"mastered her task pianistially outstandingly up to the most intricate parts of the final fugue, with capturing charme, beautyful charme and ductile with fluent tempi, at the same time always clearly contoured and without any harshness."
Her radically rhethorical introspection gives us a listening experience of Beethoven's music like thoughts, narrations, or conversations. She suspends those in the third movement of the "Hammerklaviersonate" and gives it, through a plain, introvertedly dark tone, a melancholic-dreamy light, which she then observes austerely from afar.
Evgenia Rubinova throws clear light on that complex structure: a homage to Beethoven’s music in pure form, ‘in fair copy’. Her playing has great immediacy yet never lacks emotional expression. What is fascinating, in her case, is the mixture between the agogic liberties she allows herself and the extremely elaborate, meticulously conceived timbre in certain passages. Yet she always pays close heed to the text. Her art consists in bringing out the music’s magic in an unagitated, yet intense manner. […] In general, she cultivates an immediate, natural sonority and displays a fine sense for spatial and dynamic effect.
What a marvelous combination: with all that radiance and melodiousness in her touch, the pianist – who hails from Tashkent – never loses sight of the general structure of a composition. In her hands, Debussy’s Estampes for solo piano sound as if the fingers were dancing on a water surface: at times flowing, at times applying ‘pearly touch’, then swaying in a breeze once again – not to mention those sparkling pinpoints of light on the water. One forgets that the piano is actually a percussion instrument. However, the most significant aspect is that in Rubinova’s hands the music of Debussy is permeated with a clearly accentuated structure of beautiful harmonies: they cast their own unique spell, full of exotic charm and sweetness. Yet the harmonies fly off in so many different directions that each one acquires its own unique kind of radiance.
Strongly accentuated rhythm and utter thematic density are the hallmarks of Prokofiev’s 3rd Piano Concerto. The young Evgenia Rubinova gave an utterly convincing performance, thanks to the total independence of her hands in pounding chords and in featherweight scale figures. With nuanced phrasing, she laid the emphasis not so much on the work’s eccentric, martial character but imbued it, instead, with the charm of inspired capers and spontaneous flashes of thought. While emotionally absorbed, she impressed the audience with utterly clear articulation.
Evgenia Rubinova [...] succeeded in delivering a technically impeccable, musically multifaceted, dynamically thrilling interpretation [review of a performance of Beethoven’s Third Piano Concerto at the Alte Oper Frankfurt]
With this début CD, Evgenia Rubinova proves she is a marvelous pianist, combining all the assets of a reflective artist: a calm attitude, a controlled sense of timbre, and a profound emotional attentiveness to the composer’s ideas. She naturally also possesses the technical skills required to put this all into practice.
Not only does she possess an extremely varied touch with gorgeous, pearly sound when playing scales, but she also displays a mature capacity for phrasing and forming a structure. In the cantilenas the orchestra is often on an equal footing with the piano, and her manner of joining in dialogue with them causes pure pleasure. (review of a performance of Mozart’s ‘Jeunehomme’ Piano Concerto K. 271)