... It seems that Pogorelić persistently plays uphill ... It is an unusual and moving experience to meet such a great musician... J. Jacoby, Politiken, Copenhagen, 2000

… Softly, extraordinarily clearly in both the articulation and psychological plunge, the artist not only overcomes the virtuoso (and let it be said, not small) demands of the piano, but he also masters the story-line. It is this that gives the sense of wisdom and serenity that the oldsters spoke of: this man knows something about life that we are yet to learn. Svetlana Petuhova, (Russia), 2007, www.forumklassika.ru Pogorelich made the grand piano sound … Lovro Pogorelich did to Kuopio Music Center’s Steinway the same that Liszt did in his time to the whole piano music: for the first time I heard this grand piano sound really concerto-style, filling the big hall with its tone. Pogorelich let it sound using the grand piano’s capability to orchestral capacities... J. Mattila, Savon Sanomat (Finland), 2007 Brahms brilliantly... This material got a cultivated form, when Lintu conducted and Pogorelich interpreted. Especially in improving the first part’s thematic material, Pogorelich was able to take a totally balanced role in relation to the orchestra. … The work’s finale was soloist’s brilliant celebration… J. Mattila, Savon Sanomat, 2007 ... It is clear that this is a pianist of a considerable reputation with impressive musical arguments. ... J. Hamada, The Record Geijutsu Disc Review (Japan), 2006 At the age of 36, he demonstrates magnificent playing. For his CD he did not choose easy pieces, attacking Liszt's opus with the certainty, masterly skill and controlled power. Four of Liszt's greatly appreciated compositions allow him to raise to the level of the great ones. Discover him. P. Gut, Le comtadin This 36 years old Croatian pianist is not new. But remains a mistery. Mysterious and more than talented, he defends the musical approach, concentrated and intense, sometimes to the point of introversion. His new recording is dedicated to the inventive and radical interpretation of Liszt’s music … J. Lukas, Journal La terrasse, 2006 … In this manly perspective, the Sonata in H minor appears more credible than the most recent affectation from Far East. Also, the Obermann Valley does not wallow in the sublime, so that powerful things are expressed in a dark manner … O. Bellamy, Le monde de la musique, 2006 Atypical artist (“disputable for some, fascinating for others” was reported about him), be as it may, Lovro Pogorelich is above all an artist … up to his fingertips. His “seeing” of Liszt in this recording of quality proves this, in which several major works are united around the magnificent Sonata in H minor. Beyond any excessive eloquence, but in full glory. And that is beautiful. P. Tomassini, Le quotidien, 2006 … The intense performance by Lovro Pogorelić reveals an exceptional control of the dramatic inspiration. An absolutist and almost violent, an extremist and a percussionist with love for syncope and at times a cutting and sharpened hardness of sound, his piano often gives out a sound of one skinned alive. … Reading provided by the Croatian pianist is a forceful immer- sion, obviously a contrast one, with magnificent episodes. … C. C. Humphray, www.classiquenews.com , 2006 Wouah (orthographe not certifiée…) it is the exclamation which one cannot retain with the listening of Liszt de Lovro Pogorelich ... like says it the text of presentation registered on the case of the disc: " Croatian Lovro Pogorelich leaves certainly seldom indifferent" ... not, unless being completely deaf null cannot remain indifferent to such a passion, his play sharp and powerful with what to stir up the tripe. The particularly firm left hand always maintains a great tension. … A. Jourdain, www.pianobleu.com, 2006   ...pianist Lovro Pogorelić has discovered how to invest the brooding inevitability of Slavic music with the blustery style of his own … already a veteran concert artist, Pogorelić played an all-Slavic program for an overflow audience … C. Porter, Washington Post, 2003   The concert proved that Pogorelić is a real virtuoso in terms of technique. He played all the hard parts just like that. Determinedly he led the concert further - sometimes even despite the moderate deceleration of the orchestra. Pogorelić mastered absolutely marvellously the concerto as well as the instrument. J. Mattila, Savon Sanomat, 2003   Croatian Piano Lion … Pogorelić is a pianist with the capital P. His technique is overwhelming and his strength is bear-like… In "Pictures at an Exhibition" his contrasts are so plastic and powerful that we can almost touch children in Tuileriers, feel Bydlo's attack, experience the orgy of colours at the Market-place at Limoges, hear rumble in Catacombs, and enlarge and empower the Great Gate of Kiev more than heard ever before. Did anybody miss Ravel's orchestration? No, Lovro Pogorelić's interpretation is sufficient. Prokofiev (The 7th Sonata) remains faithful to himself in all three movements... In the third one he dominantly mastered restless tempo, vigorously but with strong feeling…, leaving everybody breathless while playing. That was overwhelming! H. Krarup, Dagblader, 2003 His pianism is basically formed of excavation of the sound, of defined and linear courses, of formally determined round pillars and beams, not feigned, with fullness, but placed without overemphasis. B. Zappa, L'eco di Bergamo, 2001 ... It seems that Pogorelić persistently plays uphill ... It is an unusual and moving experience to meet such a great musician... J. Jacoby, Politiken, Copenhagen, 2000   ... The audience enjoyed an exciting piano performance: Chopin and Rachmaninov are composers who promise maestral brilliance. Pogorelić fulfills all technical requirements, which are set ahead of him, and in doing so does not succumb to the danger of falling into drawing-room music performance. His music has a driving force, since it does not linger on the surface, but has a melancholic overtone. That is expressed while he is performing Chopin. Pogorelić takes away every trace of sentiment from him; and gives him depth ... Pogorelić achieves the fullness of his expression by his hands and entire body. "Stroke" - hos fingers fall on the keyboard. But, namely in those blocks of accords individual tones do not sound empty, as Pogorelić wraps them in warmth. This is not only the meaningless thunder of tipple forte, but music, which is felt, and at the same time remains earth-bond. That is to say, the tones, which remain on the ground ... I. Schwenke-Runkel, Leverkusen Stadtanzeiger, 1997   ... this young Croat possesses all that it takes in music, from strength and ease of technique, while as the musician he is extremely reflective and serious up to being introvert. Parallel to the dynamic forming of round, grand expressions, he exceptionally well and expressively managed to play the torn apart middle tones. He wraps into a soft velvet of the dusk of gently modulated nuances, and carries across a strong message (which we simply cannot refuse) about the spiritual intents of this Russian (Scriabin): overflowing the boundaries and the restless melancholy surpass the conventional virtuosity. That reflective attitude is visible in the peaceful parts of the most beautiful and expressive. Pogorelić has the strength and the drive for the wild and reckless, so he found strongly dramatic tension in a (V) Sonata ... J. Jacoby, Politiken, Copenhagen 1996 ... His introvert and concentrated approach to piano is very peculiar. His anschlag has the strength and his playing the format ... Lovro is really the lion at the piano ... E. Hvidt, Kristelight Dagblad, Copenhagen, 1995 ... Busoni transcription of the "Chaconne" from Bach's Partita For Solo Violin In D Minor but also Schumann's Symphonic Etudes gave him many openings for the blend of bravura and bravado that characterized his playing ... It was, however, a completely different Lovro Pogorelić that moved with such poetic assurance through Mussorgsky's Pictures At An Exhibition, so often played trough as pastel miniatures ... R. Hambleton, The Toronto Star, Toronto, 1994 Auster Piano Virtuoso... It is highly unusual for a young pianist with such a great surplus of technical superiority to do so little to seduce his audience ... He forms with the great strokes, almost an orchestral understanding of the gesticulation of the sound, light and shadow, of what is beneath and behind ... J. Jacoby, Politiken, Copenhagen, 1994 A Piano Talent from the Master Category ... He is genuine in his playing without unnecessary embellishment, not trying to mislead anyone, doing everything to enter the soul of every tone and to inhale it the full value. There are no superficiality or easy solutions in his performing; everything is presented clearly and strongly... P. Woetmann, Berlingske Tidene, Copenhagen, 1993 Great Younger Brother ... Only 23 years old Lovro Pogorelić is really the giant talent who already dominates the technique of great and difficult works of the romantic piano repertoire... Th. Kjems, Jyllands Posten, Copenhagen, 1993   ... Lovro Pogorelić's big scale in music making was very vivid and fresh. In terms of technique, he played magnificently, with calmness, and it was highly applaudable that he made the best of the sound of piano... A. Hirano, Yomiuri Shinbun, Tokio, 1992   … The first edition of The International Festival of Classical Music in Cannes directed by Gabriel Tacchino, was marked by the first appearance in France of Lovro Pogorelić ... He reveals confidence and the Olympic calmness in Busoni's transcription of the Bach's Chaconne, elegance and youthful simplicity in Chopin (Nocturne op. 48 and Fantasie). This born artist owns beautifully contoured phrase, rare sonority, visibly touching. Pictures from Exhibition confirmed everything he already showed ... G. Thomas, Le Monde de la Musique, Paris, 1992 Here is a unique artist who will, undoable, divide opinions. Questionable for some. Fascinating for the others. Interesting, in any case ... A. Busser, Nice-Matin, Nice, 1992 ... Lovro Pogorelić's style is precise and well schooled ... G. Norris, Daily Telegraph, London, 1988