Excerpts from the Critics

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sylvia čápová

The solo part of Piano Concerto No. 2 in G Minor by
C. Saint-Saëns, as performed by the excellent Slovak pianist Sylvia Čápová, was a bewitchingly delightful piece, rendered with a fresh vitality and the highest elegance. Exquisite dexterity, an exceptionally finely gradated tactile art, vigorous and splendid playing, and an elastic ease, all went to making S. Čápová's performance most powerfully impressive...
(Liberal-demokratische Zeitung, 31.3.1977, Halle)

Sylvia Čápová-Vizváry's performance had an abundance of ecstasic charm. From the first tones
of Bach's Chromatic Fantasia and Fugue she forged
an inductive emotional contact that swept the audience along. Čápová's piano sounds admirably, and it has a complex fullness with all those nuances that cannot be taught...
(Hudobný život- Musical Life, 11.10.1982)

Sylvia Čápová-Vizváry played three concert works (L. van Beethoven: Concert
for Piano and Orchestra No. 3 in C Minor; J. Francaix: Concertino for Piano
and Orchestra; E. H. Grieg: Concert for Piano and Orchestra in A Minor), which
in itself is an undertaking worthy of respect. Her ambitious performance with
the Slovak Philharmonia, under the baton of B. Režucha, showed the pianist's distinctive quality in the fullest light. Playing for her is a way of life, she literally embodies herself in the music; her expression is charged with a dynamic force
of temperament... (Večerník, 19.9.1983 and Prager Volkszeitung, 21.10.1983)

For Čápová the piano is a means of presenting a firework display of bravura,
an inundation of sound and technique, an ardent moulding of the meditative pitches and a literally fascinating demonstration of extraordinary abilities which are those
of a creative artist as well as a virtuoso... (Hudobný život,18.6.1984)

... In Chopin's Nocturne in E flat Major Op. 55 No. 2 an expressive subtlety and fragility, intensified by dynamics in a bravura version, an exquisite legato and effective agogics, became articulate... I would say that the event reached its peak with the Prelúde, Choral et Fugue by C. Franck. I was unusually struck by the compactness of sound
and expression which the artist achieved in her interpretation of this work of genius... Here French charm and elegance met with a masterly polyphony of German character in a perfect symbiosis – it was truly an outstanding and stylistically immaculate presentation... (Hudobný život, 13.5.1987)

A sparkling playfulness, a joy in virtuosity, an intoxicating sonorousness – all of that all radiates from a new digital recording of three French piano concertos in a brilliant interpretation by Sylvia Čápová...(Gramorevue No.3/1988, Prague)

The piano gives Sylvia Čápová a space where she can sing, whisper, rage,
be elegantly playful, comment wittily, and also correspond in a persuasive dialogue with the orchestral accompaniment... We can summarise finally by saying that in this recording perfect craft meets professional honesty and artistic mastery.(Hudobný život- Musical Life 3.8.1988)

One must appreciate the extraordinary musicianship of the pianist S. Čápová
in Dvořák's Piano Quintet in A Major, Op. 81. With her playing she swept the Philharmonic Quartet, so to speak, into creative music-making..
.(Hudobný život- Musical Life 7.2.1990)

In the 2nd piano concerto in G minor, Op. 22 by C. Saint-Saëns we came to know
the outstanding Slovak pianist S.Čápová-Vizváry, who won us over with her bravura, technical perfection and enthusiasm for playing, as well as the artistic genuineness
of her performance. In her hands the solo part emerged colourful and plastic, without losing the imposing line of the grand form in the brilliant result...
(Nová Pravda – New Truth –15.6.1990 Pilsen)

On January 17 this year the famous Bösendorfer Saal in Vienna was host to Slovak performers... The pianist Sylvia Čápová-Vizváriová presented Bella's magnum opus, the Sonata in B Minor for Piano, a romantic work in the highest degree, marked by
the influence of Liszt and Wagner, uncommonly strenuous technically
and conceptually placing no small demands upon the performer. The pianist's approach to Bella's almost 40-minute long sonata was admirable. She superbly caught the romantic character of the work; in her interpretative conception the basic contours were firm, while at the same time every detail was finely polished.
In a unique manner she captured the tectonic and dynamic arching of the composition. (Hudobný život, 16.2.1994)

A pianist with a burning heart: Sylvia Čápová-Vizváryová is the type of pianist who lets herself be caught up in the fire of music, and so the romantic literature suits her perfectly... There are pianists whom we admire for their minute work with sound, their aesthetics, and the balance of every tone in the phrase, the movement,
the whole. There are also others, however, who paint on their musical canvases
in watercolour style. Their expression is full of sunlight and munificent lines.
Human warmth and vital force blaze from their personalities.
Sylvia Čápová-Vizváryová is one of that second type. (Hudobný život, 1.10.1997)

The pianist Sylvia Čápová-Vizváry's recital (December 17) may be considered
an artistic triumph. (Hudobný život, 2001/1, p.16)