Selected Press

“An exceptionally persuasive solo performance... It was not difficult to discern the perpetual- motion ostinatos of Prokofiev's Seventh Piano Sonata in Molinaro's dynamic, radical transformation of ‘Back Home in Indiana,’ nor the driving energy of Prokofiev's Toccata in Molinaro's similarly propulsive ‘19/8.’ But in every solo piece Molinaro played, from his Keith Jarrett-influenced rewriting of ‘Summertime’ to his ferociously syncopated stride-piano sendup ‘Sketchy’ (composed with Howard Levy), Molinaro acquitted himself as an original, often iconoclastic thinker equipped with a leonine technique.” – Chicago Tribune

“Molinaro's playing exploded one's long held notion of the relationship between competitions and mediocrity... brilliant music making...a highly charged performance that will not soon be forgotten or surpassed.” Newark Star-Ledger

                      

“A lovely singing line in the right hand, a strong left hand that can sing just as beautifully, an even control of rapid configuration, ease and clarity in the distinction of contrapuntal voices, immediate concentration. He is already a fine melodist, and the importance of the slow sections, done with persuasive rubato, seemed to mount continuously. When the ‘Aria’ (Goldberg Variations) came back at the end, it had its history not just behind but within it, for what had been merely beguiling at the start of the work was now being more deeply explored.”

​– New York Times

“About the most lively interpretation (Rhapsody in Blue) one could imagine. He put the jazz and blues back into a piece inspired by the same." – Chicago Sun-Times

“A freshness that I have found in no other performance (Goldberg Variations)... you have to physically respond to its infectious energy. Molinaro's performances of the two Bach Concertos are as breathtaking as Gould's.”

​– Listener magazine

 

“Anthony Molinaro dazzled the crowd in the Gershwin Concerto (Syracuse Symphony) with crisp fingerwork and a genuine flair for the Gershwin style. More than just glitz, however, Molinaro brought a sensuous touch to the work. His cadenza to the second movement was dreamy and mesmerizing, placing a spin on this work that is often lacking by more aggressive soloists. The tremendous standing ovation at the conclusion of the work was well-earned.” – The Syracuse Post Standard

 

“He provided an Elysian performance (Beethoven Concerto #4)... strong, spacious and thoughtful, with welcome touches of poetry and finesse. From start to finish, this was a reading that reflected up-to-the-minute searching by a deeply thoughtful musician. Spontaneity took a deep breath in every bar and the delicacy of fingerwork and shading of tone was remarkable. I must say this young American pianist combines magnetism with imagination. His crisp, clean articulation and preference for transparent textures reminded this listener of renowned pianist and Beethoven interpreter Wilhelm Kempff.” – The Napa Valley Register

 

“Anthony Molinaro's eighty-eight keys have been slammed, twisted, and transformed from the traditional concert pianist's repertoire to that of modern jazz. Stereotypes need not apply. It was no surprise when Anthony, who was the winner of the 1997 Naumburg International Piano Competition, turned to the church of hard-core jazz. For years he had been improvising cadenzas on major orchestral works and symphonic stages. Ingenious compositions and arrangements have been featured with esteemed groups such as the Chicago Jazz Orchestra, and his record label, Nineteen-Eight, is producing some of the hottest jazz talents in our country. Anthony's highly accomplished and auspicious beginning has pushed him into the wealth of young artists that bring light to our cultural future.” – The New Face of Jazz

 

“Anthony Molinaro performed Bach's Piano Concerto in D Minor with such aristocratic grace that he reached the heart of this glorious baroque work without distraction or detour. With the collaboration of the orchestra (Naples Philharmonic), Molinaro conveyed the grandeur, the delicate tracery and poetic momentum of Bach's masterpiece while also underlining its timelessness.” – Naples Tribune

 

“Played with laudable verve and intelligence by Anthony Molinaro, his insightful readings of two Bach keyboard concertos convinced from the very first notes. Molinaro made an important statement of who he is as a musician and carried the music forward in accounts that were finely articulated and artfully embellished.” – Louisville Courier-Journal

 

“Edge-of-the-seat brilliance...absolutely first rate performances.” – Salt Lake City Deseret News

 

“Judging by this performance (Rachmaninoff Concerto #3), his name will soon be on every music lover's lips. Not only did he display the technical skills necessary to bring off this most difficult of Rachmaninoff's four concertos, he also gave a singularly convincing interpretation that artists twice his age would be lucky to achieve.”

The Flint Journal

 

“Molinaro's free-wheeling and un-conventional rendition of Gershwin's Rhapsody in Blue will not soon be forgotten...with his fresh manner, razor sharp precision, and unanticipated improvisations so true to the spirit, if not the letter, of Gershwin.” – The Southampton Press


“One of the hottest young pianists in the world... A gorgeous example of a sublimely talented and

fiercely confident young artist intent on making a musical statement.” – The Eugene Register Guard

 

“The best Gershwin piano CD I’ve ever heard!” – Steve Ramm’s In The Groove

 

“A daring rewrite. New Blue alone is evidence of his improvisational gifts.” – The Indianapolis Star