Musicianly playing of great drive and assurance.The rhythmic precision and scrupulous attention to Beethoven’s indications gave great structural strength to this remarkable sonata.The beauty of the Adagio where her impeccable sense of balance allowed the melodic line to float on a gently throbbing accompaniment.The Presto had a mellifluous pastoral flow that was to be mirrored in the Sonata op 28 that was to follow just a year later. I have written about her performance of the Beethoven Sonata just a few months ago but it has now matured and gained in weight as she allowed the music to flow through her so naturally. https://christopheraxworthymusiccommentary.com/2023/01/16/ivelina-krasteva-at-st-jamessussex-gardens-intelligence-and-mastery-at-the-service-of-music/
Her performance of the Barcarolle was new to me and the great song that flowed from Chopin’s soul towards the end of his life found an ideal interpreter where everything she played sang with such luminosity and beauty.The gentle flow created at the opening continued undisturbed with an ever more intense melodic line.It dissolved into the pure magic of the central expansive embellishment of bel canto.It was obviously a glimpse of the paradise that was to await the already tragically weakened composer after his desperate and exasperating visit to Majorca with his companion Georges Sand.The build up to the final exultation was played with aristocratic authority always singing as it built to a passionate climax only to die away to whispered murmurings with a gentle melody just hinted at in the tenor register,that was to be so admired by Ravel ,before the final four strokes of adieux.
I remember well Ivelina’s performance of the Fantasie by Scriabin : https://christopheraxworthymusiccommentary.com/2022/05/30/ivelina-krasteva-for-the-keyboard-trust-simplicity-and-beauty-of-a-thinking-artist/ It was the same architectural shape that she brought to his third Sonata. Passion and drama allied to a beauty of sound and a sense of line that held the sonata together as the menacing opening motif returns toward the end to give great coherence to the form of a Sonata that is gradually leading to the vision of the ‘star’ that is to be the guiding light for his life and the later prophetic ninth and tenth Sonatas. Some remarkable performances of three great works played with authority,consummate musicianship and poetic vision.
Bulgarian born classical pianist Ivelina Krasteva is an internationally active solo and chamber musician. Currently based in London, she splits her time between performing, teaching and pursuing a masters degree at the Guildhall School of Music and Drama, under the tutelage of Ronan O’Hora and Katya Apekisheva. In addition to her studies, she has benefitted from playing in masterclasses led by internationally acclaimed musicians, such as Richard Goode, Imogen Cooper, Jonathan Biss, Itamar Golan, Boris Petrushansky, among others. Ivelina has won prizes in international competitions and has performed in venues across Bulgaria, Turkey, Austria, Romania, Italy and the UK. Highlights include performances of Ravel’s Concerto in G with the Worthing Philharmonic Orchestra, Prokofiev’s First Piano Concerto with the Plovdiv Philharmonic Orchestra and Mozart’s 24 th Piano Concerto with the Vratsa State Orchestra, Bulgaria. She is passionate about the standard piano repertoire as well as exploring contemporary music, working with composers and performing works by female composers. Throughout her education, she has been supported with scholarships from the Bulgarian Ministry of Culture, Prof. Lyuba Encheva Foundation, Henry Wood Accommodation Trust, The Worshipful Company of Pewterers and the Guildhall School of Music and Drama.