Reviews

 

Excerpts from reviews of Daniel’s live performances. Follow the links to read the full articles where available.

 
 
“Leading a beautifully warm lyrical interpretation of the Mozart concerto, stylish and technically immaculate pianist Daniel de Borah ensured things never became melodramatic while giving the inspired C minor material plenty of colour and feeling. There was an engaging jauntiness about the delicious variations of the final Allegretto and even the darker moments of the symphonic opening Allegro maintained a light footstep and focused soundscape.”
 
Adelaide Advertiser, Adelaide Symphony Orchestra, June 2017
 
 
“With an elegant, upright posture and a silky, sparkling touch entirely devoid of boorish bashing, de Borah wove a clear thread of lyrical fluency and charismatic flourish through the first movement [Grieg Concerto in A minor], approaching its grand cadenza with buoyant intelligence and measured introspection. Weighty yet delicate, his Adagio found sympathetic accompaniment, Northey keeping string and wind lines docile, pliable and nostalgic, while a bubbly finale was marked by extreme lucidity in the piano line’s virtuosic outbursts.”
 
The Australian, Melbourne Symphony Orchestra, March 2016
 
 
“Throughout there were hallmark signs of intelligence and imagination as well as formidable technique matched with a thorough understanding of structure and sensitivity to the aesthetic of the work.”
 
ArtsHub, Melbourne Symphony Orchestra, March 2016
 
 
“A Festival favourite, Daniel de Borah, gave a masterly, brilliant and captivating performance of Op 101 (1816). His fluid style, his amazing attention to detail, his outstanding sensitivity and, of course, his virtuosity are what make de Borah so popular on the international stage. What a treasure he is!”
 
CityNews, Canbera International Music Festival, May 2015
 
 
“The soloist and soul of Chopin, Daniel de Borah played with empathy and stylistic understanding, within a warm and seductive captivating tone [Chopin Piano Concerto No.2]. He is without doubt one of the finest pianists in the country.”
 
Canberra Times, Canberra Symphony Orchestra, August 2010
 
 
“… the Daniel de Borah/Kristian Winther duo set a high benchmark on Thursday with a program comprising only two works but generating a white-hot intensity… Maintaining the tension in the central Andante of the finale, de Borah hurtled through a massive, cadenza-like solo with mastery [Shostakovich Violin Sonata] … it made an ideal fit for this well-matched, splendidly gifted pair.”
 
The Age, Melbourne Recital Centre, February 2013
 
 
“… de Borah’s thoughtful, intelligent delivery was perfectly suited to achieving the ideal equilibrium of musical clarity and emotional restraint [Brahms Intermezzi Op.119]. This was a display of sophisticated musical artistry, free from overly flashy interpretative arrogance or unnecessary physical hyperbole. Paired with this deeply respectful reverence for the music, de Borah also carefully understood the architecture of Brahms’ composition, and he made some very savvy and enlightened choices in the prominence of each voice within the musical texture. This was excellent Brahms playing …”
 
Limelight Magazine, Canberra International Music Festival, May 2015
 
 
“The work [Bliss Piano Quartet in A minor] provided a perfect demonstration of the beautifully weighted, intelligent and expressive pianism of Daniel de Borah … Rarely have I been so impressed by a new ensemble [Australia Piano Quartet]. A combination of formidable pedigree of training, flawless technique, impressive musical intelligence, profound sensitivity and performance élan…”
 
ArtsHub, Australia Piano Quartet at Melbourne Recital Centre, November 2015
 
 
“Daniel de Borah was graceful in his stylistic approach, even when consumed by the whirlwind of intellectual and physical battle within the score of Sergei Prokofiev’s Piano Sonata No.7. The final movement was a tour de force …”
 
Canberra Times, Canberra International Music Festival, May 2014
 
 
“Pianist Daniel de Borah grounded the Russian work [Shostakovich Piano Quintet Op.57 with the Australian String Quartet] with near-faultless precision and eloquence in the night’s finest music-making.”
 
The Age, Melbourne Recital Centre, March 2012
 
 
 “It was no surprise that De Borah would play the work [Beethoven Piano Sonata in E flat Major Op.27 No.1] with great sensitivity and style, with a very fluid technique and much heart-felt expression. He has an innate ability to connect himself to the music and the mind of its composer. His playing, especially of the third movement, marked Adagio con espressione – Allegro vivace – Presto showed this remarkable quality to the full.”
 
CityNews, Canberra International Music Festival, May 2015
 
 
“Marvellous too was pianist Daniel de Borah for his interpretative intensity and evenness of touch in Liszt’s transcriptions of Schumann and Wagner, Schoenberg’s Sechs kleine Klavierstucke and Brahms’ Four intermezzi Op.119.”
 
The Australian, Coriole Music Festival May 2013
 
 
“The growing synergy between tenor Andrew Goodwin and pianist Daniel de Borah has been one of the most exciting developments on the Australian performance scene in recent years … Exquisitely sensitive to the nuances of text and melody, Goodwin must be one of the finest Lieder singers performing on the festival circuit today. The affinity with de Borah was evident in every phrase – dynamics and rubato always tasteful, all delivered with unity of musical expression.”
 
Limelight Magazine, Huntington Estate Music Festival, November 2013
 
 
“Daniel precisely located both the lyrical introspection and sardonic mood of Prokofiev’s G minor concerto. (…) Audiences can hope to hear lots more of this thoughtful and intelligent pianist”. 
 
Sydney Morning Herald, Sydney International Piano Competition, July 2004
 
 
“…Liszt’s famous version of the Liebestod from Wagner’s Tristan and Isolde an absolute musical and pyrotechnic triumph for him. His flawless technical development and huge panache and flair also took care of Liszt’s arrangements of two Schumann lieder, Widmung and Fruhlingsnacht, in most impressive fashion.”
 
Adelaide Advertiser, Coriole Music Festival 2013
 
 
“Once again, de Borah beguiled his audience with his intellectual approach and superior keyboard prowess.”
 
CityNews, Wesley Music Centre, Canberra, April 2013
 
 
“The highlight of the coffee concert was The Rite of Spring for piano four-hands, played by Daniel de Borah and Ian Munro. These generous and sensitive musicians made a lovely couple at the piano, their heads swaying in mutual ecstasy at one moment, the next, pouncing on Stravinsky’s folky tunes and giving that poor old Steinway a right old workout.”
 
Limelight Magazine, Huntington Estate Music Festival, November 2013
 
 
“…the young Australian pianist Daniel de Borah began with an excellent account of Haydn’s C Minor Sonata… This disturbing masterpiece was finely played indeed.  It was followed by a warmly expressive reading of Schumann’s Etudes Symphoniques in which Daniel de Borah’s remarkable dynamic range was utilized to the full.”
 
Musical Opinion, Wigmore Hall, June 2006
 
 
“At the keyboard his playing was by turns strikingly powerful and exquisitely delicate, set against the low rumble of piano strings and sharply percussive soundscape he produced elsewhere.” [George Crumb “Vox Balaenae”, with Vernon Hill (flute) and Julian Smiles (cello)]
 
Limelight Magazine, Australian Festival of Chamber Music, July 2011
 
 
“Daniel de Borah is for me a ‘natural’, meaning that I was able to identify immediately with his musical portrayals of Beethoven (Rondo in G), Prokofiev (Piano Sonata No 8) and Chopin (Polonaise-Fantasie, 3 Etudes, 2 Nocturnes Op 62, Scherzo No 4) … Daniel de Borah is a rare talent.”
 
Music and Vision, Wigmore Hall Recital June 2008
 
 
“Daniel de Borah is unlike most musicians; he has an ability to take a piece of music and turn it into a dream, literally. Watching, hearing and feeling him play will make you feel as if you are floating above the melodies. It’s a rare gift in a performer, to effortlessly move the audience.”
 
 artsHub, “Dudley Moore – The Man & his Music” Athenaeum Theatre, Melbourne September 2010
 
 
“Pianists stand or fall on how they tackle Chopin. Mr de Borah had him to a tee, from the windrushes of the first and fourth ballades to the cleverly-positioned eye of the storm in the Mazurka Op 17 No 4, where the poetry was distilled to wistful sadness unspoiled by eccentricity.” 
 
South Wales Argus, January 2012
 
 
“From its opening… it was obvious that this was to be a performance to remember [Beethoven No.4].  The soloist produced a tonal quality of ambient warmth, with a shading of passage work that was consistently poetic… it was a performance that held the attention throughout and was eminently satisfying.”
 
Canberra Times,  Canberra Symphony Orchestra,  May 2006