Helene Berger

What they think…

 “Event: fusion of the music and the sport. To honour the memory with Micheline Ostermeyer, triple medal-holder Olympic and pianist virtuoso, the “crater” of the cycle-racing track accomodated one evening of official reception… honoured with the presence of the very new Minister for the Sport, Jean François LAMOUR… to which did not assist less than 400 guests resulting from the sporting world and the companies. The evening began with the famous concert performer François-Rene DUCHABLE and Helene BERGER, former pupil and friend of Micheline Ostermeyer, who offered to the assistance one époustouflant recital of piano with four hands. A program magnificiently interpreted on which with the complicity of Gerard Quyntin, the guests could see evolving/moving the cyclists on track, in an extraordinary symbiosis with the music… Fusion of the music and the sport, this evening of official reception, organized with the profit of research against cancer, made it possible to release a sum of 10.000 euros…”
- Laurie Champin - INSEP Magazine - June 2002

 “More still than a simple superbly felt musical offering, the in
terpretation of Helene BERGER, pianist with the gold fingers, in the second concerto of Rachmaninov, in this intimate church, with this orchestra of another time, of another world, was a true sentimental voyage. It recreated an emotion become quite rare in Paris the Concert of charm -”
- Thierry FARADJI Journaliste with Tuning fork - April 30, 1998

 “Offenbach in Bouffes Parisiens -… fortifying spectacle […] who gathers airs and sets that Offenbach wrote on the pleasures of the table […] who evoke enough the good mood which on the plate the magic of words put in music by Offenbach made reign. Four singers and a pianist (the excellent Helene BERGER) are with the service of this anthology […] put in scene with inventiveness and humour by Olivier Benezech […] Delectable “a gastronomical concert” which filled the theatre of Bouffes Parisian […] ”
- Philippe T - the Letter of the Musician - 2nd fortnight of May 2002

 “One could dream more sumptuous framework only the Imperial Theatre of Compiegne for this spectacle which pays a homage narquois to the Second Empire (…)If famous pieces are found as “I am a little gray” of Périchole, one with pleasant surprised to discover a number of forgotten airs (…)Guyslaine Raphanel, Adrienne Thousand, Thomas Morris and Philippe DeGaetz, accompanied with the piano with liveliness by Helene BERGER, are given some to heart joy. They have the semi-sparkling humour which emphasizes the delirious puns which follow one another, and the elegance which succeeds in making believe that to sing the joy in life is easy, whereas certain airs require a real virtuosity. Here is a festive spectacle, where the pleasure of singing and of playing the comedy becomes communicative. ” - Bruno Villien - International Opera - January 2002

 “It is within the splendid framework of a barn of the castle of Feuillade, where the 4th living room is held of the watercolour that was held a recital for piano given by Helene Berger (…) the ochre stone walls, decorated of more than 200 watercolours were an ECRIN of dream offered to the music. Thanks to the talent of Helene BERGER, the concert will appear in very good place among the best moments of the estival season. Debussy, Ravel, Beethoven… as many prestigious type-setters whose works were interpreted with virtuosity. The evening (…) created a true moment of emotions…”
- the Popular one - August 9, 1999

“I appreciated in the disc of Helene BERGER the full interpretation of Ravel, the sobriety of the waltz of Chopin and the authenticity of the rubato. Bach releases dimension assured sound strong temperament. Of “alive memory” I liked the quality in the composition of Helene BERGER, very ventilated waltz in flow and harmony, homage to Bill Evans. ” - Pierre GERVASONI - Journalist Le Monde - April 18, 1997 “a rich and electric program who proved to be a true invitation with the voyage the public applauds it all to break, filled with wonder by the sound pallet at its touch, combining fine and crystalline subtleties with an exceptional dynamism… but what strikes more, it is its total investment in the interpretation of works, knowing to recreate them without denaturing the musical thought of the authors and putting its technical qualities at the service of a very great sensitivity”
- the Observer of Cambresis- 19/2/93

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