“While Guillaume Vincent combines stunning maturity with sobriety and precision when he plays Bach, it is in the romantic repertoire that his talent fully expresses itself. Beethoven’s Sonata 11 recaptures its warms strains, Chopin’s Scherzos their melancholic impetuosity and the imperative and unsurpassable masterpiece in the repertoire for the virtuosi, Liszt’s Sonata in B minor is given to us in its full force. Guillaume Vincent is more than promising. Indeed he already is a unique and toughened artist.”
Théâtre de Nîmes, 8/11/2010
“Guillaume Vincent, the winner of the third Marguerite Long Grand Prix fully lives his music and his rendering of the various works by Bach, Mozart, Chopin, Rachmaninov and Dutilleux has enthralled his riveted audience.”
La Renaissance lochoise, Sonates d’automne, October 2010)
“Guillaume Vincent already imparts Chopin’s first two Scherzos a Lisztian amplitude, with a sense of urgency and drama that his generous execution combines with great technique, force and panache.
With its Faustian thematic, Rachmaninov’s First Sonata belongs to the legacy of Chopin, of which we are reminded again in the Second Sonata when Guillaume Vincent plays it : he takes up the challenge with ease and the sonorous high waves brilliantly crash on to the Yamaha that suddenly seems too constricted, but he achieves this with the expressive temperance without which this piece of music might easily get out of control. For the encore, it had to be Liszt, of course, and it was the Sixth Hungarian Rhapsody played with brio forfeiting neither humour nor elegance.”
Simon Corley, Les Solistes aux Serres d’Auteuil, September 2010
“Guillaume Vincent knows how to create an atmosphere, as he acts more as a subdued medium rather than a wilful actor. This grants his character a sort of weightless and transient melancholy. One paid all the more attention to the nuances in the slow phrases. Everlasting farewells and evanescent sounds in the autumnal crisp air of the Cloister. It was precisely in the improvised fantasy of Liszt’s Sonata that Guillaume managed to create a rare magical moment combining perfect technique and dramaturgy.
Tübingen, Festival CHT Goes Classics, Quotidien souabe 21/09/2010
“Guillaume Vincent illuminates Liszt and Rachmaninov with his perfect technique and virtuosity in a dazzling manner.”
Miguel Angel Nepomuceno, Festival Internacional « Reino de Leon », July 2010)
“Guillaume Vincent, the 18 year-old prodigy, won the hearts of his audience in the Notre-Dame Church. We had such marvellous moments with Mozart, Schumann and Chopin.”
L’Yonne républicaine, Rencontres musicales de Noyers, 24/07/2010)
“At the very first measures of the Funeral sonata, he manages to find the right pitch and to express the tormented nature of the first movement, especially thanks to his well-balanced sonority and his tempo guisto . In the second movement, he shows perfect pianistic mastery and great feelings in its main part. One is impressed, in the second theme, by the atmosphere of his Funeral March and the wonderful colours he attains when he plays pianissimo. In the First Scherzo that follows, all the elements are very clearly set forth. Guillaume Vincent knows how to bring new life to the piece despite its reiterations. A gloriously interpreted coda offers him a well-deserved success. And to end this short recital in the most beautiful way, he played The Elegy opus 3 by Rachmaninov for an encore, with both depth and restraint. A pianist to be followed…”
Revue Pianiste n°62, May-June 2010, Piano Campus à Pontoise