“The bulk of the programme was accompanied with a blend of concentration and flair by pianist Donald Sulzen, who proved as adept in conveying the lucid textures of Debussy as in the quasi-orchestral flamboyance of Wagner’s Wesendonck Songs.”
The Guardian (May 10, 2013)
“Antonacci and her scrupulous accompanist Donald Sulzen, provide alert and imaginative accounts of all their material …”
BBC Music Magazine, March 2013
“In … the entire program Mr. Sulzen’s playing was graceful and articulate.”
New York Times (April 9, 2012)
“After rounding out the program with a dessert wine of Refice’s Ombra di nube, Antonacci came back for three encores with her hypnotic pianist, Donald Sulzen.”
WQXR, New York’s Classical Music Radio Station
“The American pianist who also gave his official debut in Madrid, offered at the same time a recital, always serving the needs of the main soloist, extremly caring for the tempo and phrasing, with both interpreters melting into one. From this rises a natural collaboration of both musicians who seem to know each other perfectly.”
codalario.com (April 26, 2013)
“The instruments melt brilliantly to a whole and the sound still remains clear and differentiated. Absolutely recommended.”
ensemble: magazine for chamber music (Edition 1-2013)
“The Munich piano trio devotes itself to Georg Schumann’s Piano Trios with very passionate playing and excellent balance between the voices.”
klassic.com (September 2013)
“With brilliance and differentiated touch, Donald Sulzen prepared the grounds here for David Daniel’s highly praised, shady hues. But also when playing the shimmering folk songs, which swing between deep sadness and witty caprice, the pianist proved to be a highly attentive partner.”
Süddeutsche Zeitung, Munich
“Julie Kaufmann and her American companion at the piano, Donald Sulzen, who is in demand in Europe as well as in South America or Japan, seem to understand each other even when blindfolded. She responds to his introductions, interludes and postludes, and he reacts attentively and sensitively to her interpretative intentions. A delicate touch, pearl toned playing, and – when needed – sonorous independence seamlessly complement the vital, nearly inexhaustible expressive possibilities of the soprano.”
Rheinische Post, Dusselfdorf
“Marilyn Schmiege and Donald Sulzen succeeded perfectly in delivering their presentation with the magic of a continuously expressive metamophosis through a crisp palette of colours. In this manner, the already perfect sovereignty of ‘resources’ was enriched, be it vocally or instrumentally, through their ability to identify themselves each time in different atmospheres of various emotions.”
Il Mattino, Rome
“In their passionate interpretation, the three musicians drew the fullest possible sonority and flowing melodies out of their instruments, leading their exciting, homogenous ensemble to a fulminating climax. To speak simply of perfection would not be enough. It was a culmination of artistic commitment, a most successful endeavour to achieve musical expression of the very deepest nature.”
Süddeutsche Zeitung, Munich
“Donald Sulzen supports at the piano in exactly the same fashion. He repeatedly conjures ethereal moods, sets gentle accents and colours the sound of the instrument in multi-layered, subtle gradations. This creates an artistic teamwork of extraordinary coherence - an interaction that leads to a refined experience, even when dealing with a somewhat robust Richard Strauss. Here the Strauss expert Kaufmann allows herself strong Fortissimi and her partner follows suit with great expressive power.”
Münchner Merkur
“Donald Sulzen did not merely accompany Doris Soffel - he was involved in every fine detail of the creative music making. His sonorous, colourful piano playing substitutes a small Mahler or Strauss orchestra.”
Der Tagesspiegel, Berlin
“Charmed by the singer, one tends to ‘benevolently’ perceive the collaborator at the piano. With Donald Sulzen this is different. As pianist and accompanist he is just as fascinating as the singer, technically brilliant and yet a very true companion and partner who breathes with his partner and perceives the music in emotional consonance with her. In the end, this is what made this song recital so monumental.”
Süddeutsche Zeitung, Munich