With her album “Magical Christmas Fantasies”, the Berlin concert pianist Caroline Fisher returns to Bach, Mozart, Schumann, Tchaikovski and several other composers.
The Christmas music is seasonal and if the known tunes are in our ears, other compositions deserve to be revisited like certain variations of Mozart or Arias de Bach.
It is in this spirit that Caroline Fisher who performed last week in Tunis, gathered around thirty plays in her album “Magical Christmas Melodies”.
International renowned musician, recipient of around forty international distinctions, Caroline Fisher thus gives a set of unpublished arrangements for solo piano and a fifth album for purists.
His only Tunisian concert was a real moment of grace, a brief escape far from social networks and the tumult of the world, like a light fugue or an anabase.
Faced with her piano, Caroline Fisher lets note, takes the pretext of a familiar theme to restore it and then give birth to a sound labyrinth comparable to jazz improvisations.
This tenacious impression of having listened to jazz during this classic concert, has not left me since. The themes and variations were linked perfectly while the artist’s hands seemed to multiply. At times, it looked like several pianos in unison, when Caroline Fisher slowly hammered the keys before caressing them or removing them, vibrant, powerful and then falling in silence.
Over the parts, the intensity reached peaks, with oases punctuated by the sounds of “Stille Nacht” by Gustav Lange as if to report the end of flights. A walk extracted from “hazelnut breakage”, an ave maria with incredible serenity then a great final dressed in light the tree of Karl Thiessen.
The ovation was commensurate with the recital: fervent and full of ardor, expressing a diffuse joy and thanks to an artist who chains dazzling variations woven on the frame of sweet melodies.
A real Christmas piano and an artist-perhaps arrived in a sled-with a hood full of subtle sounds, widespread in the limbo of a November night in Tunisia.
