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  • Carnegie Hall Presents
  • ZH Zankel Hall
  • SA/PS Stern Auditorium / Perelman Stage
  • REW Resnick Education Wing
  • WRH Weill Recital Hall

Beatrice Rana, Piano

Tuesday, March 12, 2019 7:30 PM Zankel Hall
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Beatrice Rana by Marie Staggat
Winner of prestigious competitions, a soloist with the world’s finest orchestras, and a critically acclaimed recording artist, Beatrice Rana is one of the brightest stars in the galaxy of great pianists. Her “commanding, innate musicality” (Los Angeles Times) will be at the heart of Chopin’s poetic etudes, Ravel’s evocative Miroirs, and Stravinsky’s The Firebird, a sensational showpiece vividly depicting monsters and infernal dances. The Guardian called Rana “a compelling storyteller”—come hear her share a pianistic tale.

Part of: Keyboard Virtuosos III: Keynotes


Beatrice Rana, Piano
NY Recital Debut


CHOPIN Twelve Etudes, Op. 25
RAVEL Miroirs
STRAVINSKY The Firebird (transcr. Agosti)

Mix and Mingle

Join us immediately after this concert at Zankel Hall’s Parterre Bar for a 45-minute mix and mingle.
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At a Glance

CHOPIN  Twelve Etudes, Op. 25

Chopin’s combination of bravura technique and poetic feeling defined a new school of Romantic pianism. English critic Henry Chorley likened his “insinuating and gossamer” touch to “the wild and softened discords of the Aeolian harp.” Chopin’s wizardry is captivatingly displayed in the 12 etudes of Op. 25, written when he was at the peak of his powers as a performer.


RAVEL  Miroirs

Roughly contemporary with Debussy’s Images, Ravel’s Miroirs are similarly adventurous in their approach to harmony, form, and keyboard technique. Although the titles of the pieces evoke pictorial imagery, Ravel is less concerned with traditional tone painting than he is with capturing the flickering reflections of pianistic sonorities and textures in his musical mirror.


STRAVINSKY  Three Movements from The Firebird (transcr. Agosti)

The kaleidoscopic, rhythmically energized music that Stravinsky wrote for the fairytale ballet The Firebird has been an audience favorite since it was first heard in Paris in 1910. Eighteen years later, Italian pianist Guido Agosti made equally brilliant keyboard transcriptions of three of the ballet’s best-known movements, including the viscerally exciting “Danse infernale” of the demonic King Kashchei.

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