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The Washington Post

June 2014

Ceysson is a rising star in the harp world, (...) both his technique and his musicianship are virtually flawless. (...)
Ceysson’s musical intelligence really impressed. (...) The impressionist-era works (...) revealed Ceysson’s more substantial depths. He played the Debussy preludes “La fille aux cheveux de lin” and “Bruyères” with a delicacy almost impossible to achieve on the piano, and two clever, richly imaginative Divertimentos by André Caplet were a delight to hear. (...)
It was an impressive and deeply involving evening all in all.

A NOUS PARIS

October 2012

« a poet of sounds, the richness of whose musical palate whose leaves us speechless [...] sweeping away the cliches associated with the harp. Sonorities projected with a striking manner, with abundant tone colors: a miniature orchestra vibrates through his fingers »

BERLIN TAGESSPIEGEL

January 2012

« Quite unprecedented, the sensual way in which Ceysson conducted his love play, the way his skilful fingers teased out a bewitching atmosphere, made the strings vibrate, gave the notes space to die away in total liberty. A human body and an instrument merged into one. The audience held its breath as it listened, then broke into ecstatic applause. Mon Dieu! »

TLZ.DE

December 2011

‘For the young Frenchman, the usual problems of tuning, use of the pedals or uniform plucking of strings seemed not to exist. He simply caressed the strings with astonishing delicacy, so that even in the densest arpeggios each individual note retained its own value, and alternated in striking fashion, powerfully and clearly, between decorative passagework and thematic substance. . . . Ceysson showed us, in this Harp Concerto by Reinhold Glière, an often overlooked but unmistakable pearl of musical virtuosity following on from the already long-dead tradition of [Russian] Romanticism.’

LA LETTRE DU MUSICIEN

November 2011

‘Revival of Tannhäuser in Paris with a top-flight cast. […] In the pit, Mark Elder conducted with a limpid elegance far removed from the incandescence of Seiji Ozawa three years ago. But the orchestra responded to him with magnificent colours; one must not fail to mention the excellence of the woodwind section (Gilbert Audin’s bassoon playing!) and the harp, so important in this work, of Emmanuel Ceysson.’

ARTISTIKREZO.COM

November 2011

‘La forza del destino has never sounded so well as in the pit of the Bastille, thanks to brass and percussion playing of the highest standard. Another wonderful moment: the “Pace, Pace” sung by the vigorous Violeta Urmana (Donna Leonora) accompanied by the graceful harp of Emmanuel Ceysson.’

SÜDDEUTSCHER ZEITUNG

September 2010

‘For in fact the young Frenchman is admirably suited to the role of a pop star. . . . With him the harp does not serve only to produce colourful effects, arpeggios and glissandi, but is reinstated as a melodic, indeed polyphonic instrument.’

RESMUSICA.COM

December 2009

‘Andrea Chenier at last in the repertoire of the Opéra National de Paris! […] Daniel Oren, an old hand at this score, kept the orchestra under control, skilfully handling the “coups de théâtre” devised by Giordano. The shimmering orchestration was well brought out (special mention for the harp solos of Emmanuel Ceysson), and the sound forceful without ever covering the voices. And what voices!’

THE NEW YORK TIMES

April 2009

“The program was a reminder of the exceptional caliber of musicians supported by the Young Concert Artists series. (…) Emmanuel Ceysson performed the extravagantly arpeggiated passages [of Gliere’s Concerto] with flair and elegance.”

THE NEW YORK CONCERT REVIEW

April 2009

“Young Emmanuel Ceysson was remarkable on the harp; in this era, it is difficult to find a male harpist but even more rare to find a harpist with such jubilant spirit”

EL PASO TIMES

April 2008

“Ceysson took command and the audience became spellbound. So rarely does one have the opportunity to hear solo harp, and Ceysson’s brilliant performance was captivating”

THE NEW YORK CONCERT REVIEW

November 2006

“[Mr Ceysson is] one of those rare beings who has a pure and direct connection to music and is able to transmit it to his audience with consummate skill and grace”

IONART WASHINGTON DC

November 2006

“The prodigious technique and talent of Mr Ceysson was in full display.”

THE NEW YORK TIMES

November 2006

“Curvaceous, cuddlesome and irresistibly charming (…) Mr. Ceysson is an excellent player.”

DIAPASON (FRANCE)

September 2006

‘What is amazing, as soon as one hears this young man play, is his skill in getting his sound across, in giving it an almost vocal vibration and projection. A cast-iron technique which reminds us that the great harpists are more than a match for the biggest acoustics.’

CONCERT CLASSIC.COM (FRANCE)

March 2005

‘Over and above a quite uncommon virtuosity and musical intelligence, Emmanuel Ceysson possesses that “extra something”, that indefinable element which gives his playing an irresistible poetic presence.’

THE DAILY TELEGRAPH (LONDON)

January 2005

« Ceysson's playing had a remarkable fullness and variety of tone, beautifully expressive. »