(c)2006-2008 Kaoru Tashiro
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Reviews

By Tamiko Ogura
 

Cinderella by Prokofiev
Despite the technical difficulty of the piece, Kaoru Tashiro was able to capture with great ease Prokofiev’s particular rhythm with an illustrious style that was reminiscent of the original story in all  its splendor.  Perhaps the best of Tashiro’s performance of Prokofiev’s Cinderella was the first and last sonata: Sonata Number 1 and Sonata Number 9 respectively.  Within a single movement, Tashiro’s performance of the first sonata evoked a sense of Prokofiev in his exuberant youth, his pianistic aspect and already his taste for bitter harmony. The last sonata was played by Tashiro with great calm and sonority and again, Tashiro managed to conceal the technical difficulty of the piece. The contrast in the manner in which Tashiro played  the  two sonatas gave an added dimension to the portrait of the composer and to Tashiro’s performance overall.
 
Tashiro’s final performance was devoted to Balakirev’s ‘Islamey’, which she played splendidly. ( piano magazine; Chopin)
 
 
By Yutaka Sano
 
Kaoru Tashiro’s recital was extremely enjoyable. The combination of a programme including Prokofiev’s Sonata Number 5, Scriabine Sonata Number 4, and Stravinski ‘Petrouchka’ could be described as a bit eccentric; however, each piece was fully developed with incredible technique, a concise pianistic touch and with profound sonority. (CLASSICAL MAGAZINE )
 
 
By Takasi Momose
 
With an extraordinary expressiveness that grasped fully the significance of each piece, Kaoru Tashiro played an entire Russian programme that included: Prokofiev’s ‘Sarcasm’ Sonata Number 5, Scriabine Sonata Number 4, and Stravinski ‘Petrouchka’. (ONGAKU NO TOMO)
 
 
By Tamiko Ogura
 
Kaoru Tashiro’s playing of Prokofiev’s Toccata demonstrates aptly her outstanding virtuosity, whereas her rendition of ‘Romeo and Julliet’ revealed her true dynamic expressiveness. Her ability to bring out the particular grotesqueness and the swelling of the human emotion in Prokofiev’s music is clearly the result of her deep research of his music. (ONGAKU NO TOMO)
 
 
By NN.
 
Kaoru Tashiro gave an impressive recital. Her flyer fitted perfectly into an American envelope; the programme, which was printed solely in black and a stylish red, deliberately chosen to match her dress exact, folded neatly into the size of a CD.  The effect taken together was quite stylish.  Although not directly related to her performance, such elements have the effect of increasing the expectation of the performance itself. 
 
To begin, the programme, which was titled as “Prokofiev’s 50th anniversary after death”, was unique.  The 1st half of the programme was ”the Iron Steps”, as transcribed by the performer herself; the 2nd half of the programme was “Visions Fugitives” together with the Sonata No.7.  These pieces were played with great taste, sensitivity and a diversity of expression, rather than with Prokofiev’s destructive energy.
 
Tashiro’s transcription of the 1st half of the programme “the Iron Steps” was a laboured piece which lasted approximately 30 minutes; however it was Tashiro’s performance of “Visions Fugitives” that her essential quality as a pianist was revealed.  It was therefore a pity to hear only extracts and not the entire piece of “Visions Fugitives”.  While clearly demonstrating her own personality through her various ideas and skill of touch, Tashiro was able  realize the auditory acuteness of the composer.  Indeed, such a performance left one with a desire to experience Tashiro’s artistic style again in future.