The great composer Luciano Berio said that the virtuosos of our time should have two characteristics: intelligence and sensitivity. And of course, young Russian pianist Alexandra Dovgan has those qualities. In the recital offered at the Quincena Musical, we were boycotted with this ability and ability to interpret in a single session works of great difficulty and effort. He is an exceptional pianist who will have much to talk about in the future, as he is only 17 years old.

But at the moment it is up to me to criticize the work done in yesterday’s recital, and I have to say that I was generally surprised, but I did not like it very much. International criticism and big pianists say that young Dovgan has the depth of a veteran musician, but yesterday I heard a wonderful little girl. I would say that with all the good and evil of the folly of youth.

It's true: I think it does things that nobody would do. It sounds "net free." In other words, it uses little or at least less than most pedals. The pedal is essential to be played on the piano, and sometimes it's like the photo filter, which minimizes the error. He, with amazing security, uses the least possible filters and makes us see his perfection. But at the same time, that's very dangerous.

On the other hand, he performs wonderful pianisapes. He knows that is the case, but he uses them too much to my liking. The delicacy of pulsation is one of its great virtues, but the perpetuity at the end of pianissism can be heavy and also distorts the melodic line.

And another of its characteristics is its ability to realize many shades, both dynamic and agological. But this overly applied virtue can distort several works. For example, Beethoven's 31st. Sonata op. 110 was not very natural. Very rich in nuances, but perhaps a little sunburst or very liquid. Yes, in the 2nd edition of Schumann. Sonata op. In 22 works, the pianist demonstrated all his energy and technical capacity, as well as a very nice sound.

In the second part of the recital, dedicated to the Russian composers, the interpretation of Prelude, Gavota and Giga de Bach, by Rachmaninov, was perfect. There were no abuses. Simplicity and perfection.

Variations corelli by Rachmaninov op. In 42 we again appreciated his powerful technique, mixed with great sensitivity. Sometimes, this excessive sensitivity or softness prevented us from enjoying the architecture of this work. And maybe Dogan was more likely to see him in the play, in Scriabin, nº2. The Sonata op.19 showed fatigue. In the first movement he suffered some problem that he managed to save with great professionalism, and the second movement was epic and trumatic, as demanded by the score.

He was very generous with the tips, all very high: a prelude of Scriabin, another prelude of Rachmaninov (which was pure perfection), a stylized waltz of Chopin and an impromptu of Schubert, very natural.

It certainly has a great future.