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Giuseppe Andaloro is considered one of the most appreciated artists of his generation. He starts a passionate and intense concert activity at a very young age, carrying out a wide repertoire which ranges from the Italian Renaissance to modern and contemporary music.

He has participated as a guest soloist in outstanding international music festivals, including Festival Arturo Benedetti Michelangeli di Brescia e Bergamo, Festival Due Mondi di Spoleto, Ravello Festival, Salzburger Festspiele, Ruhr Klavier Festival, Bucarest Enescu, Hong Kong Chopin Festival, Beirut Al Bustan Festival, Duszniki-Zdròj Chopin Festival, Sendai Festival, Morelia Festival, and also in the most prestigious Halls in the world, including Teatro La Scala in Milan, Teatro San Carlo in Naples, Mozarteum in Salzburg, Salle Gaveau in Paris, Gasteig in Monaco, Royal Festival Hall in London, Sumida Triphony Hall in Tokyo, Esplanade Auditorium in Singapore.

He has also performed as soloist with the Orchestra Filarmonica di Santa Cecilia di Roma, the Orchestra Giuseppe Verdi di Milano, the Orchestra del Teatro San Carlo di Napoli, the London Philharmonic Orchestra, the NHK Simphony Tokyo, the Singapore Symphony Orchestra, the Hong Kong Philharmonic Orchestra, the Philharmonische Camerata Berlin, the London Mozart Players, collaborating with conductors such Vladimir Ashkenazy, Gianandrea Noseda, Andrew Parrott, and the artists Sarah Chang, Giovanni Sollima, Sergey Krylow, John Malkovich.

He has been awarded as winner of the First Prize in some of the most prestigious international competitions for piano such as the "Ferruccio Busoni" in Bolzano, London (World Piano Competition), Hong Kong, Porto, Sendai. In 2005 he was given the Award of Artistic Merit by the Italian Ministry of Culture.

He holds master classes at the Italian Music Conservatories of Palermo and Foggia, abroad at Tokyo Showa University, International Keyboard Academy of Thailand, Kuala Lampur Chopin Society, Fresno Music University, and has been member of jury in prominent international competitions.

Furthermore, Giuseppe has been a guest as a soloist in varius Radio-TV broadcasts, such as NHB-BS2 Tokyo, BBC Radio3 London, Radio France Musique, Amadeus 103.7 Buenos Aires, Classic FM Radio Allegro Joannesburg, RTSI Lugano, Radiodifusao Portoguesa, Rai Radio3 Italia, German Radio SWR2, Vatican Radio, WRR Dallas Classical Radio, Hong Kong Radio 4, Singapore Symphony 92.4FM, Fresno Valley Public Radio.

He has made numerous recordings: his latest album entitled Cruel Beauty published by Sony in 2013, is considered a "World Premiere" of Italian music of the late Renaissance and early Baroque. For the first time music has been recorded with a modern piano.

Among the next commitments Giuseppe has a tour in Asia with stops in Japan, Korea, Hong Kong and Thailand.



Giuseppe Andaloro,
considered one of the leading international concert pianists of his generation, was born in Palermo in 1982. He is a first prize winner of the Hong Kong International Piano Competition 2011 (Chairman of the Jury: Maestro Vladimir Ashkenazy), the Bolzano Ferruccio Busoni Competition in 2005, the London World Piano Competition in 2002, and several other competitions in Japan, Portugal and Italy. In 2005 he was given the Award of Artistic Merit by the Italian Ministry of Culture.
He performs all over the world. His repertoire ranges from Frescobaldi to Ligeti and his contemporaries and includes, also, his Transcription for Two Pianos and Two Cellos Le Sacre du  Printemps Igor Stravinsky, which has received critical acclaim and sold out from the evening of premiere, held February 21, 2011 at the Politeama Theatre of Palermo. Giuseppe Andaloro he has performed at renowned festivals, including those of Salzburg FestSpiel, the Ruhr-Klavier, the Due Mondi of Spoleto, the George Enescu of Bucarest, the Mecklenburg-Vorpommern, the Young Prague, the Pleven, the Ravello, the Beirut Al Bustan Festival, the Rittergut Bennigsen of Hannover, the Lindau Bodensee, the Duszniki-Zdrój Chopin, the Festival of Brescia and Bergamo, the Bregenzer Festspiel, the Jiménez of Morelia, the Liepaja Piano Stars, the Sendai Classical, the Beijing Music Festival, the Tuscan Sun Festival as well as at some of the bestknown institutions, concert halls and auditoria, including the La Scala Theater of Milan, the Großes Saal and Wiener Saal of the Salzburg Mozarteum, London’s Royal Festival Hall, the Mansion House, and Queen Elizabeth Hall, the Oxford Sheldonian Theatre, Berlin's KonzertHaus, Paris Salle Gaveau, Palais des Arts and Salle Cortot, Tokyo’s Sumida Triphony Hall, Pablo Casals Hall and Metropolitan Art Museum, Singapore Esplanade Concert Hall, Rome’s Parco della Musica, the Palazzo of the Quirinale and Santa Cecilia Auditorium, Sacile Fazioli Concert Hall, Buenos Aires Fernández Blanco Museum, New York Klavierhaus, Mexico City’s Anfiteatro Simón Bolívar, the Munich Gasteig, Schloss Elmau In Elmau, Athens Byzantine Museum, Toronto’s Walter Hall, Hong Kong City Hall, Beijing Bravoce Classical Music, Montevideo’s Auditório Sodre, the Dortmund Harenberg City-Center, Prague Dvorák Hall, Santiago de Chile Oriente Theatre, the Sapporo Kjtara Hall, Palermo Teatro Massimo and Teatro Politeama Garibaldi, Tucumán San Martín Theatre, Osaka Phoenix Hall, Porto Auditório do Rivoli, Rabat Mohamed Théâtre, Kraków Philharmonic Hall, Sendai Grand Hall, Fort Worth Bass Performance Hall, Tel Aviv Recanati Auditorium, Novi Sad Synagogue, and Pretoria Old Mutual Hall. He has toured with internationally acclaimed orchestras, includig Philharmonische Camerata Berlin, Singapore Symphony Orchestra,  London Chamber Group, Czech Philharmonic Orchestra, Symphonic Orchestra National of Porto, Orchestra Sinfonica del Teatro Massimo di Palermo, Orchestra del Teatro Lirico di Cagliari, and Orchestra Sinfonica del Teatro San Carlo di Napoli. He has collaborated with the famous conductors, including Vladimir Ashkenazy, Gianandrea Noseda, Tomasz Bugaj, Julian Kovatchev, Alan Buribayev, Michael Güttler, Andrew Parrot, Donato Renzetti, Umeda Toshiaki, Ola Rudner, Alexander Shelley, Arturo Molina, Alberto Martini, Daniele Moles, Peter Altrichter, Gyorgy G. Ráth, Günter Neuhold, Daniele Giorgi, Giuseppe Lanzetta, Ovidiu Balan, Lu Jia, Gustavo Guersman, Maffeo Scarpis, Lothar Koenigs, Pier Carlo Orizio, Johannes Wildner, Daniel Smith; and in duos and ensembles with various distinguished artists, including Sarah Chang, Sergej Krylov, Giovanni Sollima, Anna Tifu and the actor John Malkovich. He has an ongoing collaboration with the Italian cellist-composer Giovanni Sollima. His performances have been broadcast in several countries and he has a number of recordings to his credit. Giuseppe Andaloro has served on juries for international piano competitions, and given international master-classes.


“... Andaloro’s magic touch
…” - The Times, London                    

“A player of chiseled brilliance ...” - The Independent, London    

“Andaloro’s Rachmaninov sent shivers down the spine ...” - The Daily Telegraph, London

"... Andaloro closed with the fourth movement of Prokofiev’s Sixth Sonata. Here he did not choose to shock and awe with its fusillades of loud dissonance but rather to dwell on its more witty and sarcastic undertones. He flew with the music, and its many percussive bits were not hammered with brute force but rather chiselled with the skill of a Michelangelo. Andaloro showed that Prokofiev’s music was not all about violence, but rich with nuances"
"...possesses fingers of steel cushioned by a velvety soft touch. His rendition of Rachmaninov’s  Second Piano Concerto was to remember. The opening chords were taken expansively, setting the tone for bittersweet melancholy contrasted with high drama. His projection from the keyboard was uniformly excellent, roaring above dense orchestral for ecstatic climaxes yet possessing the lightness of a gentle sigh in quiet solo passages. Prodigious finger technique told not the whole story – the ability to express emotions without words made the performance complete. ... The finale afforded display for some of the most lyrical pianism thought possible and the requisite barnstorming, with the audience eating from his hands. The rare encore of Schumann’s Widmung in Sergio Fiorentino’s transcription was further proof that Andaloro was no off-the-assembly-line virtuoso" - (Chang Tou Liang), 
The Straits Times - Singapore

An evening of piano music from Giuseppe Andaloro,
I seldom report about chamber music concerts in Italy because, rightly or wrongly, I feel that an international audience may not be interested unless I deal with events which are part of a larger tour or feature internationally-known artis
ts. This the case with Giuseppe Andaloro (now thirty years old) who has been performing in Italy and abroad for the last sixteen years and already has a few recordings in his bag. He has won several international piano competitions (Hong Kong, London, Naples) and has been building an impressive résumé over the past few years, performing also in Asia and the UK. On 7 February 2013, in Rome's Teatro Argentina, as part of the yearly season of the Accademia Filarmonica Romana, he gave a quite unusual and sophisticated evening recital of piano music. The Accademia is one of the oldest private institutions in the Italian capital; it was established in 1821 by a group of young aristocratic music lovers and has been operating since then with programs that marry innovation and experimentalism with tradition.
Andaloro's program suited this objective fully as it included short pieces by six very different composers ranging from the sixteenth century to the present day. As a matter of fact, the program also presented the world premiere of a piano work commissioned by the Accademia itself from one of the most promising Italian composers, Marcello Filotei, whose compositions are often heard not only in Italy but also in Austria and Germany.
We heard Girolamo Frescobaldi, Olivier Messiaen, Marcello Filotei, Béla Bartók, György Ligeti and Franz Liszt, in this order. Of course, Andaloro only played a small piece or a few small pieces from each composer. What was the red line giving sense to the program? Why, for example, Frescobaldi? At the time (1583-1643), the piano had yet to be invented and most of the composer's music was for the voice. The link was that all the pieces had been composed in the early stages of the professional lives of each composer. The only exception was Filotei's Resistere? Il Suono che Rimane, because the composer is about forty-five.
Frescobaldi's Sei Partite sopra la Follia is clearly a delicate piano transcription of a baroque vocal score. Messiaen's Preludes pour Piano are quintessential French twentieth century. With Bartók's Suite 0p 14 and Ligeti's Capriccio Nos 1 and 2 we are still in the twentieth century but in a different musical universe. With Liszt's Années de Pélerinage we're in full Romanticism. And Filotei's Resistere. Il suono che rimane? has the sense of a revolution for a cause.
Andaloro's hands covered the entire keyboard, up and down at full speed and volume, but he never lost track of his sense of musicianship. He created expressive music at the extremes of the instrument, and he was especially brilliant playing the music of Bartók.
Copyright © 17 February 2013 Giuseppe Pennisi,
Rome, Italy

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