CD Reviews

“Superbly colorful…an excellent variety of attack and resonance…natural rhythmic élan…fine ear for textural voicings…meticulous preparation”

Gramophone (Stravinsky; piano works)

“It is probably the best overview of this repertoire you can find at the moment. Sangiorgio finds a playfulness; a tongue-in-cheek quality that somehow expresses the composer’s sly enjoyment of his own handiwork.”

Fanfare (Stravinsky; piano works)

“Rhythm and wit are vital ingredients in all these, and Sangiorgio is ideally responsive to their varying demands. Sangiorgio provides a range of colouration, from the delicacy of the 1924 Sonata’s slow movement to the organ-like Hymn in the Serenade of 1921.”

BBC Music Magazine (Stravinsky; piano works)

“Sangiorgio is able to make sense of what is too often presented in a fumbling and rhapsodic manner…exhilarating vitality…the performances are always committed and rhythmically energetic as well as loyal to the text…his wistful and fanciful insights are particularly attractive.”

CD Review (Stravinsky; piano works)

“Sangiorgio is at his winning best…he is more than up to its daunting challenges and, no less importantly reveals the inherent beauty of the score. It’s virtually beyond criticism in the conventional sense, unfolding in a sweeping, majestic manner.”

West Australian (Liszt; Transcriptions for piano and orchestra)

“Sangiorgio rises to the occasion with seeming ease; the notes cascade….he finds grandeur where others sometimes hear restraint…”

Soundscapes (Rachmaninov; Concerto No.1)

“Sangiorgio makes them sparkle with light.”

International Piano (Cimarosa: complete keyboard Sonatas)

“Fine playing from all those concerned—especially pianist Victor Sangiorgio—outstanding in this strenuous programme—bring this long-lost music to vivid life.”

American Record Guide (World premiere recording of Bate/Reizenstein concerti)

“Both Victor Sangiorgio and Martin Yates are full up to the demands made upon them and deliver smashing readings.”

Fanfare (World premiere recording of Bate/Reizenstein concerti)

“Sangiorgio is a real virtuoso and these performances under Martin Yates are truly outstanding.”

Gramphone (World premiere recording of Bate/Reizenstein concerti)

"Pianist Victor Sangiorgio plays the two concertante works to perfection, deftly handling Godard's idiosyncratic and rhythmically segmented melodies.”

Classical Lost and Found (World premiere recording of Godard Concerto No.1 and Introduction et Allegro)

“Infectious vitality…an altogether delightful disc of world premiere recordings”

Gramophone (World premiere recording of Godard Concerto No.1 and Introduction et Allegro)

Concert Reviews

“His firm, clean touch and an innate and elegant sense of shape…his contrapuntal passages always a model of clarity. Its contrasts were painted with great vividness….bold programming policy….utter conviction. Sangiorgio’s poetic playing conjured a sense of timelessness. His poise and delicate but crystalline tone-colours testified to his already abundant interpretative gifts .”

The Times (Purcell Room Debut Recital)

“Victor Sangiorgio not only overcame technical problems with apparent ease, but commanded very much the right sort of rhetoric for these works. Multi-noted Sorabji glittered brightly while the huge climaxes of the Scott Sonata and the fugue with its elaborate counterpoints were graded and timed with excellent judgment.”

The Guardian

“Heroic playing in the grandest manner from Sangiorgio. A fearless essaying of its treacherous terrain (Brahms piano quintet) made for absorbing listening. His approach to the score often sounded like a call to arms, a performance so utterly convincing that the need to apply conventional critical criteria fell away. This was pianism to savour. The playing glowed with power and tone.”

The West Australian

“Sangiorgio’s splendid technical gifts are matched by a mature and probing musical intelligence. Everything he plays is marked by a seriousness that allows no superfluous or facile gesture to compromise the integrity of his interpretations.”

Chicago Tribune

“Cool fluency…most impressive…”

Musical Opinion

“His playing, whether of rapid treble traceries or thundering double octaves, was a lesson in taste and refinement. ”

The West Australian

“He has given concerts of repertoire as rarified as the spectacularly florid music of Sorabji…his easy manner with rapid figuration…an intriguingly romantic touch….he brought a big, biting swagger….the easy, unsentimental fluidity…as committed a performer as Sangiorgio….an impassioned reading…

The Irish Times

“This was playing that swept all before it, a splendid blend of power and clarity, paralleled by a masterly account of the finale. It was music making that drew one to the edge of one’s seat.”

The West Australian

“Rhythmic precision and dynamic vigour…a virtuoso performance…the subtlety of his phrasing. The performance was received with great public enthusiasm.”


“Sangiorgio gave a rounded, complete and very expressive interpretation, with his clear dynamics and memorable effects. He illustrated the passion, melancholy and hopelessness of the piece with sensitive phrasing and a great deal of feeling.”

Westdeutsche Allgemeine Zeitung

“his manipulation of its intriguing chain of motifs attested to his skill and empathy….he produced an appropriate elasticity of rhythm and subtlety of colour…”

The Age (Melbourne)

“He has power, feeling a keen eye for balance and rhythmic verve.”

Sydney Morning Herald

“It was a remarkable performance by any standards, the clusters of notes being thrown off with accuracy and a real virtuoso panache. In contrast, the two CImarosa sonatas were precise and elegant.”

The Daily Telegraph

“His sense of style was most impressive, he had just the right blend of daring and innocence….the flashing finish of the Rondo was most exciting.”

The Advertiser (Adelaide)

“I was impressed by his expansive and dramatic approach….Sangiorgio employed a wide tonal range….some sizzling bravura treatment…”

The Australian

“thoroughly romantic playing, at its peak in the slow movement….an exuberant end.”

The Auckland Herald

“Sangiorgio was a perfect exponent of this music, a pianists’ pianist, playing from inside the fabric of the concerto. His technique does not draw attention to itself, yet clearly he has ample chordal power as well as the touch which can spin the finest figuration.”

Sunday Times

“Stylistic individuality and high-wire virtuosity in the Liszt Sonata….crystalline Mozart….”

Il Mondo Della Musica (Rome)

“The stormy outer movements threatened to send sheets of rain and bolts of lightning across the hall, while the reflective middles movement provided a gentle oasis. This was real old-school pianism, full of risk and personality.”

Today (West Australian)