BBC NEWS MAGAZINE
Interviewed by Maïa Brami
Hélène Tysman, A first Chopin CD that is a prelude to the best!
Chopin and death’
May 2010, no.3430
by Philippe Gut
The composer’s moods and torments are admirably reproduced here with a great sense of propriety and power that compel admiration.
by Yvette Canal
Coincidence of the calendar? It is during a period of national mourning in Poland that this CD has been released, containing Frédéric Chopin’s Sonata No. 2, called the ‘Funeral March’, as well as his 24 Preludes. They are masterfully interpreted by the young Hélène Tysman, following a precise, intelligent rereading of the original manuscripts.
by Father Claude Ollivier
A noteworthy disc. A programme that perfectly reflects Schumann’s most intimate feelings in a warm version, radiant with truth.
Robert Schumann - 1849
Chamber music with winds
Philippe Berrod, clarinet
André Cazalet, horn
David Gaillard, viola
Alexandre Gattet, oboe
Marc Trénel, bassoon
Hélène Tysman, piano
Sonata No.2 in B flat minor, Op. 35
24 Préludes, Op. 28
CD CHOPIN Vol. 2
OEHMS – CLASSICS
"Maestro" distinction from Pianiste magazine N°83.
L’HEBDO - LE COMTADIN
by Philippe Gut
All accompanied, or even borne, by a pianist, winner of many prestigious competitions, Hélène Tysman. That gives us a superb CD of extraordinary diversity.
By Patrice Imbaud
Fine work, the confirmation of an undeniable talent.
An interpretation characterized by its sombre clarity, its fiery delicacy, its melancholy sweetness, between exaltation and suffering, between passion and abandon. Fine work, the confirmation of an undeniable talent. An admirable disc.
Disc of the month on Grey-Panthers
By Ferruccio Nuzzo
‘Another significant discovery of Chopin, a surprising opening.
The “singing” of Hélène Tysman’s keyboard is a revelation.’
But, and above all, there is the ‘singing’ of Hélène Tysman’s keyboard, the artisan of this revelation. Like the flight of a great seabird, borne by mysterious, invisible currents, of which the pianist intuitively understands all the secrets, letting herself be carried along in a charming design, especially because, beyond the obvious elegance, the hidden architecture comes through. Then suddenly, to this invisible, hidden force is added the decisive beating of the wing, the unique, incomparable impulse that reveals to us a Chopin who knows how to be silent as well as passionate, in an approach that is attentive more than blindly involved, without any of this blathering that, too often, makes Chopin unbearable.