Discs
Press reviews of the CD NOCTURNES AND BARCAROLLES / FAURÉ
Label Harmonia Mundi, 2024
Disc awarded by EDITOR’S CHOICE GRAMOPHONE
« It is rare to hear a piano recording where the program is so finely integrated, with such a fluid progression of emotions. Piboule’s precision of touch and her subtle use of the pedal remain constant, as does the sensuality of her approach. As surprising as it may seem to mention the defense of a repertoire and the name of Fauré – a figure long enshrined in the classical canon – in the same breath, it is clear that Piboule’s deep affinity and intimate understanding make her a passionate advocate. While her program is less extensive than Marc-André Hamelin’s much-acclaimed double album (Hyperion, 10/23), Piboule’s interpretations stand out for their irresistible originality and intimate conviction. »
Patrick Rucker, Gramophone, September 2024
Disc awarded by DIAPASON D’OR
« The colors, dynamic range, and note resonance of this venerable instrument become artful lighting, background interplay, and depth of field, allowing for a richer appreciation of these late opus works. »
« Aline Piboule here establishes herself as a worthy heir to the great Fauré interpreters of the past, such as Emma Boynet, Marguerite Long, Germaine Thyssens-Valentin, and Yvonne Lefébure. »
Marc Lesage, Diapason, October 24
Disc awarded by 4 TTTT Télérama
« Aline Piboule opts for a harmonic path rather than a chronological order. This allows one to better appreciate the infinite variety of colors, contrasts, atmospheres, and emotions that permeate these works. These pieces demand both power and sensitivity, and here they find a performer worthy of them. »
Sophie Bourdais, Télérama, September 2024
Disc awarded by 5/5 NOUVEL OBS
« The finest tribute to Fauré’s Nocturnes and Barcarolles on this commemorative year. What an extraordinary pianist, Aline Piboule, who seems possessed by this music! She grasps its shifting atmospheres, clarifies the intricate interweaving of textures, evokes the raw sorrow of the tenth Barcarolle and the extravagance of the fifth Nocturne, and celebrates with astonishing brilliance the tragic eruptions of the twelfth and thirteenth nocturnes. Playing on a 1929 Gaveau, with its rich timbre and bygone charm, she unfurls the grand wings of Fauré’s song across this anthology, with each note shattering the cliché of a purely intimate composer. With Aline Piboule, the legacy of Perlemuter, Lefébure, Ferber, and Merlet finds an inspired heir. »
Philippe Cassard, Le Nouvel Obs, September 24
« The magnificent and deeply sensitive recital by Aline Piboule »
Alain Lompech, Pianiste Magazine, November 24
Disc awarded by 5***** CLASSICA
« Aline Piboule once again demonstrates a mastery as free as it is controlled, with a broad breathing structure where the nobility of tone and fluid articulation is accompanied by rare interpretive insight: dynamic control, command of rhythmic complexity, and an emphasis on countermelodies. »
« One can only hope for complete Fauré collections under her inspired touch and on this ideal instrument. »
Gérard Belvire, Classica, October 24
« Strength and restraint »
« Nothing would be possible without such a convincing and inspired guide. »
« A poetic obviousness to which one surrenders without a moment’s hesitation! Restraint and strength combined: to translate with such tact the charms and secrets, tenderness, lyricism, bitterness, pain—even the restrained rage at times—that inhabit these pieces is no small feat for a performer… »
« A masterful recording that instantly makes its mark in the Fauré discography. »
Alain Cochard, ConcertClassic.com, September 2024
PIANISTE MAGAZINE, Laure Mézan’s Choice
« A program interspersed with late works, Barcarolles and Nocturnes, which the pianist presents on record with all the sensuality, tender restraint, and fervor that this expressive yet refined repertoire demands. Her choice of a 1929 Gaveau piano, from the Musée de la Musique collection, allows her to draw out sonorities of striking clarity and remarkable breadth, playing with the depth of its lower registers and the brilliance of its upper tones. Opening with an improvisation imbued with delicate nostalgia, this spellbinding program leads us into an intriguing, poetic world, evolving toward an utterly unique modernity. »
Laure Mézan, Pianiste Magazine, September 2024
PIANISTE MAGAZINE
« Aline Piboule’s grand and exquisitely sensitive recital »
Alain Lompech, Pianiste Magazine, November 2024
LES ECHOS
« The pianist’s refined and lucid touch allows one to appreciate the delicacy and daring of the master of chiaroscuro. »
Philippe Venturini, Les Echos, September 2024
« Hearing her immerse herself in the most intense aspects of Fauré’s writing, abandoning charm for substance, is quite an experience! »
« So dark, with a shade of despair yet such elegance, it’s as beautiful as Verlaine’s poetry. Spoken as much as sung. »
« This album leaves me feeling isolated, so much intensity, the tragedy of the final Nocturnes, the somewhat bitter mystery of the Barcarolles like a barely consoling counterpoint—how does one recover from that? Open the scores again, and indeed the ink seems so black. »
Jean-Charles Hoffelé, ArtaMag, August 2024
« At any rate, Piboule leans into the complexity, some of which is truly remarkable for a composer classed as « conservative. »
Piboule’s is not an especially sentimental Fauré, and she is convincing in her approach, which uses the colors available on her marvelous piano to the maximum. The sound from the Philharmonie de Paris is clear, and one suspects that Piboule is going to be gaining a host of admirers on this, her debut album on the Harmonia Mundi label.
James Manheim /TiVo, Qobuz, September 2024
Press reviews of the CD COINCIDENTIA OPPOSITORUM
Label Artalinna, 2024
Album awarded a « CHOC » by CLASSICA Magazine
« Demonstrating exceptional pianistic mastery, Aline Piboule seizes the interplay of darkness and light that permeates the pages of Bach, Liszt, and Greif. »
« Aline Piboule infuses these works with infinite sensitivity and poetry, conveying a profound understanding and intimate feeling for them. Her touch, alternately crystalline and velvety, shines in the meditative passages, while the fervor that overtakes her in the most tempestuous episodes is bound to sweep the listener away. It takes extraordinary pianistic skill to master these works—sometimes ecstatic, sometimes vehement, with their extraordinary dimensions and demanding virtuosity ; she rises to the challenge with brilliance and offers us an album to listen to and re-listen to endlessly. »
Sara Léon, Classica, July / August 2024
« A specialist in scholarly and inclusive programs, built around repertoires that are rarely performed together and/or seldom played, the French pianist Aline Piboule records albums that reflect her own style, with a built-in travel guide.»
« Between softness and violence, she delivers a poignant interpretation (…) where the aim is less about translating notes than emotions.»
Sophie Bourdais, Télérama, September 2024
« An instinctive pianist (…), Aline Piboule cultivates the art of confrontation. »
« The pianist’s taste for transcending temporal or formal boundaries. »
« The CD she has just recorded is part of this quest for extraordinary correspondences and goes even further by serving an unorthodox trinity: Johann Sebastian Bach – Franz Liszt – Olivier Greif. Here, Aline Piboule does not incorporate words into her recital, but she employs them through the titles of the works to suggest the sense of an eminently spiritual journey. »
« With ‘Ich ruf zu dir, Herr Jesu Christ’ (‘ I Call to You, Lord Jesus ’ ), a transcription of a Bach organ chorale, the pianist delves into the basses as though they were bottomless wells, yet her performance is never cavernous. It radiates serenity through magnificent phrasing with subtle rubato and through the mastery of chords that dissolve into resonance. Gravity thus takes on an existential character. »
« Beyond phenomenal power and virtuosity, Aline Piboule impresses with the precision of her approach. Listening to her, one questions the presence of the human element in the activity of the composer. While Bach tends to recede, Liszt undoubtedly exposes himself. As for Olivier Greif (1950-2000), who forms the heart of the program, he is on full display. His Sonata No. 21 (1994), subtitled « Codex Domini », is a testament to this. Written in a month, this 21-minute score comprises three movements of rare intensity. »
Pierre Gervasoni, Le Monde, June 2024
« Adept at extraordinary musical adventures, she brilliantly brings together three composers of different eras and styles in her latest work. »
« Traversing the works of Bach, Greif, and Liszt, Aline Piboule leads us from darkness to light, drawing upon an expressive and intimate piano that transforms according to her narrative. Bach’s solemn chant unfolds with moving depth, while Liszt’s Ballade, delivered with a strong sense of evocation, is deeply affecting. As for Greif’s sonatas, the pianist reveals the poetry of her playing, tackling enigmatic pages to extract a range of colors and emotions, a tour de force that crowns this fascinating recording. »
Melissa Khong, Pianiste Magazine, July / August 2024
« You will admire the pianist’s artistry as she applies it to the nakedness of Bach, to the mystical murmur of ‘Blessing of God in Solitude’, and to the darkness of the Second Ballade (Liszt), where her timbres and deep keyboard discover masterpieces to be touched. »
Jean-Charles Hoffelé, Artamag’, July 2024
« A very beautiful recording », « a very beautiful interpretation »
« Liszt spirited, full of fervor and passion »
Rodolphe Bruneau Boulmier, En pistes, France Musique, May 5 2024
« (A recording) full of emotions and fervor »
Emilie Munéra, En pistes, France Musique, May 5 2024
« An ambitious and highly original recording »
« A fierce and very dark Codex Domini sonata and the most luminous Poems of Li T’ai Po »
Arnaud Merlin, Le concert du soir, France Musique, June 12 2024
Press reviews of the CD Rare french musics
Label Printemps des arts de monte-Carlo, 2021
« Aline Piboule, a pianist both calm and ardent, is precisely the one who has generously devoted herself to the resurrection of unjustly forgotten composers by recording some of their singular and prodigiously penetrating works. »
« Samazeuilh, Decaux, Ferroud and Aubert find in Aline Piboule an enlightened ambassador who allows them to go beyond the time of our amnesia. Her record, full of energy and poetry, takes up the challenge of consecrating their new contemporaneity. »
Jean de Faultrier, Singular’s, August 2021
« The full and luminous sonority of this piano that knows where it is going, virtuoso without ever being affected, with a very careful relief, gives us a superlative reading of Abel Decaux’s « Clairs de lune ». The interpreter greedily follows the indications that the text is full of. »
« The three types of PO Ferroud scotch us »
« Undulating with clarity, Piboule’s playing dreams (Dans la nuit), blows passion (the digital flights of Sur le rivage), colors and spices up Soccory’s Habanera to better abandon it with regret, with a tear of despair. »
François Laurent, Diapason *****, June 2021
« …by the contrasting aesthetics, by the incredible refinement of nuances and sonorities, but also by the merciless incisiveness of the subject (Decaux, Ferroud), Aline Piboule’s interpretations of these pieces are of notable reference ».
« This unspeakable joy of discovery coupled with a finely cultivated hedonism of sound gives this sumptuous recital the aura and thrill of great revelations. »
« As an endearing, singular and masterful performer, Aline Piboule combines an impressive technical mastery or an innate and magical sense of sound color with a deep affinity to the poetic universe of each of these rare, original and highly differentiated pieces. »
Benedict Hévry, Resmusica, June 2021
« In pages better known than these (Fauré/Dutilleux), one could sense an immense talent. It is consolidated and this new recording
is no longer a discovery but a confirmation.
(…) One will admire without reservation, the the precision of her playing, which does not harm either the grandiose evocations nor the deadpan portraits, her sense of construction and gradation, in short, preserves the pianistic speech from one end to the other with continuity and coherence. Then, with the greatest naturalness, these pages which are not necessarily easy to access, neither for the listener nor for the performer, sound with evidence. »
Jacques Bonnaure, Classica, May 2021 (disc awarded a “Choc” by Classica)
« A series of dazzling moments that highlight the unusual ability of the pianist to handle the spectacular flashes without losing her interiority in the long term. »
Pierre Gervasoni, Le Monde, April 2021
« Aline Piboule is an outstanding musician who plays with the contrasts between the works and manages to render all their facets. »
Pierre-Jean Tribot, Crescendo, Belgium, March 2021 (disc awarded a Joker Absolu)
« Aline Piboule gives a passionate and immediately captivating interpretation with powerful climates, a brilliant dramaturgy of light and a great play of dynamics. […] Concerning the Clairs de lune by Abel Decaux, the « French Schönberg » : Aline Piboule’s intense playing produces some very disturbing, disquieting, almost nightmarish moments… Icy coldness, goblin-like movements, everything becomes utterly frightening in La Mer, an impressionist piece with sometimes violent crescendi, composed a few years before Debussy’s masterpiece. »
Rémy Franck, Netherlands, March 2021 (disc awarded a Supersonic Pizzicato)
« A record that makes you madly love this music because everything is there: an impressive instrumental mastery, a dreamy sound, an art of poetry, an art of colors, a fluidity in the play […] An essential disc for any self-respecting record library that respects itself. »
Philippe Cassard, France Musique « Portraits of family », March 2021
« Her expressiveness and interpretations full of emotion are remarkable.
[…] « The richharmonies, the quality of the melodies and the poetic interpretation prove the accurate choice of these composers», « Powerful and expressiveness of style ».
Helmut Pitsch – O-ton (Austria), April 21, 2021
Press reviews of the CD Dutilleux & Fauré
Label Artalinna, 2017
« A Revelation »
« Famous names are not always a guarantee of good productions – the examples are numerous. However, there are sometimes less well-known artists who make beautiful music. Among them is French pianist Aline Piboule, who discreetly pursues her musical journey. She has just released a CD allowing us to hear what she has to say. »
Radio 100.7, Luxembourg, October 12, 2017
« Through a refined, structured, free interpretation, she affirms authority and science at the keyboard that one will remember, making her a leading figure of the French repertoire. »
Michel Le Naour, Cadences, September/October 2017
« The perfect smoothness of transitions is as surprising as thrilling… (…) But the main reason to appreciate this first soloist recording, beyond its consistency and its originality, is the performance in itself. Aline Piboule is not only tailoring her technique to each composer’s idiosyncrasies (her Fauré is full-bodied, her Dutilleux invigorating), she also delivers a robust yet graceful, elusive yet controlled playing. »
Sophie Bourdais, ffff Télérama n°3518, juin 2017
« A splendor »
« Fauré’s Ballade sounds symphonic in scope and remains always intelligible, which is no small feat. »
« Dutilleux’s Sonata has a majestic and lush sound, creating a sort of inner peace. »
Alain Lompech, Diapason 5*****, Juin 2017
« Chapeau für diese tolle Leistung ! Velvet-tone colours, a great refinement as well as genuine poetic feeling show the artistry of French pianist Aline Piboule. First class! »
Remy Franck, Pizzicato.lu, 16 mai 2017
« Aline Piboule knows how to make her voice heard and claim a place of its own among the top tier performers. (…) She achieves to combine mystery and clarity, rigour and flexibility. (…) The rich textural polyphony of Thème et Variations is absolutely transparent and devoid of any roughness, and the pianist’s touch is bursting with sensuality. (…) There is also much to admire in her subtleness when dealing with the musical flow, always temperate and thorough but full of delicate gradations in volume. »
« A distinct impression of freedom and suppleness. »
« Aline Piboule shows a remarkable inventiveness in playing with the tones and their shimmering colours. »
« A wonderful visiting card, full of promise. »
Jacques Bonnaure, Classica 4****, Juin 2017
« Aline Piboule has a perfect knowledge of these two repertoires. Better yet : an instinc for them. It allows her to overcome all the obstacles with an awe-inspiring obviousness. Her technical mastery sheds light on each and every facets of this adventurous journey. »
Pierre Gervasoni, Le Monde, 28 avril 2017
« Highly recommended recording. One of the most beautiful releases of these last weeks. Ten years from now, it’ll still be one of the gems of your piano collection. »
On Dutilleux :
« Aline Piboule’s has it all : finesse, delicacy, vigour, rythm, and this amazing ability to make her piano sound like an orchestra. All this sheds a fascinating light on Dutilleux’ Sonata. Ms Piboule’s performance is both inspired and ruthless, as is, quintessentially, this masterwork. »
On Fauré :
« Aline Piboule’s sound has a tender and sensitive quality, and her phrasing is a sheer delight. »
« There is much simplicity, nobility and beauty in Aline Piboule’s expressiveness, and it’s a pleasure to the ear. She shows all the greatness of this music without striving to demonstrate anything. She just plays and assimilates this music beautifully. »
Philippe Cassard, France Musique, 6 mai 2017
« The magnitude of the tone, the orchestra-like sound, the straightforward impetus : everything here has the force of the obvious. It never drags yet it takes the time to dream. This squaring of the circle is made possible by a singing and shadowy legato. »
Jean-Charles Hoffelé, Discophilia, Avril 2017
« (The Dutilleux Sonata) is a wonder of musical intelligence, of piano mastery, of dynamism. (…) The Fauré pieces are not parlour music : they’re taken at full tilt, the Ballade almost rushing, and it’s all the more enthralling. A major piano recording. »
Thierry Vagne, 16 avril 2017
Press reviews of the CD
Flûte et piano en France entre 1890 et 1920
« A demonstration of excellent taste and musicianship. »
Classica 4****
« A CD full of charm and flavor. »
Le Dauphiné Libéré
« The elegant style and refined sound of these young artists are equaled only by their virtuosity and musical complicity. »
La Marseillaise
« The piano takes flight under Aline Piboule’s masterful fingertips and is a fine complement to Jocelyn Aubrun’s talent. »
France Catholique 4****
« Jocelyn Aubrun and Aline Piboule display great complicity , as well as flawless understanding of the chosen works. »
Tempo flûte
Concerts
« Aline Piboule steps onto the stage, graced by the numerous accolades awarded to each of her recordings, especially her latest, a Fauré piano anthology unanimously celebrated by the German, English, and French press. Unfortunately, we seldom have the chance to hear this champion perform solo recitals or with an orchestra. At the Lisztomanias, she will juxtapose the music of Fauré with that of Liszt. As a professor with a keen interest in musical editions, accustomed to deconstructing works for her students, she will introduce and contextualize each piece in her recital just before performing it, allowing the audience to immediately hear what she explains. And it resonates. Indeed, “juxtapose” might not be the correct term for Fauré and Liszt: rather, she brings them closer, fosters encounters, creates surprises, and reveals ambiguities.»
« A challenge she meets with remarkable courage.»
« Aline Piboule performs with boldness and determination.»
« Piboule leads the music to its apotheosis before concluding with a serene and dreamlike resolution, superbly crafted. As the recital progresses, the connection between Fauré and Liszt takes on an unexpected form. Moving from Apparitions and Lugubre gondole to Barcarolle No. 10, from Nuages gris to Nocturne No. 13 is striking, as Liszt’s exquisite harmonic shades answer to those of Fauré, who in his own way dismantles the classical tonal language through modality and dissonant tensions, heightening the poignant, intense character of music also poised towards the future. The performer, seemingly liberated from all tension, lets herself fade behind her playing with mastery, intensity, and a world-absorbing focus, utterly attuned to each piece. We can only hope to hear Piboule again soon.»
Alain Lompech – Bachtrack, October 24
« She is an eclectic artist, and her repertoire spans several centuries of music. She deserves to be invited on numerous occasions, not only for her mastery of the keyboard but also for the imagination she brings to each musical proposition, creating the perfect conditions to captivate a presumed curious audience. This was demonstrated in a stunning piano recital (…).»
« Powerful when needed, always subtle, Aline Piboule’s narrative piano stirs the soul as much as it delights the ear.»
« The final movement will give the impression, through the pianist’s physical commitment, of witnessing an apocalyptic rider crossing a battlefield amid explosions, then finishing her mad rush with a long resonance, her face undone, as though she had left something of herself amidst the chaos.»
Regarding Fauré’s Last Love with Pascal Quignard:
« The unspoken elements of the text, beautifully concise and poetic, are filled in by the music, laden with finely nuanced passions. The writer and the pianist exchange ‘dialogue’ with astonishing suppleness, listening to each other with an intensity worthy of a chamber music duo.»
« This way of shedding light on ‘difficult’ works by confronting them with literature, making them as clear as they are moving, can only serve the music well.»
Sophie Bourdais – Télérama, August 2024
« The pianist captivates our imagination with the utmost expressiveness, employing a vast palette of tones.
« Endowed with impeccable technical mastery and immersed in total emotional commitment, the pianist delivers a profoundly moving interpretation of this extraordinary work, leaving no one untouched, not even herself…»
Concert on July 24, 2024, at the Messiaen Festival in the Land of La Meije.
Jany Campello – Classica, August 6 2024
« One of those intellectually and musically stimulating programs (this one entitled “Heritages”) for which the musician holds the secret.»
« To better unravel the ties of kinship and lineage between Claude Debussy and Paul Dukas, who was his mentor as well as that of Olivier Messiaen, both of whom had a lasting influence on the Japanese composer Toru Takemitsu, Aline Piboule has woven a vast web of legacies, tributes, farewells, and memorials, anchored in two of Debussy’s Épigraphes antiques (To evoke Pan, god of the summer wind, and To thank the morning rain) and Bells through the leaves (from Images). Stripped-down melodies, hallucinatory repeated notes, humming, crackling, resonances—this long evocation of seven pieces seamlessly fused into a single work distinguishes each personality as much as it merges them in a powerful aesthetic reverie.»
(O.Greif) « Music of profound yearning, between contemplation and vertigo, cry and silence, to which Aline Piboule lovingly attends, cherishing all its inclinations. »
Concert on July 24, 2024, at the Messiaen Festival in the Land of La Meije.
Marie-Aude Roux – Le Monde, July 2024
« The instrument (a 1929 Gaveau) may indeed surprise ears accustomed to the homogeneity of modern pianos, but it greatly aids those who know how to play it in conveying the distinctive flavor of Fauré’s harmonies. That said, it is merely the vehicle for an interpretation of exceptional refinement, far removed from the ‘lampshade’ manner in which Fauré is sometimes unjustly portrayed. Aline Piboule fully grasps the nuances—truly in every sense of the word—emphasizing the intense purity of a music devoid of imagery and literary allusion, before a captivated and crowded amphitheater. A magnificent pianist whom one would wish to hear more often. »
Concert on January 27, 2024, at the Philharmonie de Paris
Alain Cochard – ConcertClassic.com, Janvier 2024
« Her assertive and grounded sound, particularly in the lower registers, produces a very rich resonance. This quality, especially well-suited to Fauré’s deeply personal harmonies, which increasingly expand, is fully showcased by the pianist. She emphasizes the substantial, even earthy, aspect of Fauré’s music, a quality that is not usually suspected. Thus, between the ethereal and the terrestrial, she majestically, and without any mannerism, reveals all the expressions of Fauré’s music. In this sense, she presents herself as an initiator of his often elusive music, not only through the Nocturnes and Barcarolles but also through relatively rare works. »
Concert on January 27, 2024, at the Philharmonie de Paris
Victoria Okada – Crescendo, Janvier 2024
« Is there such a thing as a happy ruin?” At Ronceray, Pascal Quignard and Aline Piboule explore the traces of war. The writer’s deep, muffled voice is met by the uncompromising playing of the pianist. With a firm touch, precise musicality, and remarkable narrative flow, Aline Piboule transitions effortlessly between the works of Adès and Fauré, as well as those of Mompou (the rare Musica callada), Bach, and Greif (the equally rare Sonate de guerre). One is left profoundly moved, having caught a glimpse of the ‘red and gold’ of happiness, and having felt ‘that shadow that falls on the falling leaves. »
Anne Ibos-Augé – Diapason Mag, May 2023
« Gripped by the depth of the musical discourse, we emerge profoundly affected. What an artist Aline Piboule is! To what heights she takes us! »
Victoria Okada – Crescendo Magazine, May 2023
« The music performed by the pianist and the texts of the writer (Pascal Quignard) resonate with a rare and poignant intensity, combining strength and depth. As the first piece of a superbly crafted original musical program, as only Aline Piboule can conceive, it immerses us in the dislocated, desolate atmosphere of Thomas Adès’s Darknesse Visible, which she illuminates from within through the delicate vibration of her repeated notes. This is followed by Bach’s Choral, excerpts from Federico Mompou’s Musica Callada, the somber Barcarolle No. 9 Op. 101 by Gabriel Fauré, and the final movement of Robert Schumann’s Fantaisie Op. 17, each succeeding with equal expressive intensity under her touch of extraordinary precision. (…) The writer, with his somber voice, then questions: “Where is the wall… where is the house… where is the port?” while the pianist concludes with a moving War Sonata by Olivier Greif (second movement), which leaves the listener profoundly affected. »
Jany Campello – Resmusica, May 2023
« A pianist whom I have always known for both her talent and her commitment to contemporary music as well as to forgotten masterpieces (…), these two characteristics remain undeniable (…). »
« Aline Piboule, performing at the highest level this afternoon on France Musique. »
Clément Rochefort – Program France Musique Generation, September 2021 / France Musique
« A journey in four stages through diverse and winding paths, like an epic where transcendent technique contends with emotion: a festival within a festival, a Piboule festival! »
« a marathon panorama of the multiple and eclectic talents of the artist »
Decaux La mer : « A transmission of great eloquence that borders on virtuosity »
Chopin : « The four Ballades (Frederic Chopin), famous pieces yet renewed by their momentum and energy. »
Recital of rare French musics: « We move seamlessly from luxuriance to originality (in Ferroud) and to strangeness (in a nearly atonal Decaux, from 1907!), conveyed through virtuosity, dexterity, sensitivity, and expression. A flawless performance! The encores showcase delicacy with Fauré’s Romance and Debussy’s Clair de Lune. »
Pierre-René Serna – ConcertClassic.com, August 2021 / Festival Berlioz
Chopin : « Chopin’s Prelude No. 16 is a violent gust of wind that sweeps away everything in its path, an extraordinary page of the Romanticism in the flamboyant interpretation of Aline Piboule (…) ».
Debussy : « An energy and concentration that astound: the vitality of colors, the clarity of lines and sound layers in De l’aube à midi sur la mer; the orchestral dimension of the piano in Jeux de vagues; and the beautiful readability of the text in Dialogue du vent et de la mer, which she guides unerringly through its dramatic arc to the final emergence. »
Schmitt: « Aline Piboule conveys its harmonic richness, colors, and melodic vein through a highly orchestral playing style that she masterfully maintains, with the commitment of her gesture and the resonant power of her piano. »
Aubert: In « Dans la nuit » (…) the pianist makes it shine brilliantly through transcendental virtuosity. »
Michèle Tosi – Resmusica, August 2021 / Berlioz Festival
« An anthology of rare works by composers of the beginning of the XXth century for which Aline Piboule stands for with self-indulgence and virtuosity.»
Marie-Aude Roux – Le Monde, April 6, 2021 / Printemps des Arts de Monte-Carlo, Recital at the Palais Garnier of Monaco
« Aline Piboule provides the « special lights» of which Debussy speaks in Clair de lune
moonlight off Samazeuilh, a piece swinging between mystery of the depths, poetry of sound and nostalgia delicately suggested by our pianist. From « Pierre-Octave Ferroud », « Bourgeoise de qualité » and « Vieux Beau » are pieces of character to which she gives
brilliance and panache with an ease and fluidity of gesture that delight us. The keyboard is homogeneous and and the scope virtuoso.»
« Aline Piboule has the talent to compose and defend programs where the music of the XXth century and of our time blends with that of past centuries, where the discovery competes for the front of the stage with the known repertoire» […] « Clair lune au large (Samazeuilh) appears under the impalpable touch of the pianist. […] « Clair de lune au large» (Samazeuilh) appears under the impalpable touch of the pianist…A moment of nocturnal reverie with delicate harmonies” […] (Types de Ferroud) « two pieces of character of which the pianist raises the spice and the superb with a lot of spirit and a bewildering technical agility.»
Jany Campello – ConSpirito, April 2020 / Monte-Carlo Spring Arts Festival, Recital at Monaco’s Palais Garnier
« Aline Piboule guides us through the unexpected riches of a French repertory that – though contemporary with the masterpieces of Debussy, Fauré, Ravel – is the work of nearly forgotten composers. »
« Aline Piboule displays an unfailing mastery […] One lets go of the disconcerting reality of the day in favor of this pure moment of reverie with which she presents us. »
« Aline Piboule, demonstrating great artistry, stayed firmly at the helm of her emotions to deliver us a masterfully performed concert. »
« These works […] are served by the mastery, inspiration and conviction of Aline Piboule. »
Nicolas Darbon – Olyrix, March 16, 2020 / Monte-Carlo Spring Arts Festival, Recital at Monaco’s Palais Garnier
« On a majestic Bösendorfer, the musician brought to life four unjustly neglected composers. »
« Let us praise the vision of Aline Piboule, committed to the revival of these works and the reinstatement of their highly distinctive ingenuity. Demonstrating an impressive digital ease in these sometimes technically challenging pieces, it is above all in the troubling mood of Abel Decaux’ Clairs de lune that her dreamlike interpretation reached its highpoint. »
« A fascinating, superbly interpreted program. »
Jean-Claude Hulot – Diapason, March 17, 2020 / Monte-Carlo Spring Arts Festival, Recital at Monaco’s Palais Garnier
« A Barcarolle by Chopin whose breaths are combined with magnificent rubato belonging only to Aline Piboule, singing the thirds with sensuality and luminous lyricism. ” “A gourmet piano! ” “We did not see time pass … All we needed was a little boldness, intelligence, imagination and a few amps between the soloist and the public! A current that Aline Piboule successfully established. »
Jany Campello – Magazine Pianist, August 23, 2017 / Festival Around Ventoux
« The elegance of her playing lives up to the finesse of the score… Under Piboule’s fingers, music notes transform into master paintings full of color. »
Victoria Okada – Resmusica, July 21, 2016 / Festival Format Raisins
«On Sunday, Aline Piboule offered up a program of most impressive density and sharp expressive capabilities.
Delivering two ballads from Chopin with infinite soul, Aline Piboule took us to the next level with Faure’s Themes and Variations. In this particular piece, her interpretation was celestial and her playing always on point. (…) Finally, Dutilleux’s Sonata is admirable; Aline Piboule illuminated it with stunning shimmers and sovereign ardour.
Jean-Dominique Burtin – « Mag centre », May 25, 2015 / Festival de Sully-sur-Loire
«With thin hands but yet strong fingers, she develops responsive and sharp skills, dominating with a flawless velocity the outbursts contained in the War Sonatas (Prokofiev and Greif). Stunning!
One could appreciate the digital subtlety Aline Piboule in her spidery curls translating the Book II of Debussy studies. Undoubtedly, we can only wait new fascinations from this young rare gem.»
Georges Masson – Le Républicain Lorrain, December 19, 2014 / Arsenal de Metz
«Aline Piboule moves us with the intelligence and clarity of her interpretation, especially in Olivier Greif’s War Sonata. She performs with such implication and poignant strength that one can only be impressed by her talent.»
Victoria Okada – Resmusica, June 23, 2014 / Lille piano(s) Festival
«French pianist Aline Piboule, who took 2nd Place at the Competition, gave a magnificent performance from beginning to end, especially her set linking Pascal Dusapin’s Etude n°2 Igra and an excerpt from George Crumb’s Makrokosmos. Performed with such poetic ease and downright staggering sonority, it was the high point of the evening.»
Laurent Vilarem – La lettre du musicien, March 25, 2014 / Théâtre des Bouffes du Nord, Paris
«Aline Piboule wins us over with her mobility. The exchange she establishes with the musicians in this virtuosic piece allows us to fully appreciate the stark contrast between this very mobility and bewitching serenity.»
Michel Le Naour – Concertclassic, March 24, 2014 / Scène Nationale d’Orléans
«An astounding Aline Piboule performed Olivier Greif’s War Sonata.»
Jean-Dominique Burtin – Mag’centre, March 12, 2014 / Salle de l’Institut, Orléans
«Her interpretation of Dutilleux is magnificent and inspired.»
«Aline Piboule’s sumptuous sonority in Fauré’s 7th Nocturne restored the grandeur and the lyricism of this intimidating masterpiece.»
Philippe Cassard – Le matin des musiciens /France Musique, October 16, 2013 </em
Interview
Matinale France Culture avec Chloë Cambreling Cliquez ici
Matinale France Musique avec Gabrielle Oliveira Guyon Cliquez ici
Générations France Musique avec Clément Rochefort (à 1h13’20) Cliquez ici
RTS avec Benoît Perrier Cliquez ici
RCJ avec Frédéric Hutman Cliquez ici
Fréquence Protestante avec Marc Portehaut Cliquez ici
Portrait of Aline Piboule on Bachtrack by Jean Landras, March 2020
https://bachtrack.com/fr_FR/interview-aline-piboule-mars-2020
Portrait of Aline Piboule by Thierry Vagne, April 2018
http://vagnethierry.fr/en/meeting-the-pianist-aline-piboule/
Le concours international de piano d’Orléans au Théâtre des Bouffes du Nord
