YEFIM BRONFMAN

Tuesday, April 16, 2024 | 7:30 pm
Orpheum Theatre
(Click for directions)

Ticket Prices: A-$80, B-$64, C-$52, D-$36; Seniors/Students/BCRMTA: A-$64, B-$52, C-$40, D-$28
Youth tickets($18) are available in sections B, C, and D

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YEFIM BRONFMAN

Artist’s website

A true legend of the keyboard, Yefim Bronfman is one of today’s most universally acclaimed and admired pianists. His commanding technique, stratospheric virtuosity, power and exceptional lyrical gifts have time and again been acknowledged by press, audiences and his fellow musicians.

A regular collaborator with some of today’s greatest conductors and orchestras, Bronfman also appears in chamber music performances with distinguished colleagues as well as in solo recitals. In 2022, he appeared in such major musical centres as New York and Chicago, as well as at the Salzburg and Verbier festivals.

Following a recent Chicago performance of Beethoven’s Piano Concerto No. 4, a critic writes, “Listening to Bronfman play Beethoven’s familiar concerto is like being in a crowded room when suddenly a profound conversationalist begins to speak and everyone just steps back to listen with rapt attention.”

Get your tickets right now for Bronfman’s return to the Orpheum Theatre. You will be talking about this performance for a long time after the concert.

SCHUBERT: Sonata in A minor, D.784
SCHUMANN: Faschingsschwank aus Wien
INTERMISSION
SALONEN: Sisar
CHOPIN: Sonata in B minor Op. 58

 

“A marvel of digital dexterity, warmly romantic sentiment, and jaw-dropping bravura” (Chicago Tribune)

Listening to Bronfman play Beethoven’s familiar concerto is like being in a crowded room when suddenly a profound conversationalist begins to speak and everyone just steps back to listen with rapt attention. (Hedy Weiss, Chicago Tribune)

While Bronfman provided no shortage of his own musical brawn when called for, what stood out was the expressive depth of the softer, more introspective moments. Nothing was taken for granted, especially in the slow second movement, as he subtly altered the weight, timbres and dynamics of his playing, imbuing each passage with purpose and affect. (Kyle MacMillan, Chicago Sun Times)

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