VARIOUS PRESS QUOTES 2003

“ Violinist Gidon Kremer was the headliner… but pianist Naida Cole stole the show.” Joshua Kosman,
San Francisco Chronicle, 24 February 2003

“ Messiaen’s Theme and Variations is ethereal, evanescent, and Kremer and Cole played it as such, distilling the variations and letting them run together without punctuation. It was moonlight via whispers. Cole returned to the stage and joined Kremer for more Ysaye – his Reve d’enfant – dreamy, charming, beautiful.
Cole has often collaborated with Kremer and it is not hard to understand why, She has talent and high musical acuity, She knows how to be a good partner, and a high-level soloist. Together the playing was a small miracle of control and finesse.”
R.M. Campbell,
Seattle Post, 25 February 2003

“ She displayed a keyboard touch of remarkable delicacy and resilience, as well as an extensive range of dynamics and tonal colour. Add to that a subtly insinuating gift for phrasing, and the result was magical.” Joshua Kosman,
San Francisco Chronicle, 24 February 2003

The Rêve d'enfant of Ysaÿe for violin and piano was compelling. Cole's barcarolle-like accompaniment was enchanting in its delicacy. Ms. Cole can draw a wonderful range of color from the piano; her soft playing positively glows...one marvelled at both the clarity and the softness of the touch. Cole does not lack for strength, certainly; the granitic climaxes were incredibly powerful. Still, her ability to play "deep into the keys" and yet produce that shimmering sound was amazing.
George Thomson
San Francisco Classical Voice, 22 February 2003

“ As an extra treat there was the first of Satie's Gymnopedies in a startlingly slow -- and startlingly beautiful -- rendition that seemed to stop time in its tracks.”
Joshua Kosman,
San Francisco Chronicle, 24 February 2003

“ The first phrase of Messiaen's Theme and Variations set the recital's tone: musical purity, impeccable playing and emotional insight. Kremer and Cole were equal partners, their minds fully engaged in this closely argued, lyric work. Those who think Messiaen difficult should have heard their interpretation, as lucid as daylight.”
Craig Smith,
The New Mexican, 26 February 2003

Cole shone again in a performance of Satie's too-familiar First Gymnopédie. Seldom does one hear Satie's instruction Lent et grave taken so literally, and with such thrilling results. The spare melody — whose notes so often seem like individual entities separated by so much pedal — was here rendered with a true legato which might win over even those who are convinced that Satie's simplicity is in fact poverty.”
George Thomson,
San Francisco Classical Voice, 22 February 2003

“ Ms. Cole performed two solo selections from Messiaen's Vingt Regards with taut control and a translucent sound that also worked to fine effect in Satie's Gymnopédie No. 1.” Jeremy Eichler,
New York Times, 5 March, 2003