"#4 – Oblivion – Composed by Astor Piazzolla. This searing piano solo exudes sadness and isolation in a most gripping way. Ferman brings this renowned work to maximum potential, and one must listen to this track twice; once for the sheer piano technique and once for its impassioned eloquence."
The
Japan Times
"It has become Ferman's mission,
in the concert hall and in recordings, to acquaint the public with the unfairly neglected
music of the Americas. She is an artist with an endearing attitude toward the compositions
which she interprets. One is given the strong impression that they are her own creations
which she longs to expose to the light of the concert hall. Expose them she does, with a
touching humility, fluidity of technique and richness of sound"
The New York Times
"Ferman is an experienced
professional with a good technique, and she left us with no doubts as to her
feelings"
The American Record Guide
" Ferman's pianism is very
aristocratic, and she makes the listener believe that Chabrier's habaneras is a real
apotheosis of a dance form rating with Schubert, Chopin and Brahms".Her rythms sway
and insinuate and her touch is wonderful, perfectly suited to soft nuanced
playing"... "Polly Ferman's pianism is superb and of a kind no longer
common".
Konsomol Moscovita, Moscú
"Polly Ferman enjoys playing
pieces with technical virtuosism. From her fast fingers we can hear silver transparent
sounds. Looking at her, we do not only realize about her technique, her talent, but also
about the art of seating down gracefully at the piano and keeping the posture of a
queen."
Nanjing Xinhya Daily
"Her fine interpretation and
fluency in the total handling of the works through melodies like tangos and waltzes showed
Latin America's own styles, which left a deep impression"
La Nación, Buenos Aires
1) "Polly Ferman as soloist
performed an excellent version of the Fantasy for Piano and orchestra 'Momo Precoce', by
Brazilian Heitor Villa-Lobos. She conveyed with interpretative efficiency the richness of
ideas, rythms and colours that permeates the whole score"
2) "Carlos Giraudo and an excelent performance with the National Symphony. Polly
Ferman, Uruguayan interpreter of wide international acclaim, revealed a remarkable musical
skill and a superb mastery of technique"
Phillipine Daily Inquirer
"Listening to Mrs. Ferman is a
pleasure. Hailed as the 'Musical Ambassador of the Americas', she shows a compelling,
natural ease in doing Argentinian music. Her touch is light but penetrating. The tones her
dexterous fingers produce are relaxed and fresh"
The Phillipine Star
"The remarkable P. Ferman
displayed by turns considerable power and exquisite sensibilities, while exhibiting an
astonishingly wide range of tonal hues. What deeply resonant tones her touch yielded!
Argentine music came vibrantly alive as Mrs. Ferman eminently succeeded in capturing and
conveying the substance, spirit and essence or Argentine music. One no longer wondered why
famous composers admired many of their Argentine peer"
La Nación, Buenos Aires
"The well known pianist Polly
Ferman played, in a captivating afternoon, works of Latin American composers"
The Washington Post
1) "The repertoire mainstays,
Mendelssohn's 'Variations serieuses, Op. 54'. and Chopin's 'Andante Spianato and Grande
Polonaise, Op. 22', gave the píanist ample opportunity to display her technical
brilliance"
2) "Liquid phrasing juxtaposed against a decidedly percussive left-hand attack
brought both delicacy and urgency to the Mendelssohn. Minimal pedaling and flexible tempo
rubato in Chopin made for a poetically unself-conscius performance. The registering its
applause before she could sound the final chords"
Musical Opinion, London, 'Concerts Review'
"Polly Ferman at St. Martins-in
the-Fields, her performance of Gershwin's Rhapsody in Blue, a really splendid account of
ths ageless piece, brought a deserved ovation from the gratifyingly large audience"
The Indianapolis Star
"Soloist in this expansive
fantasy for piano and orchestra was Polly Ferman, a native Uruguayan and, as a resident of
this country the past few years, a tireless promoter of better cultural understanding
among the nations of the Western Hemisphere. In Wednesday's performance, she was
impressive as a lyrical explorer of the piece's more reflective moods. Her commitment to
the work's musical language -a tribute to the festive celebrations of Brazil, viewed at
street level- was never in doubt"
