RECORDINGS

"Each project of harpsichordist Diego Ares shakes the foundations of Early Music"

EDUARDO TORRICO (SCHERZO)

"Ares sets a new standard here"

(...) there is an emotional and aesthetic completeness about the overall style of Ares' playing that seems synched to the composer's vision. (...) This doubling of the scope of the work renders a timelessness, a vastness of beauty, that truly allows a great performer, which Ares most certainly is, to create a world for the listener to dwell in, alone with the majesty of Bach.

Peter Wurwasser (Fanfare Magazine)

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"Ares' approach is unique"

(...) With impressive ease, Ares brings the same freedom to the music as in 2009. (...) There is no lack of good Soler interpreters, but Ares' infinitely voluble and charming approach is unique. One has the feeling of attending an improvisation session rather than a performance of written music, so much so that the music springs forth with a fresh and constantly renewed energy (...). Capricious and sensual, with an unfailing suppleness, this Soler does not impose himself on the listener: on the contrary, he asks us to let ourselves be carried away by his reveries, his rubato, his volatile visions, always soaked in tenderness.

Philippe Ramin (Diapason)

" Ares is only at the level of the most privileged"

(...) I heard him for the first time four years ago (...) with the Goldberg Variations, and his colossal reading astounded me. Later, his first solo recording, with music by Father Soler, confirmed my conviction that we are in the presence of a major interpreter. However, the present disc tells me that perhaps I was short-sighted in my expectations, because Ares is only at the level of the most privileged.

Eduardo Torrico (Scherzo)

"Tiene duende"

His natural passion and sensuality never slip into excess (...). One could elaborate at length on the technical and aesthetic aspects that contribute to the excellence of his interpretation. It can be summed up in two words: "Tiene duende" (...). In him, duende is the rhythmic flight of gestures on the keyboard, sustained by a kind of controlled ecstasy, a light bewitchment that holds the performer and the listener high above himself.

Jean-Blaise Rochat (La Nation)

"charisma, star quality, you name it"

(...) Diego Ares has that rare, undefinable something that one usually associates with film actors: charisma, star quality, you name it. He has fantastic articulation, and displays equal amounts of precision, temperament , elegance, sense of drama, passion, and bravado. (...)

Laura Rónai (Fanfare Magazine)

" How can you resist the Latin flavour that Diego Ares and Margaux Blanchard infuse here?"

(...) the marvel lies in the unreal unfolding, as if played on some dream instrument, of the Sinfonia in G minor, which makes me hope for more discs by Diego Ares with Mirare in the future.

Jean-Charles Hoffelé (Artamag')

other recordings and collaborations:

Baroque is the art of staging, and no musical instrument embodies this idea better than the harpsichord. It embodies the essence of music, painting and even sculpture; and, beyond being a musical instrument, it is an artistic object in its own right, capable of bringing aesthetic delight even before producing a single note. Through a keyboard, it explores the evolution of the early keyboard instrument, from the small medieval clavisimbalum to the grand and exquisite 18th-century French harpsichords. From basic organological principles to the most personal reflections on historic performance practice, the film draws on the insights of some of the most esteemed figures in early music. ‘Through a Keyboard’ had its national premiere in Madrid, and its international premiere took place in Sofia, Bulgaria, as part of the Master of Art Film Festival. The film is currently available on the Filmin platform.

To the documentary

DIEGO ARES

HARPSICHORDIST

RECORDINGS

other recordings and collaborations: