“Two bona-fide Baroque virtuosos, Soprano Céline Ricci and Harpsichordist-Conductor Jory Vinikour, joined [Musica Angelica] in a program titled “Virtuoso Tapestry” ... Bach’s Concerto in d minor, MWV 1052, providing the main vehicle for harpsichord soloist Vinikour, who also conducted. ... he’s a digital dazzler fully on par with Ricci’s vocal wizardry. Vinikour’s Bach was suave and propulsive, with a particularly pleasing delivery of the aria-like Adagio.
“Throughout the concert, Vinikour, as conductor, led the crack Musical Angelica band with efficiency, charm and verve, infusing his duties with an optimistic bonhomie fully in sync with the extroverted nature of the High Baroque era at its most self-assured.”
– Joseph Mailander, The Martini Republic, May 1, 2007
“... soprano Celine Ricci ... found a sympathetic partner in the conductor/virtuoso harpsichordist Jory Vinikour in a well-chosen program of bravura Handel arias ... No clash of Titans here, just two fine musicians relishing each other’s company and making delightful music together.
“After the intermission, it was Mr. Vinikour’s turn to show off at the harpsichord. The d-minor concerto by J.S. Bach, with its extended cadenza in the first Allegro, served this purpose admirably. In the beautifully-controlled Adagio, the harpsichord produced the illusion of the singing human voice – easy to do on the modern piano, but nearly impossible on the harpsichord. It was a breathtaking feat.”
– Classical Voice, April 28, 2007
“Without doubt, one of the most promising figures of the new generation of harpsichordists.”
– El Nuevo Siglo (Columbia), March, 1995
“...immaculate virtuosity, an authentic poet of the harpsichord.”
– Denni Republik (Czech Republic), May, 1995
“...impressively fluent...performed with vigour and imagination, the evening's main event was Vinikour's account of Handel's Suite in d minor. This was powerful music eloquently played. As an encore, we heard a brace of Scarlatti sonatas, K. 420/1, these being, if anything, even more brilliant.”
– Hampstead and Highgate Express (UK), July 1995
“...the recital given by Jory Vinikour amazed all those impassioned by that remarkable instrument, the harpsichord. The virtuosity with which he played the Suite in a minor of Rameau triggered thunderous applause. He deserved the enthusiastic audience's ovations.”
– L'Est Republicain (France), April, 1991
“Harpsichordist Jory Vinikour enthused the public with his effortless virtuosity and artistic intensity. Whether in dialogue with the orchestra or in the extended solo cadenza, Vinikour’s presence and artistic superiority showed always, and was rewarded by much sincere applause.”
– Leipziger Allmanach (Germany), January 2003
“...(Poulenc's Concert Champêtre) was subtly played by soloist Jory Vinikour. Even the restless audience was silent.”
– Rotterdam Tagblad, (Netherlands), December 1995
“The undisputed winner, Jory Vinikour, brilliant virtuoso, gave a performance of Soler's b minor sonata of exceptional bravura, replete with double-trills.”
– Ruch Muzycny (Poland), May 1993
“If listening to the harpsichord is almost an art in itself, Vinikour's playing makes the effort richly rewarding. Vinikour infuses his work with personality and confidence. '(Vinikour) makes a concert an experience, in the very best sense of the word,' says Igor Kipnis.”
– Christian Science Monitor, December 1994
“...one of the finest harpsichordists around today. A big musician and a mature artist.”
– Indianapolis Star, October, 1996
Reviews of Goldberg Variations, CD and recitals
“This is an exceptional Goldberg Variations... Few harpsichord recordings sound this good. More important, perhaps, Vinikour’s is a joyously spirited performance. Vinikour’s graceful lyricism, his light-fingered speed, as in the lightly dancing fifth variation, and his occasional nobility, as in the elegant 16th variation, reveal a musician who is tasteful as well as nimble, and idiomatic as well as scholarly.”
– Fanfare, January 2002
“With a plethora of available recordings of J. S. Bach’s (1685-1750) Goldberg Variations, some of near legendary status, one approaches yet another addition to the discography of this masterwork with trepidation. In few other instances does the weight of a recorded legacy make the challenge of offering a fresh, individual voice (and of overcoming the danger of being deemed inconsequential) so daunting. All the more reason then to admire Jory Vinikour’s magisterial new account, which convincingly dispels the listener’s fears that this is ”just another” version. By turns ruminative, lyrical, brilliant, and regal, this new CD warrants the following recommendation : even if you already own several outstanding recordings of the Goldberg Variations, do not fail to check out this one.”
– Early Music America, Fall 2001
“This is stylish playing, executed with a sensitive and easy touch, and there's none of that tell-tale thud of the key that bedevils readings by those less adequately technically equipped.”
– BBC Magazine, February 2002
“The thought of yet another version of this keyboard masterpiece joining the nearly 50 others in the record catalog doesn't exactly quicken the pulse. But the Chicago-born Vinikour, who is pursuing a busy performance career in Europe, puts a distinctive stamp on his set. With every repeat observed, his version combines thoughtful scholarship and imaginative vitality, making the variations a fresh listening experience.”
– Chicago Tribune: Top Ten Classical CD’s, December 2001
“His reading of Bach’s Goldberg variations is quite unique, in a discography where every harpsichordist worth his or her salt has ”done” the Goldbergs. ...Vinikour gives perhaps the most emotional performance of this variation (no. 25) available for harpsichord. The combination of the fluid phrasing and crisp sound of his harpsichord is unforgettable. This is a brilliant, lively recording of the Goldberg Variations, by a young harpsichordist who will certainly make a name for himself as a soloist in the years to come. Vinikour’s energy is quite exciting, and this is one of the most interesting harpsichord recordings of this work available.”
– Classical Music on the Web, January 2002
“Jory Vinikour, an American harpsichordist based in Paris, makes his debut on Delos International with an invigorating performance of the Goldberg Variations. Vinikour makes the journey through the varied variations with the spirit of an explorer coming upon surprise after surprise. His artistry is vibrant, flexible, clear and keenly attuned to the musical demands. Vinikour’s performance maintains the momentum no matter where Bach’s lines may be headed or how many voices are active at once.”
– Cleveland Plain Dealer, February 2001
“Harpsichordist Jory Vinikour took his spellbound listeners on a 90-minute journey through the genius of Johann Sebastian Bach's Goldberg Variations Sunday afternoon at the Cleveland Museum of Art. Playing from memory, he conscientiously observed all repeats. The performer's intense focus helped draw the good-sized crowd into the musical experience. The accomplished harpsichordist brought the sublime music to life with integrity and skill.”
– Cleveland Plain Dealer, March 2001
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