Leif Ove Andsnes, pianist (photo courtesy of NRK)
Anne Midgette, Andsnes and Rhode's 'Pictures': The frame doesn't fit (Washington Post, November 23)
Igor Toronyi-Lalic, Lief [sic] Ove Andsnes combines music and visual art (The Times, November 21)
Martin Bernheimer, Pictures Reframed (Financial Times, November 18)
Jason V. Serinus, Putting It Together (San Francisco Classical Voice, November 17)
Kenneth Delong, Pianist great, visuals not (Calgary Herald, November 17)
Richard Lacayo, Mussorgsky's "Pictures At An Exhibition" — Plus More Pictures (TIME, November 16)
Anthony Tommasini, Sound and Vision: A Piano Recital With a Multimedia Heart (New York Times, November 15)
Albert Imperato, The Art of Collaboration and the Meaning of "Pictures Reframed" (Huffington Post, November 12)
The idea of setting Mussorgsky’s Pictures at an Exhibition to new images is certainly nothing new. However, the way in which Rhode drew upon Viktor Hartmann’s pictures, the original inspiring art, was certainly interesting, if also difficult to follow (only upon reading Rhode’s program notes did many of the connections become illuminated). As in the music itself, the promenade was the only connective tissue, for which Rhode created the marvelous image of a youth whose feet are unable to touch the ground. The boy is discovering his path, portrayed by geometric shapes that move and transform at the touch of his feet.
In the crowded elevator leaving the concert, the silence was heavy as thoughts and reactions were surely in development. Then a simple question was posed by a smiling man: “What did you all think...?” And just like that, former strangers were now connected and engaged. If nothing else, Andsnes and Rhode created dialogue and passion among the patrons of their art, a much needed element to keep the field living and breathing. For better or worse or unknowing, at least the audience members felt something.