianist Judith Jáuregui, who advocates empathy, humility and freshness in her interpretation of Granada by Albéniz and one of the Scènes d'enfants by Mompou.


Blog Weaddit

"I am my own online Community", by Bidane Galicia

Aged 27, she has a promising career in the music world and -it would seem- in Social Media too, given that she herself manages the online platforms of her own brand. Judith Jáuregui has been playing her piano for years in order to carry her message across the world. She wants to put an end to the stereotype that classical music is elitist when in reality "it is composed for everyone", because music is "art and culture, and that is not for just a few".


Diverdi Magazine

Judith Juregui, unstoppable

Following her resounding success at the European Piano Festival in Caracas, where she witnessed a full house at her debut with the Simón Bolívar Orchestra directed by Diego Matheuz, pianist Judith Jáuregui heads into a summer packed full of performances.


Doce Notas Magazine

Judith Juregui, joy at the piano, by Guadalupe Caballero

Jáuregui is gradually forging out one of the most interesting careers among her generation, one with great future promise. Charismatic and enthusiastic, she surprised us with her Schumann album El arte de lo pequeño (The Art of Small Things) and in recent years has played in the National Auditorium in Madrid, the Euskalduna Palace in Bilbao, the Auditorium of Barcelona, and the Miguel Delibes Auditorium in Valladolid, among others. She also recently debuted with the Simón Bolívar Orchestra in Caracas and is currently preparing an album dedicated to Alicia de Larrocha.


El Correo

Judith Juregui, ambassador for Spanish Music in Caracas, by Csar Coca

Falla lived and died in Argentina, but will be brought back to life in Caracas; or at least one of his most important works will be; Noches en los Jardines de España, with a version from San Sebastian pianist Judith Jáuregui, who has been selected to participate in the European Piano Festival being held in the Venezuelan capital from 7 to 13 May.

Jáuregui, who has just turned 27, is the youngest of the best generation of pianists to emerge in this country throughout its history. A generation that has already enjoyed success outside Spain, and which has recorded albums that have garnered excellent reviews –and picked up many awards-, and destined to make Spanish culture shine for decades to come.


Doce Notas Magazine

Judith Juregui plays with the Simn Bolvar Orchestra

Judith Jáuregui was chosen to represent Spain and perform in the European Piano Festival in Caracas, the result of cooperation between Spain and Venezuela for the dissemination of Spanish culture in 2012. 

Judith will offer three performances, the highlight of which will be a concert by the prestigious Simón Bolívar Orchestra, interpreting Noches en los Jardines de España (Nights in the Gardens of Spain) by Falla, under the baton of Diego Matheuz.


Diverdi Magazine

Question time with Judith Juregui, by David Rodrguez Cerdn

Judith Jáuregui, one of our most recognised young pianists, is starting to see her schedule fill up: on 4 March at the Euskalduna Palace in Bilbao she offers a performance of The Seasons by Tchaikovsky, as part of the Musika-Música Festival. Shortly after, on 30 March, she debuts with the ONE ((Spanish National Orchestra) with a Rodríguez Albert monographic concert directed by Maestro Brotons. In between these two dates she’ll be performing a Tribute to Antonio Machado, together with actor José Sacristán, in Barcelona (Sagarra Theatre, 16 March), San Sebastian (Kursaal Auditorium, 24 March), and later on in Segovia (Music Festival, 22 July).


EITB Radio

Interview for the "Ms que palabras" programme, by Almudena Cacho

Almudena Cacho and Arantxa Urretabizkaia interview Judith Jáuregui in person, the 26-year-old pianist from San Sebastian who continues to receive acclaim from critics and audiences alike.


El Correo

The russian school, by Judith Juregui

Broad chords in fortissimo, arpeggios, some fiendishly difficult scales... much of Russian music is full of them. Works by Tchaikovsky, Mussorgsky and Rachmaninov are considered the most virtuous and the most difficult of piano literature. Unreachable, unplayable, and at times requiring superhuman feats. And they’re made for larger people with large hands that can effortlessly cover ten notes between the little finger and the thumb, which is musically known as “a tenth". Well, there’s a well-known name that demystifies this image: Alicia de Larrocha. Quite little, and with small hands, she went onto the stage, took command of the piano and made it shine like very few have managed to do. There are other similar examples close to home, such as Joaquín Achúcarro and his Rachmaninov-Paganini pieces. So piano technique has nothing to do with one’s physical condition, but rather with knowing how to use one’s own skills to develop a personal sound.


Scherzo Magazine

Dramatic impressions, by Asier Vallejo

The Basque Symphony Orchestra's third concert of the season gave the opportunity to compare two different aproaches to Mozart's music: one conducted by a veteran violist of undeniable international prestige, the other by a young pianist who has been performing, for some time now in Spain, for the greatest pleasure of the public. Wolfram Christ gave us a version of a strict and sad Mozart of the past, and Judith Jáuregui a version of a fresh and luminous Mozart of the present and the future. Judith emphasised the lyrical sections of Mozart's Concerto No. 20 in D minor, without masking its strongly dramatic impressions. Her poetic musicality, her gentle touch, her deep sensitivity were always there, but she is also a passionate and temperamental artist, and this reminded us of Mozart's duality. A wonderful interpretation.


Scherzo Magazine

Review of the album "Robert Schumann, el arte de lo pequeo", by Asier Vallejo

A young musician usually has two very different routes for entering the world of album-recording: by way of the grand repertoire or less-known composers and compositions. The San Sebastian pianist, Judith Jáuregui, a familiar figure with readers of this magazine after performing the Scherzo Foundation’s eighth Ciclo de Jóvenes Intérpretes with Yuja Wang and Alice Sara Ott, has been able to choose, and has opted for the first route, with none other than Schumann, a composer with whom she feels a special affinity, and whose music she seems to have completely internalised in these early years of her career. She has amply demonstrated this in the twelve pieces that comprise Papillons, making each one an expressive world in itself while giving unity to the whole around a very suggestive fantasy and a limpid poetic flight that lets the music flow above the contrasts and the subtleties of each miniature. Allegro op. 8 is also bravely defended, with a precise mechanism that appears to give greater importance to clarity and transparency over strength or mere virtuosity. Her Fantasiestücke reveals an artist who is, at the same time, delicate, dreamy, virtuous and temperamental, with a soft Des Abends, an impassioned Aufschwung, a dreamlike Warum?, and an immaculate Traumes Wirren, always over a rich and captivating sound (despite occasional hardness) and a highly flexible phrasing that perfectly suit these youthful pieces. In the Boletín de Diverdi, Arturo Reverter says that "playing Schumann like this at 25 is as surprising as it is beautiful" and that "the pianist must have been born with the divine finger pointing at her", of this there’s no doubt.  


Argia Magazine

The piano Princess, by Montserrat Auzmendi

Judith Jáuregui is one of the best pianists of our times. She has musicality and technique to spare, and what's more, she is a true princess, her main characteristic being her elegance. She possesses elegant musicality and aristocratic bearing, as well as approachability and humilty. As a result, over the past few years she has become one of the stars of classical music.

The protagonist of the third concert for OSE suscribers was Jáuregui, who played Mozart Concerto No. 20 in D minor. She displayed great naturalness. Technically, the work was not particularly complicated, apart from its expression. The risk with a Mozart Concerto is that there is the possibility it might be played note after note, without any emotion. However, this time the pianist knew how to draw out the feeling and essence that lay beneath the score, and gave a serious version. She played Beethoven's Cadences. Marvellous. At the end of the concert she treated the audience to an encore, choosing Liszt's Consolation No.3, which was truly magical.


El Diario Vasco

Demanding Mozart, by Aitor lvarez

What an exiting challenge Judith had ahead of her, on her home ground and with her orchestra, to surprise with a piece that was non-too-easy but nevertheless a warhorse in the repertoire of the great performers. She has undoubtedly achieved her wish to convert the piano into another member of the orchestra, through dinamics that come from training and an instrument with a sound its own, more opaque than bright. Judith demonstrated elegance in every movement, passion in the way she tackled every motif, and conveyed sensivity in every gesture. Moreover, her connection with the orchestra was evident. 


El Norte de Castilla

Great bearing, by Jos Mara Morate

The demeanor of the San Sebastian pianist, winner of the Frechilla-Zuloaga Piano Competition four years ago, as she approached the piano, led us to expect a musical session that would be soft and delicious at times; especially as her entire programme dealt with the "Fantasy" genre. And the reality confirmed the initial visual impression. She began with Mozart Fantasy in D Minor, KV. 397, a delicate opening, suspending the phrases in the air with great feeling, varying tempi seeking lightness and surprise in her personal version. Following that, we were treated to Brahms 7 Fantasies op. 116, performed as a whole. One after the other, they showed contrast and control, elegant serenity and good taste, with final droplets of passion, musicality, the simulation of steps at different speeds, with the artist's subtle irony linked with tenderness. The final fantasy, describing the fears and doubts that the earlier joyful peace would end in death is what posed the greatest technical difficulties, which were, however, easily resolved. 

The second part raised the pianistic level -the musical level was already very high- with Scriabin's Fantasy op. 28, structured in Sonata form, typical of late romanticism in that it anticipates slight atonalities, and intense and varied dynamics. Judith gave meaning and value to Schubert's Wanderer Fantasy in C Major, op. 15, making it the jewel in the programme. She felt totally in her element here, as her fine touch, internalisation, and care and enjoyment of the sound are perfectly suited to this Fantasy, bringing out the themes derived from a single motif, and unifying the four movements through which it runs. The audience responded with roundly enthusiastic applause. 


El Pas

The blessed 26, by Miguel Prez

Although they are savouring the sweetness of success, the innocent sense of illusion hasn´t yet vanished from their eyes. Ana María Valderrama, Manuel Blanco, and Judith Jáuregui meet in Madrid this week for an interview that is more like a get-together of friends. Valderrama (Madrid, 1985) is a violinist and has emerged triumphant from the Pablo Sarasate International Violin Competition - "This award had never before been won by a Spanish violinist" -; trumpeter Blanco (Daimiel, Ciudad Real, 1985) has just been awarded first prize from Bavarian Radio, only won by another two trumpeters in history; and the latest piano album from Jáuregui (San Sebastian, 1985) was recently named Best Classical Album at the Independent Music Awards.



Impressive energy, by Juan Krakenberger

An interesting and demanding programme, aided by the good acoustics in the Crypt Chapel in Cambrils, treated us to an hour and a half of fine music, played with great dedication and mastery. The young Basque pianist Judith Jáuregui (San Sebastian, 1985) performed some little-known works from the Spanish repertoire and then some 19th-century European music.


La Vanguardia Magazine

Schumann in jeans, by Juan Luis lvarez

Hailed as the new sensation in Spanish classical music, Judith Jáuregui, the 26-year-old pianist from San Sebastian, slight in physique but powerful in expression – whether it be opinions or musical notes – her aim is to  "put jeans on Schumann or whoever else requires it, as one doesn´t need to understand technique in order to enjoy the music."


El Pas

Classical from the under 35, by Lino Portela

She’s blonde, tall, and pretty. On 20 June, when Judith Jáuregui, 26, went up to the stage of the Casa de América wearing jeans at the Independent Music Awards, many could have mistaken her for a pop singer. But Judith was picking up her award for Best Classical Album for her CD Robert Schumman. El arte de lo pequeño. Born in San Sebastian, she has been renting a flat in Chamberí, Madrid, for the past 3 years and often pops out for a few beers in the Malasaña district or around the Plaza de Olavide (also a late night drinking spot) and rehearses daily in the Ritmo & Compás studios, surrounded by long-haired rockers who love to watch her play. "If I could play in jeans, I would be happy", explains one of the most promising artists on the Spanish classical music scene. "Classical music is sometimes ‘overdressed’, which tends to distance it from the audience, as so much formality can be a bit intimidating. You don’t have to understand classical music to be able to appreciate it. It’s all about feeling", she says.


El Correo

Judith Juregui, wins the Independent Music Awards, with "Robert Schumann, el arte de lo pequeo" voted Best Classical Album

The young pianist Judith Jáuregui has won the classical album category of the Independent Music Awards with her CD Robert Schumann, el arte de lo pequeño. On this, her first solo album, she plays a series of the German composer’s miniatures for piano with intensity and a great display of subtleties. And miniature they may be in the duration of the scores, but certainly not in the quality or technical difficulty of their treatment.

Judith is already more than a promising artist of Basque and Spanish classical music. She belongs to a generation of pianists the likes of whom this country has never seen before. Just over a year ago there was a lengthy article about these young artists (among them Javier Perianes, Luis Fernando Pérez, and Iván Martín) who have found success all over the world. None are from Bilbao (Judith is from San Sebastian) but all are linked to the city through their years of  participation at the Musika-Música festival. Here we should mention Begoña Salinas, director of the festival organiser, Fundación Bilbao 700, who was one of the first to spot Judith’s talent. Her award-winning album was also among the best albums of the year selected by the Territorios Sevilla festival last December.


TVE - Spanish Television

Interview for the TV Show "Programa de mano"

Programa de mano, TVE, interviewed pianist Judith Jáuregui, one of the great talents of her generation. Acclaimed by the critics, she has performed on the main stages in Spain and at many prestigious festivals (Quincena Musical in San Sebastian, the Perelada Festival, the Granada Festival, and the Roque d'Antheron Festival in France.


Scherzo Magazine

A tribute to German music, by Jose Antonio Cantn

The 23rd Úbeda International Music and Dance Festival. As regards recitals and small groups, the young San Sebastian pianist, Judith Jáuregui, gave a superb performance of a monographic programme of Schumann, which highlighted her delicate sound and great maturity in understanding the ever-complicated style of this composer. 


Ibera Excelence Magazine

Without music there's no life, by Judith Juregui

Great thinkers have praised it. Nietzsche declared: "Without music, life would be an error". But what is music? According the Spanish Royal Academy it is "the art of combining the sounds of the human voice or of instruments, or of both at the same time, to delight and affect feelings, either sad or happy". As someone dedicated to this art, I feel that music is one of the great weapons that human beings have created to communicate: to express feelings that cannot be expresed through wods and to experience a living or imaginated reality where we feel protected. Music makes us dance, laugh, cry; it moves and sometimes even makes us catch our breath. Some people claim it has healing properties and reduces anxiety and stress. There are even people who recommend that it be listened to during pregnancy because it can stimulate the baby.

Music is my life. It accompanies me always and never leaves me, through the music I bear my soul to the public and it brings me so many moments of hapiness. I am a classical pianist and I spend the day immersed in what's called "cultured music", a concept I fearcely dispute. At the age of 26, I try to take music out of an elitist straitjacket. To feel, it's not necessary to understand. And music - whether it's classical, rock, pop, house or any other style- has that divine power of uniting all human beings, of overcoming barriers, races, religion, or social classes in a single language: emotion. It makes us feel alive. That's why it's so necessary in our lives. May music be with us always! 


Diario de Jerez

A clear and energetic recital from the young pianist Judith Juregui at the Villamarta

With water as the common theme, this Thursday the Villamarta theatre presents the young and promising Basque pianist: Judith Jáuregui. Last year she broke onto the Spanish music scene with her delicate and romantic album "El arte de lo pequeño" (The art of small things), dedicated to Robert Shumann, and received a warm welcome from audiences and critics alike at festivals and concerts in which she has played.


Diario de Sevilla

Small but great art, by Pablo J. Vayn

Judith Jáuregui (San Sebastian, 1985) is emerging as one of the most promising figures in Spanish piano music. In her first album, the pianist brings us closer to the world of the miniaturist Schumann, composer of the small works that make up Papillons op. 2 and Fantasiestücke op. 12, rounded off with the virtuosic Allegro op. 8. Jáuregui shows absolute control over the technical difficulties of the works, which she performs with kaleidoscopic attention to the details which distinguish them, rendering clean, transparent, and poetic versions.


El Cultural

Review of the album "Robert Schumann, el arte de lo pequeo", by Rafael Bans

The 25-year-old San Sebastian pianist could not have had a more successful album debut. The world of Schumann is particularly difficult to decipher, even more so in these little pieces shrouded in mystery that make up Fantasiestücke opus 12, which she handles with an irresistible combination of poetic concentration and expressive freshness, as well as with fantasy and imagination required by these marvellous miniatures. The same is true of the two works that complete the CD: Papillons opus 2 and Allegro opus 8. The sound quality has the necessary naturalness required by a magical keystroke.


La Vanguardia

Future spring, by Jorge de Persia

Joy, vitality, fine technique, and the quest for the necessary freedom that defines her language. This is how we can sum up this concert, and the high-standard CD (a Schumann monograph) recorded by Judith Jáuregui with Columna Música.

The young pianist especially thrilled the public with Brahms Fantasies op. 116, a highly demanding, complex piece of great contrasts, delivering a thoughtful and solid version which showed her fine grasp of the phrasing and demonstrated her skill in the moments of virtuosity. Fantasiestücke op. 12, by Schumann, is a freer and fresher work, which resulted in a performance rich in contrasts and expressive dynamism. The planes in which the phrase is expressed requires great control and, at the beginning of Des Abends, she was able to shine through the difficult balance with the left hand, thus ensuring relevance and freedom of phrasing. A magnificent concert that culminated with a delicate and colourful Mompou, and especially with a splendid version of L'Isle Joyeuse by Debussy.


Catalunya Msica

Notes de clssica

Interview for the Notes de clàssica radio programme the day before presenting her album "Robert Schumann, el arte de lo pequeño", at the Auditorium in Barcelona.


Melmano Magazine

Review of the Robert Schumann album, "El arte de lo pequeo".

We gladly welcome the first album recording by the young pianist Judith Jáuregui, launched last December in the Museum of Romanticism in Madrid -  what better place to hear this work dedicated to three great pieces by a young Robert Schumann. The programme was personally chosen by Jáuregui, and was composed of Papillons Op.2, Allegro Op.8 and Fantasiestücke Op.12.

With the first two pieces she delighted the audience gathered for the launch, with such convincing technique and expressive self-assurance that, if we permit ourselves the whimsy of  bringing the composer back to life, the mad genius would once again fall in love, abandon his beloved Clara Wieck and come to Spain to pay court and homage to Judith Jáuregui. And he would listen incessantly to this excellent album, a minor art for a great artist, recorded for the Columna Música label as part of the Juventudes Musicales de España collection. In this highly personal album, the San Sebastian pianist controls every note, every compliment, even in the expressive silences. Many pianists would like to make such a grand entrance to the world of recording as the young pianist has done.


Spanish National Radio

Interview for the Msica joven programme, by Beatriz Toro.

El arte de lo pequeño (The art of small things) is the title of the first solo album by Judith Jáuregui, the 25-year-old San Sebastian pianist. Her talent and work have made her one of the big names in piano music in Spain. She is our guest on the programme today and we’ll be talking about her album –a tribute to Robert Schumann–, her training, and upcoming projects.


Yo Dona Magazine

Love for Schumann.

El arte de lo pequeño (The art of small things) is the title of the first solo album by Judith Jáuregui (San Sebastian, 1985). The recording includes two of the best-known works of German composer Robert Schumann, Papillons and Fantasiestücke, "small musical impressions that bring together all the great works", says the Basque pianist.


Diario Vasco

Technique and Character, by Mara Jos Cano.

With tickets completely sold out -although a few places remained- and a more than respectful silence, the San Sebastian audience welcomed pianist Judith Jáuregui, who debuted at the Victoria Eugenia Theatre with a demanding solo recital. Various 'fantasies' by composers such as Mozart, Brahms, Scriabin, and Schumann made up the repertory, perfect for gauging the technique and character of any performer.

As regards technique, Jáuregui proved herself to be up there with the best pianists alive today. Not a single hesitation, or slip, or a moment when her immaculate finger work faltered. She seemed to blossom during the most compromised moments and handled the sound and attack with amazing confidence. Her technical mastery was evident in Brahms Op. 116, a difficult cycle which the San Sebastian pianist showed she had mastered down to the last detail. The other aspect, that of character, was another great achievement by this pianist who will soon be rubbing shoulders with the piano greats.

And Judith Jáuregui has a lot of character, she does not come across as a young performer. This was apparent with her initial Mozart; a Brahms rendition unsuitable for  immature performers – which she could perhaps have let flow a little more freely, even if it meant sacrificing technical perfection a little; and, above all, a terrific-sounding Scriabin. Schumann’s Fantasiestücke, which culminated the concert, was a mix of fragility and tenderness, palpable in the initial Des Abends, and also passion and sudden outbursts– as in Aufschwung for example, in an interpretation that treated the audience to beautiful art, and an expert combination of technique and character.


Radio SER

Hoy por hoy radio programme, by Vanessa Rodriguez.

The San Sebastian pianist, Judith Jáuregui, joined us yesterday in the studio to talk about her career and the concert today, Wednesday 26 January, at 8pm in the Victoria Eugenia Theatre in San Sebastian, where she will play fantasies by Mozart, Brahms, Scriabin, and Schumann.


EITB Radio

Interview for Graffiti, by Juan Carlos de Rojo and Flix Linares.

One of the pianists with the greatest future ahead of them at the moment is Judith Jáuregui. With a packed schedule (Bilbao, San Sebastian, Pamplona, etc.) the 25-year-old artist will join us and take a look back at the past and also towards the future. Do you know she made her piano debut when was 12? Or that she played in San Sebastian’s City Hall when she was only 8?


El Cultural

La ltima palabra, by Benjamn Garca-Rosado.

The new face of Spanish piano music, Judith Jáuregui (San Sebastian, 1985), has just finished recording her first solo album El arte de lo pequeño, which she decided to dedicate to Schumann. On Thursday she’s at the Philharmonic Society of Malaga to play a varied selection of work by composers Falla, Albéniz, Mompou, Brahms, Mozart etc., which she will perform over the year at various venues in Spain.


Onda Cero Radio

"You have to put jeans on classical music".

Interview for the well-known Onda Cero radio programme Julia en la onda.


Spanish National Radio

Schumann, el arte de lo pequeo, by Mavi Aldana

We interviewed Judith Jaúregui who, following an intense year of work, presents her first album as a soloist: Schumann , el arte de lo pequeño (Schumann, the art of small things). Judith says she has always felt an affinity with Schumann, from his intimate and dreamy side, to the more temperamental and passionate, which is why her first work is dedicated to this particular composer. Judith has a full concert schedule lined up for 2011.



Review of the album Robert Schumann, el arte de lo pequeo, by Arturo Reverter

The young San Sebastian pianist on this CD is very fortunate. To be able to play Schumann like this at the age of 25 is as surprising as it is beautiful. Undoubtedly, hours and hours of study lie behind this record, as well as a lot of talent. Jáuregui has evidently made the most of the tuition she received from her conservatoire teacher, Cristina Navajas and the instruction from Claudio Martínez-Mehner in Salamanca  and Vadim Suchanov in Munich. However, there is no denying that the pianist was born with the divine finger pointing at her. Her many qualities could be enjoyed a few seasons ago at concerts given by young musicians of the Scherzo Foundation. These qualities include that sureness of fingering, control of the mechanism, the play with dynamics and the sense of form, long or short. Amen to this mysterious touch that gives us a clear sense of the quality of timbre.


La Razn

Con firma propia, by Jess Amilibia

Judith Jáuregui. Profession: Pianist. Born in 1985, in San Sebastian. Why she is here: to present her first album, Schumann, el arte de lo pequeño.


Intereconoma Radio

Vngase conmigo, by Jos Mara Prieto

When women reach such greatness that wins them admiration it is because behind it lies talent, dedication, enthusiasm and many other qualities. And this is what we have here today: a woman who is passionate about her profession and, to quote the experts, has a great future ahead of her. In this part of the programme, "Now, women" we have such a woman -  the pianist Judith Jáuregui.


El Diario Vasco

The donostiarra pianist records her first album with works by the German composer, by Enrique Mingo

The young pianist from San Sebastian, Judith Jauregui (1985), who will play on 26 January in the Victoria Eugenia as part of the Classical season, has just released Schumann, el arte de lo pequeño, her first album as a soloist, dedicated to a composer  “who I have always felt an affinity with, his passionate and extreme character”. The musician who, following the recording, is giving various recitals, sees the current crisis as “an opportunity for her” as well as for many other talented young artists.


Glamour Magazine

GEMS Report - The women they love

Following in the path of the writer Stieg Larsson, there are many men who see in us a great example to follow. Here we introduce you to our own particular Generation of Outstanding Women, capable of performing, writing, designing or creating music with as much passion, enthusiasm and effort as the very first day. Congratulations! [...]

Judith Jáuregui - 2010 has been a great year for this young Basque pianist who has seen her dream of recording her first album become a reality. “For me it was a great joy. To have an album is the best recommendation you can have and it is my particular way of creating stories within me.” If you still haven’t heard Judith’s wonderful art, this autumn she is giving concerts all over Spain, bringing her music to everybody (judithjauregui.com). “I want to get very far, to spend my whole life doing this. I’m delighted that my work is recognised”, she says enthusiastically.


Basque Television

Interview for the TV programme EITB Cultura

Judith Jáuregui plays tribute to Robert Schumann on her first solo album, which forms part of the Juventudes Musicales collection released by Columna Música.


El Diario Vasco

The young San Sebastian pianist with a blossoming career, takes on the recording of her first CD, by Mara Jos Cano

She has recently turned 25 and it seems she was born for music. The San Sebastian artist, through her own merit, ranks among the most brilliant of Spanish pianists to emerge in recent years. Her name is already well known at festivals such as the International Festival in Granada, the Quincena Musical in San Sebastian and la Roque d'Anthéron in France and she has just finished recording her first solo album, a tribute to Schumann, which is sure to create a stir. We chatted to her about the life of a young woman dedicated to piano.


Spanish Television

Interview for the TV programme ltimas Preguntas

Today we are talking about the values of youth, as personified in the young and promising pianist: Judith Jaúregui.


Scherzo Magazine

Festival Musika-Msica 2010, by Asier Vallejo

The recital given by the young Judith Jáuregui from San Sebastian, recently returned from the Ciclo de Jóvenes Intérpretes of this foundation, was truly revelatory: the warm and sensitive musicality she drew from her piano expanded the subtle and velvety beauty of its sound to an effusive and passionate intensity, especially in the case of Chopin’s Impromptus, which was transformed into an increasingly rich and exuberant lyricism.


Diario El Correo

Young and brimming with talent, by Csar Coca

It is only 10 years ago - around the time the world breathed a sigh of relief to find that the millennium curse was but a rumour - since Judith Jáuregui was an adolescent walking around San Sebastián with her portfolio full of musical scores. Javier Perianes, who shortly before that was still dreaming about music in his native Huelva, was completing his studies and starting to believe that one day he could make a living from his performances. Likewise with Luis Fernando Pérez from Madrid and Iván Martín of the Canary Islands. The four of them, now between the ages of 25 (Judith recently celebrated her 25th birthday) and 32 (Pérez), form part of the most brilliant generation of young pianists that Spain has ever seen. Although young, they have plenty of experience behind them. All four have embarked upon an international career, recorded records or are about to do so and have won various awards. Their schedules are packed with performance dates for all over the world. This is talent in its purest state.


Catalunya Msica - XIII Temporada de Msica de Cmara de Santa Cristina d'Aro

Cotrapunt Radio Programme, by Xavier Chavarra

[…] Seasons like Santa Cristina d’Aro are a haven for true music lovers. And, truly, the star of the concert was worth it; Judith Jáuregui is one of the best pianist of her generation. Only 24 years of age, she already shows not only an amazing technique but also an unusual maturity. She has character, understands the music and plays it with passion. Today, her potential has no limits […]

She offered us a round trip that began and ended with Chopin, taking in Mompou, and an almost orchestral Debussy at the pinnacle of the recital. And with every author she could show different virtues. Indeed, with L’Isle Joyeuse, by Debussy, she made the piano sound almost like an orchestra, with energy and conviction, with a rich timbre and generous, ample sonority. Chopin is one of her specialities, and the dizzying scales of the three Impromptus began the concert, showing her virtuous and quintessential technique. Clear, brilliant and with absolute precision, weaving each line and voice into a transparent and elegant tapestry.

Mompou doesn´t allow for much fussing around and it’s necessary to go straight to the essence. It’s goldsmithing in sound, musical symbolism that requires great delicacy, simplicity and exquisite taste. Every chord, every note must have the proper weight, whether in the Scènes d'enfants or in the Variations of a Chopin theme. Judith Jáuregui achieved a prodigious balance of sensual and magical sonorities […] The Grand Polonaise in E flat and the Mazurca, opus 17, as an encore, was a brilliant close to an exciting recital.


Diario La Vanguardia - XXIII Festival Castell de Peralada

Top, by Jorge de Persia

[...] This excellent concert culminated in the meteoric Quintet in E flat major by Schumann, with the participation of the remarkable pianist Judith Jáuregui [...] The rendition, as should be the case, was brilliant in expression, with transparency in the thematic structure, a convincing fugue, accents and rhythms in the Trio, strong individual voices and, above all, musicality [...] The best session so far without a doubt.


El Diario Vasco - 70th Quincena Musical de San Sebastin

A beautiful union, by Aitor lvarez

As part of the 1900-1936: Tiempos de Vanguardia season, which aims to reflect the cultural ferment that took place during the earlier decades of the twentieth century between San Sebastian and Biarritz, Quincena staged an original concert that offered up music and recited poetry in equal measure.

While many thought the two elements would come together during the performance of the pieces, which would indeed have been an interesting exercise, the audience were made to wait until the end, as though it were a tip, for music and poetry to finally embrace in a common space of time and which, incidentally, never detracted from each other.       

Jáuregui opened up with three delicious Basque Preludes by Aita Donostia, which gave us a glimpse of the abilities she would show throughout the concert, combined in a passionate style and rich expressive strength. Following this, Uribe recited poems of the most important Basque writers of the time. Two beautiful piano works by Albéniz were followed by a Bartok, played by Jáuregui with the self-assurance and character required of such a piece. To conclude this delightful event we were treated to three poems in Euskera by foreign authors and two Goyesque piano pieces from Granados, the former laden with sorrow and melancholy and the latter brimming with bravura


Argia Magazine - 70th Quincena Musical de San Sebastin

Heat, music and words, by Montserrat Auzmendi

  […] To begin with, Judith Jaúregui performed three Aita Donostia preludes: namely, Bat-batian, Oñazez and Artzai gaztearen oiuak. These were pure and classic interpretations, as the works of Aita Donostia require. The young pianist also offered us various lesser-known pieces by Albéniz. Both Plegaria and Polonesa were performed in just the way they should be.
However, this pianist, only 24 years old, certainly demonstrated her musical maturity when performing works by Bartok and Granados. She gave an excellent rendition of Bartok’s 6 Romanian Dances. Everything was just right and well-prepared: A balanced “rubato”, nothing excessive, a marked rhythm and a somewhat naive style… […]
El pelele (Granados) was magnificent and resplendent. Technically perfect and musically charming and appealing. […]


Easyclassic - 29th Festival International de Piano de La Roque d'Anthron

Nuit de Chopin, by Grard Abrial

[…] A curriculum vitae that mentions the “Festival International de Piano de La Roque d'Anthéron” and, moreover, the playground of the greatest, Parque de Florans, is surely an open door to the future, a major step to exploring the world of Steinways and Bechsteins.
Enthusiasm for a Martha Argerich or Aldo Ciccolini recital is understandable. The risk of disappointment is minimal. But to come to hear musicians in the early stages of their career is a “melomaniacal” act that is more exciting in a way. From this perspective, the audience at this Night of Chopin will have been compensated a million times over for their curiosity. 
[…] Judith Jáuregui, with a clear, light touch, and equipped with a sober musical thought, delivered an elegant Chopin[…] Later, she played the Variations of Mompou, inspired by the lover of Nohant. The style was always pleasant, sometimes anecdotal. Relieved by having achieved a very fine concert, the young Spanish pianist with arms like the wings of an albatross, gave the audience the most beautiful smile of this 2009 edition […]




Diario Ideal - 58th International Festival of Music and Dance in Granada

Coffee with Albniz and Chopin, by Jos Antonio Lacrcel

The Café Concierto was a total success. Really, excellent. We were offered exceptional quality by a very young pianist from San Sebastian, with a programme graced with moments of extraordinary brilliance. The pianist, -remember the name, because it’s sure to be talked about-, Judith Jáuregui, brought together two piano greats. The first, Chopin, a world-famous Pole, the other, Albéniz, a world-famous Spaniard. Judith Jáuregui offered us the Albéniz who is less known, but also very interesting, combining salon pieces, such as “Amalia”, the waltz known as “L’automne”, and especially the beautiful “Mallorca”, a work that showed us the characteristic features of a musician intensely committed to Spanish music. Amidst all of this, we had a beautiful, robust and brilliant “Bolero in C Major”, by Chopin. And again, the less familiar Albéniz, namely  of the “Doce piezas características”, of which four were rendered. And, to round off a fascinating Chopin, the “Andante Spianato and Grand Brilliant Polonaise op.22”.

How well, and with such good taste, with such delicacy Jáuregui played. She shone at every moment, but especially with Chopin. There she seemed to be in her element, she reached deep into the music of the piano genius and succeeded in transmitting a world of emotions, thanks to a superbly polished technique and a capacity to recreate the eternal Chopin.

It was a short but beautiful concert. Albéniz and Chopin, two different perspectives at the piano, different yet very close, and a young and exquisite artist.



Diario El Correo

Six artists explain to 'Territorios' Albniz's works, which they know well

A step in a pianist’s career. This is the way pianists approach Albéniz’s scores, in particular the Suite Iberia, full of incredible technical difficulties, which have to be solved as the same time as one creates a special atmosphere because at times, Albeniz’s piano should not sound like a piano but like a guitar or as castanets. Six Spanish pianists from various generations explain what it has meant for them to bury themselves in these scores and how they understand the music of one of the essential composers of the Spanish culture.


Revista Variaciones

The Proust Questionnaire

At the end of the nineteenth century, when Proust was still in his teens, he answered a questionnaire in an English-language Confession album belonging to his friend Antoinette, daughter of the future President Félix Faure, entitled “An Album to Record Thoughts, Feelings, etc.” At that time, it was a fad among English families to answer such a list of questions that revealed the tastes and aspirations of the taker. Subject to a few changes, we ask our protagonists to answer this questionnaire to present a brief and precise portrait to our readers…


Diario El Correo

The young Basque pianist, one of the promising figures of classical music returns to the Bilbao festival where she started in 2008

Aged 23, this young artist has an impressive curriculum: she has won prizes such as the Frechilla-Zuloaga in Valladolid and the Young Pianist of Albacete. She has performed during the Quincena Musical de San Sebastián, at La Roque d'Anthéron, at the festival Castell de Peralada and at Musika-Música in Bilbao. She has given recitals and performed with orchestras in and outside Spain. Her name is Judith Jáuregui and the critics all agree that she is one of the rising stars of the Spanish piano scene.


La Tribuna de Albacete

Extraordinary performance, full of nuances and so evocative, by Ramn Martnez

[...] The second half of the concert started with Liszt’s Concerto in E flat. It is divided in three movements. In the first movement, Allegro molto moderato, the amazing mastery of the young pianist left the public astounded. The Adagio showed us the ability of both her hands and the excellent training she has received. In the Allegro moderato molto marcato, Judith excelled herself receiving a standing ovation and, with the director, had to aknowledge many times the warm welcome.


Diario Vasco

The future is young, by Mara Jos Cano

^[...] Everything taken into account, it is strange that the best concerts of the 69th edition of the Quincena have been performed by the young artists. Without any doubt, the best orchestra has been the Gustav Mahler Jugendorchester, the most acclaimed director has been Tugan Sokhiev and the Orchestre du Capitole of Toulouse and the young Basque pianist Judith Jáuregui has been the great surprise amongst the soloists. All this shows that the future is young, but only on the stage…


Diario Vasco

Brilliant personality, by Mara Jos Cano

It seems unbelievable that the child who presented herself years back in all her innocence at the San Sebastian piano competition is the same young woman who performed yesterday at the Palacio Miramar. Judith Jáuregui was on a par with the best artists not as a young promise for the future – which would correspond to her 23 years- but a mature artist. She presented herself at the Quincena with a demanding programme both at the technical and expressive level. Her technique – her playing is both powerful and brillant- enabled her to tackle the repertory with great ease. But if Judith’s control over sound, her understanding of music and the intensity of her playing were exceptional, what astonished us most were her personality and her character. This is what made the difference and what only great pianists are able to bring out on stage. With all these qualities, one can guess how she presented her well-chosen programme. From the first piece she played by Grieg, it was easy to imagine what her recital would be like: passionate, alive. Judith Jáuregui does not leave anything to chance but her music never feels constrained. If Grieg was expressive, Mompou was all sweetness and gave way to a controlled Debussy. Nothing better than Rachmaninov to crown a magnificent concert! Do not forget her name, she is going to be news!


Diario Vasco

The Basque pianist, who performs for the first time at the Quincena, will today give a recital at the Palacio Miramar

She is only 23 but has just been playing at the International Piano Festival of La Roque d’Anthéron. She will perform at the Ciclo de Jóvenes Interpretes the same programme, which was such a roaring success in France.


Scherzo Magazine

Excellent recital by Judith Juregui, from beginning to end. By Joaqun Arnau Amo

She is audacious with the left pedal. She is not afraid of silences. In other words, she enjoys herself and pleases us in some dark corners full of meaning and tensions. She is wise although so young. She is not a precocious pianist: she is not on the border line between miracle and catastrophy. She is young and one would usually say that she promises but she gives already so much of what she promises that saying that would be redundant. Her recital was not only excellent but as well amazing [...]Mompou does not hold any secrets for Judith Jáuregui, but she has some for Mompou. It is the magic of the performer who discovers the composer, not only for the audience but for the composer himself [...] Liszt was brillant because Liszt is all brillance, ideal to show technique, talent and character. Remember because one will talk about her…or remain silent listening.


La Tribuna de Albacete

The winner of the XVIIth Concurso de Jvenes Pianistas Ciudad de Albacete is in the news again

[...]Augustín Peiró believes that without any exageration Judith Jáuregui is a real discovery, an authentic figure in Music (with the capital letter!). Although she is young, she has all the qualities of exceptional artists who with each performance touch the deepest emotions of the listener. This is why I encourage the public to fill the concert hall with all its warmth and exercise that healthy selfishness of listening to great music, which talented fingers are able to transmit and create a necessary and unforgettable moment.

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