Judith ends 2019 with a fantastic reception of her latest projects

The tour with the Orquesta Sinfónica Camera Musicae and conductor Tomàs Grau, playing Schumman’s Piano Concerto at different Spanish auditoriums, has been widely celebrated by critics. In La Verdad de Murcia Octavio de Juan highlighted that few times have we been able to enjoy such a high degree of rapport between the piano and the orchestra, in which the clarity, charm and gentleness of the soloist added to an orchestral sonority that was ‘totally Schumman’.

On his part, Javier del Olivo, following the final concert at the Auditorio de Zaragoza, wrote in Platea Magazine ‘Jáuregui has, notwithstanding her youth, a solid career that progresses day by day. The apparent ease with which she approaches the notes demonstrates a profound interiorization of the soul of the concert which is noticeable in the elegant levity with which she glides her hands across the keyboard, and at the same time, her firm but not aggressive pulse. Always attentive to the conductor, she was particularly brilliant in the wonderful cadenza of the first movement and the Allegro Vivace that closes the work, in which the complexity of the composition demands concentration and control, beyond virtuism’. 

A few weeks later, following two recitals in Tokyo, Judith returned to the Auditorio Víctor Villegas where she offered four Beethoven Sonatas, in an interpretation that was again praised by Octavio de Juan in La Verdad for its ‘subtlety, absolute precision in the low notes, an undeniable technical perfection and a commitment to extenuation (…) Extraordinary music and an extraordinary performer can be the summary of the revealing recital’.

Praises for Judith’s latest album Pour le tombeau de Claude Debussy

Judith’s latest album, Pour le tombeau de Claude Debussy, has continued to receive a fantastic reception in European musical media. The German digital magazine Klassik Begeistert eulogized the interpretation for its ‘energetic very individual attack and interpretation approach. Freshness and a noticeable natural energy characterize these recordings and make you curious about further encounters with the pianist’. 

The French online portal Concertonet also shares this view regarding her future work, by highlighting that Judith ‘not only brings to life a wonderful Bösendorfer full of character, but also, above all else, shows perfect empathy with the works thanks to an infallible sense of esthetics and narrative (…) Complete legibility of the different planes, protected from all the analytical excesses by a refined touch. An artist whose next publications will certainly have to be followed closely’.

For the specialist German magazine Piano News ‘it is not only the impeccability of her performance that counts, but rather the impression that we are listening to a pianist who really has something to say’.

Spanish media have also joined the praise of the album. According to Arturo Reverter for Scherzo always entrepreneurial and with renewed ideas, the pianist Judith Jáuregui offers us this CD with a wonderfully worked vision of the score, led by the figure of Debussy (…) The understanding and well thought through art shines in all pages, the delicate touch and the ability to understand the different esthetics that Jáuregui -studious, competent and with a recognized technical ability- clearly underscores’.

Germán García Tomás highlights in Operaworld thatas she yet again highlights with this new work, Jáuregui has already become one of the most outstanding concert pianists of the Spanish musical panorama, a performer defined by profound seriousness, maturity and refinement in her performance, proving to have a complete understanding of the repertoire she plays’.

And to finish with a summary of the reviews of the final part of a year that has been very important for Judith, Cosme Marina – writing in La Nueva España -  states ‘in  Jáuregui we find a soloist that is building her career with a steady rhythm, growing artistically with each project she undertakes. Her recordings are, in this sense, a faithful reflection of her ascendant trajectory. The latest, recorded live in Vienna in 2018 and titled Pour le tombeau de Claude Debussy includes works by Liszt, Debussy, Chopin, Mompou and Manuel de Falla. Jáuregui, again, vindicates herself as one of the most interesting pianists of her generation. With surprising dramatic introspection she addresses this series of composers who have a common epicenter: Claude Debussy (…) Jáuregui’s version is luminous, with an expressive mordant, accurate and grows with the Chopin to close the album with a superb Mompou’.