Interview Evelyn Ulex – villagetatler … read more
She offered here beautifully clean piano lines and a firm, rounded keyboard tone in all registers. No mechanical player, her phrasing was appealingly elastic…
Willa J. Conrad,The Star Ledger, NJ
Concert in Miami
Celebrating 200 Years Robert Schumann (1810-2010) with Evelyn Ulex… read more
If you’re not inspired by Evelyn Ulex’s piano playing, you are most likely devoid of any emotional bone in your body. You don’t have to be a musician to agree that Ulex’s playing far surpasses the dots and the lines on the page; her music is a means of communication that supersedes the limits of a language of words…
Ulex played Liszt’s Piano Concerto No. 2 in A Major, known among pianists to be no easy technical feat. The listener lost all awareness of “the notes,” except to notice how she gave deliberate attention to each one. But although each note, however fleeting, received special consideration, her playing did not seem labored in the least. In fact, her harp-like arpeggios sweeping across the keyboard drew in the audience from the start. Her charisma simply was unstoppable and her whole body seemed to move with the emotional color of each phrase. Her self-assurance and poise never felt imposing, as sometimes is the case of virtuosi.Her ability to transition from one mood to another was particularly striking. Even within the length of a cadenza, she was able to create a variety of different colors.
By Alicia Sanderman, Classical New Jersey Society Journal
…she gave a good performance of music from the heart of the Germanic repertoire (Schumann), as well as a rousing version of Mussorgsky s Pictures at an Exhibition.
by Greg Stepanich, Palm Beach Post.com
Poised, professional and pretty , Evelyn Ulex played out her heart and soul, so casually and graciously
MiltEnstine , Southampton Press, NY
“She has an excellent technique, displaying a vital temperament. What I found to be particularly impressive was her ability to absorb and execute my ideas so fluently and so quickly. Her interpretations are very personal, and highly thoughtful.”
Prof. Michael Voskressensky, Tchaikowsky Conservatory Moscow