“…The performance (Stravinsky Les Noces) had plenty of fervor and clattering colors. Yet it was nuanced, dusky and organic. The Soloists Four dynamic Russian pianists Maxim Mogilevsky, Svetlana Smolina, Alexander Mogilevsky and Youlia Zaichkina were mesmerizing…”
Anthony Tommasini, The New York Times, April 25, 2010
“Maxim Mogilevsky’s performance of the 10th Sonata (Scriabin) was pure ravishment, his fingers executing butterfly dances on the keys, as if he were making love to the instrument, and indeed to his audience. This was the point to which they whole program had been leading, at which auditory pleasure became almost erotic…”
Paul Griffths, The New York Times, Nov.5, 2002
HEADLINES: A STUNNING MOGILEVSKY. “Maxim Mogilevsky soloed brilliantly,… he is a pianist with distinctive personality, outstanding technique and an inclination to stamp his own imprint on whatever music he plays. Mogilevsky launches into music vigorously, making immediately strong impression. ..Big, bold performance, stunning power.”
Joseph McLellan,
The Washington Post
HEADLINE: RUSSIA’S FEARLESS GENERATION X PIANIST. “Maxim Mogilevsky, son of the eminent pianist Yevgeny Mogilevsky dusted off a rarely heard knuckle-buster, Liszt’s Scherzo & Marsch, with a full blooded panache that belied his boyish, poetic appearance”
Charles Michener,
The New York Observer
HEADLINE: MOGILEVSKY OPENS UP. RUSSIAN PIANIST’S WORK HAS GROWN MORE EXPRESSIVEAND IMPETUOUS.
“Vaulting performance of Prokofiev’s terse and intense Second Sonata, remarkable Liszt’s “Figaro Fantasy”, terrific razzle-dazzle. Mr. Mogilevsky has always been an expressive artist, but he now became a freer one as well..”
John Ardoin,
The Dallas Morning News
“In the hands of Maxim Mogilevsky and Svetlana Smolina Rakhmaninoff Suite no 2 for two pianos provided a formidable climax…”
Andrew Clark,
The Financial Times London 2002
“Maxim Mogilevsky and Svetlana Smolina collaborated handsomely on the Concerto for two pianos (Stravinsky). Rachmaninoff two suites for two pianos were also brilliantly displayed by Mogilevsky and Smolina.
David Stevens,
International Herald Tribune, London/Paris, 2002
“Mogilevsky communicates devotion to music at hand be it Scarlatti, Prokofiev or anything in between. Ravel ‘s “Gaspard de la Nuit” showed a stunning control of touch and tone. Program, entirely devoted to romantic and impressionistic virtuoso works, displayed a complete artist.
Wayne Lee Gay,
The Fort Worth Star Telegram
“Second Prokofiev Sonata from Maxim Mogilevsky was particularly dazzling”
Matthew Rye,
The Daily Telegraph London
“What a Star! Mogilevsky, the lion, stormed through a program of Bach, Haydn and Liszt with, as a “coup de theatre”, astonishingly explosive performance of Rachmaninoff Second piano Sonata. “
Michael Tumelty
The Glasgow Herald (Edinburgh Festival)
HEADLINES: SEAMLESS TURN. “..Pianist Maxim Mogilevsky was rich, comforting, noble, heroic, bold, intimate, prayerful, ineffable…”
Chris Pasles,
Los Angeles Times
HEADLINES: PIANIST SHOW STRAVINSKY’CHARMS. “Mogilevsky, scion of a family of musicians, displayed a charismatic manner and irrepressible personality.”
MOGILEVSKY: SKILL AND TALENT
Daniel Cariaga,
Los Angeles Times
HEADLINES: RUSSIAN PIANISTS TRUE TO THEIR SCHOOL. “Mogilevsky balanced the orchestra with power and weight. The soloist was also effective as an ensemble player, accompanying the tunes of the orchestra gracefully.
The cadenza always under control, brilliantly accurate with incredible sustained intensity. (Rachmaninoff 3rd Concerto). …His maturity is phenomenal.”
Robert Rhein,
South Bend Tribune
..MOGILEVSKY CREATES “AN ORCHESTRA”.
Lowell Francis,
South Bend Tribune
“Stylish controlled exuberance, dynamic contrasts, elegant ornaments, the subtle diminishing of tone through an extended musical phrase to a delicate, almost inaudible level caused the audience to hold its breath.
Jay Miller,
South Bend Tribune
HEADLINE: AFTER MIDNIGHT SPARKLED “THE BLACK MASS”. The culmination of the evening was the performance of the “Poeme de l’Extase”, op. 54, for two pianos and a trumpet, and the “Prometheus”, op. 60, for three pianos, both pieces transcribed by Toradze, later interpreted by himself with Svetlana Smolina and Maxim Mogilevsky – an acoustical and visual sea of flames (these works were recorded by WDRWestdeutscher Rundfunk television) came very near to the messianist ideas of the composer.
Anja Renczikowski,
Westdeutsche Allgemeine Zeitung” 18.07. 2005
JAHRHUNDERTHALLE Bochum, Germany,
(Ruhr KlavierFestival)