Press

Marie Benoit: Solo Recital, April 2017, San Anton Palace, Attard, Malta – “Her diligence, her love of music and her dedication have always impressed me.”

“Gisèle is an accomplished musician who loves what she is doing – performing and teaching. It was a truly lovely evening which was much appreciated by the small audience.”

Albert Storace: Solo Recital, April 2017, San Anton Palace, Attard, Malta – “Gisèle Grima the pedagogue came out excellently in her brief introduction to each piece she played: concise, direct and with that right dose of sobriety mixed with humour.”

“Another glimpse through the window of Grima’s great interest and love for French music was provided by two very contrasting pieces. The pianist conveyed very clearly Debussy’s particularly unique sound world in pieces of widely divergent nature. The pianist deserved all the final plaudits, a well-merited tribute to her professionalism.”


Alexander Vella Gregory: Piano Duo Concert, February 2016, Malta Society of Arts, Valletta, Malta – “The Duo’s performance was impeccable, brilliantly capturing the exuberance of de Falla’s Spanish idiom.”

“The Grima-Gialanze` Duo is a good example of self-driven musicians delivering exciting programmes and working on their own initiative. Their playing is elegant and communicative and most importantly, honest.”


Albert Storace: Victoria International Arts Festival Duo Recital, June 2015, St. George’s Basilica, Victoria, Gozo “This very well-matched and mutually complementary duo began with Franz Schubert’s great Fantasy in F minor, D. 940. At their best in the more lyrical sections of this rather sad virtual swan song, the two musicians increasingly gave an excellent account of themselves in all sections of the continuous four-section journey.”


 Marie Benoit: The Malta Independent on Sunday, February 2014, San Anton Palace, Attard – “The pianist played three demanding pieces from Book 1 – based on Liszt’s travels in Switzerland: Au lac de Wallenstadt, Le mal du pays and Les cloches de Genève. Her playing is authoratitive and free of empty display. She showed imaginative colour and flair in Les cloches de Genève. I also enjoyed the water evocations and senerity of Au lac de Wallenstadt.”

“Throughout the recital Gisèle showed her complete command of the keyboard. The feeling throughout was very much of the spontaneity of live music making. She was enjoying it all as much as her audience.”

Untitled-2Victoria International Arts Festival June 2012, St. George’s Basilica, Victoria, Gozo“Gisèle Grima is one of Malta’s up-and-coming pianists and she is fast gaining a reputation for herself as a soloist. After the first piece, she performed two of Liszt’s best-loved pieces, namely, his Sonetti del Petrarca (Sonetto 47 & Sonetto 104). She possesses the right temperament for the late Romantic idiom and her interpretation was largely solid and controlled.”


Albert Storace: The Times of Malta, February 2012, St. James Cavalier, Valletta – “Elegance and style are a hallmark of French chamber music. Performing in ensemble Mr. Pirotta with his clarinet and Ms. Grima with her solidly supportive and sympathetic accompaniment ensured that they maintained these aspects right through the various interpretations of the duo works.”



Albert Storace: The Times of Malta, June 2011, St. James Cavalier, Valletta
– 
“He was accompanied by Gisèle Grima, hats off to whom is due because the piano part is an integral part of the lied, complementing fully the singer’s job and having the last word, thus completing the picture already painted musically by the two artistes.” [R. Schumann – Dichterliebe Op. 48]


Albert Storace: The Sunday Times of Malta, May 2011, Sala Isouard, Teatru Manoel, Valletta – “The assurdeness of touch and insight displayed in this interpretation was a harbringer of the same which marked the rest of the recital even if in completely different contexts. [F. Poulenc, Trois Mouvements Perpétuels]

“It was impossible for anybody knowing the painting not to have felt it come alive through the well-executed music.” – [F. Liszt, Années de pèlerinage: Deuxième année: Italie, No. 1 Sposalizio]

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Joyce Guillamier: It-Torċa, Malta, January 2009, Sala Isouard, Teatru Manoel, Valletta – “Mhux l-ewwel darba li smajt Gisèle iddoqq u kull darba nsahhah fehmti li din il-pjanista żagħżugħa tifforma parti minn grupp ta’ mużiċisti ġodda li qed jilħqu livell gholi ħafna, livell li jħabbatha ma’ dak ta’ mużiċisti oħra barranin”.

“Il-ħoss ċar u limpidi li jitolbu l-kompożizzjonijiet ta’ Debussy, bl-isfumaturi u l-kuntrasti kollha li fihom, il-ħakma assoluta tat-tastiera li fl-istess ħin mhux nieqsa mit-tenerezza u l-ġentilezza, jagħmlu l-interpretazzjoni li taghtihom bħala notevoli u ammirevoli.”


Cecilia Xuereb: The Sunday Times of Malta, December 2009, Sala Isouard, Teatrue Manoel, Valletta – “Grima is a very talented performer who approaches all the works she performs with intelligent insight, each note and each phrase having been carefully thought out. To this she joins a mastery of the keyboard which results in clean clear playing and a wide palette of colours”.

“Her reading of the various works she performs allows her freedom and flexibilty without, however, going against the vision of the composer”.


Cecilia Xuereb: The Sunday Times of Malta, Malta Arts Festival August 2007, St. James Cavalier, Valletta – “She possesses all the qualities – subtlety, clarity, extrovert virtuosity, introverted poeticism- that Debussy demanded of his performers.

“…a pianist on the threshold of a promising career…”

 “She has a firm but delicate touch on the keyboard, and her command of touch, colour and rhythmic vitality are all that one could ask for in this music.


Marie Benoit: The Malta Independent on Sunday, September 2006, St. James Cavalier, Valletta – “I thought Gisèle played with flair and a certain amount of glitter, and our general amazement at the keyboard. I sat there and listened in admiration.”


Martina Caruana: The Sunday Times of Malta, September 2005, St. James Cavalier, Valletta – “Grima is to be credited for her understanding of the textural interest of the work. The nocturne showed good cantabile, rubato, shape and shading through some sensitive playing.” [F. Chopin – Nocturne in E minor Op. 72]

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