"If anyone had arrived at the concert wondering why Federico Colli had won the Salzburg Mozart Competition and the Gold Medal at The Leeds, their wondering would have turned to just plain wonder after only a few bars of hearing him play." (W. Ruff, Nottingham Post).
   Highlights in 2018 include concerts with the Royal Philharmonic Orchestra under A. Buribayev (Rachmaninov no. 2), Janáčkova Filharmonie Ostrava under K. Zehnder (Liszt no. 1), Orchestra Sinfonica di Milano G. Verdi under J. Neschling (Mozart K491) and Mariinsky Orchestra under V. Gergiev (Rachmaninov no. 3). Then, solo recitals are held for the Lucerne Piano Festival and Ravinia Festival in Chicago, at the Wigmore Hall in London and Lincoln Centre in New York. In addition, a CD dedicated to Bach and Bach-Busoni is recorded with CHANDOS Records, one of the world's premier Classical Music Record Companies.
   After the First Prize at the Salzburg Mozart Competition in 2011 and the winning with Gold Medal at The Leeds International Piano Competition in 2012, he has been performing in prestigious concerts with the London Philharmonia Orchestra under A. Chauhan, Klassische Philharmonie Bonn under H. Beissel (Konzerthaus in Berlin, Herkulessaal in Munich, Laeiszhalle in Hamburg, NDR Landesfunkhaus in Hannover, Beethovenhalle in Bonn) and St. Petersburg Philharmonic Orchestra under Y. Temirkanov (Teatro degli Arcimboldi in Milan, Auditorium Lingotto in Turin), at the Konzerthaus in Vienna with the Vienna Chamber Orchestra under J. Hattori, Royal Concertgebouw in Amsterdam with the South Netherlands Philharmonic under E. Spanjaard, Auditorium Parco della Musica in Rome with the Orchestra dell'Accademia Nazionale di Santa Cecilia under J. Valcuha, Mariinsky Theatre Concert Hall in St. Petersburg with the Mariinsky Orchestra under V. Gergiev, Royal Albert Hall in London with the Royal Philharmonic Orchestra under A. Nethsingha and Philharmonic Concert Hall in Warsaw with the Polish National Radio Symphony Orchestra under J. Kaspszyk. The debut at the Barbican Hall in London, playing Rachmaninov no. 3 with the BBC Symphony Orchestra under S. Oramo, was particularly appreciated. "Played with formidable delicacy by Federico Colli with limpid tone and calligraphic phrasing, it’s a Valentino kiss this work. Cool, a little sad, unhurried, elegant. But Federico Colli takes care to seduce before sweeping the listener off his or her feet." (A. Picard, The Times).
   He has also had a great success of audience and critics at the Musikverein in Vienna, Nikkei Hall, Bunka Kaikan Hall and Musashino Cultural Hall in Tokyo, Salle Cortot in Paris, Rudolfinum Dvorak Hall in Prague, City Hall Concert Hall in Hong Kong, Gewandhaus in Leipzig and Teatro Sociedad Filarmonica in Bilbao. To coincide with his debut at the Queen Elizabeth Hall in London, a solo CD produced by Champs Hill Records has been submitted, featuring works by Beethoven, Scriabin and Mussorgsky. "Federico Colli's captivating ability to illuminate even the most densely packed musical terrain emerges as a structure of supreme logic." (J. Haylock, BBC Music Magazine).
   Highly acclaimed have been his performances at the Cidade Das Artes and Theatro Municipal in Rio de Janeiro with the Brazilian Symphony Orchestra under N. Thomson, Sala Nezahualcoyotl in Mexico City with the Orquesta Filarmonica de la UNAM under P. C. Orizio, Philharmonic Hall in Liverpool with the Royal Liverpool Philharmonic Orchestra under V. Petrenko, National Concert Hall in Dublin with the RTE National Symphony Orchestra under A. Buribayev, Teatro Filarmonico in Verona with the Orchestra dell’Arena under F. Ferri and Royal Concert Hall in Glasgow and Usher Hall in Edinburgh with the Royal Scottish National Orchestra under T. Søndergård. "His playing was consistently detached, but never mechanical and he was phenomenal with his clarity of playing." (M. Tumelty, The Herald).
   Other concerts include performances at the Teatro Grande in Brescia and Teatro Donizetti in Bergamo with the Filarmonica del Festival Pianistico Internazionale under U. Benedetti Michelangeli, Lysenko Hall in Kiev with the National Philharmonic of Ukraine under R. Kofman, Teatro Verdi in Florence with the Orchestra della Toscana under S. Kochanovsky and A. Pérez, Toscanini Auditorium in Turin with the Orchestra Sinfonica Nazionale della RAI under F. M. Bressan, Teatro Dal Verme in Milan with the Orchestra I Pomeriggi Musicali under A. Cadario and Town Hall in Leeds with the Orchestra of Opera North under K. Bakels. "Entirely individual, Federico Colli nonetheless takes you back to the far-off days of Lupu and Perahia. I can celebrate a crystalline brilliance and translucence that takes you to the heart of everything he plays." (B. Morrison, Gramophone).
   He shared the stage with M. Argerich, V. Ashkenazy, N. Freire, L. Kavakos and L. Lang, also appearing as cover star on the magazines Suonare News and Pianist. Born in Brescia in 1988, he has been studying at the Milan Conservatory, Imola International Piano Academy and Salzburg Mozarteum under the guidance of S. Marengoni, K. Bogino, B. Petrushansky and P. Gililov. He was awarded with the "Grosso d'argento" for having given international prestige to his hometown.






CHRCD079 © ℗ 2014 Champs Hill Records

[1] - [3] Sonata No. 23 in F minor "Appassionata"

[4] Sonata No. 10 Op. 70

[5] - [20] Pictures at an exhibition

[20] The Great Gate of Kiev


Beethoven’s ‘Appassionata’ Sonata is full of youthful fire in this performance by the Leeds winner Federico Colli. In short, it comprises the storm, the calm and the fury: I can almost imagine this is how Beethoven would have played it. Federico Colli shows his beautiful shades of colour in the wildly demanding Scriabin Tenth Sonata, where the trills and abrupt rhythms are given their full worth by the performer. With Mussorgsky’s Pictures, it can often be the case that pianists tend to overdo the drama. Federico Colli, however, is not out to score cheap points. The ‘Promenade’ binds the sections together without coming across as repetitive, and the big chords on the final pages are never harsh or banging. This is an impressive recording - the whole release is proof that the Leeds judges made the right decision in selecting Federico Colli as their number one.

Pianist Magazine   ★★★★★



UNIMOZ 53 © 2014
FEDERICO COLLI Mozart, Beethoven, Ravel

 Variations in F Major KV 398 on “Salve tu, Domine”
[2] Rondo in D Major KV 485
[3] Eine kleine Gigue in G Major KV 574
[4] - [6] Sonata in G Major KV 283 

[7] - [10]
Sonata no. 1 in F minor Op. 2 Nr. 1

[1-10] Recorded December 13th and 14th, 2011 at the Solitar of the Mozarteum University Salzburg by Ton und Videostudio
Direction: Peter Schimdt - Producer: Sascha Tekale - Sound engineers: Michael Wacht, Hermann Urabl 

[11] - [13]
Gaspard de la nuit

[11-13] Recorded live June 1st, 2013 at the Dortmund Amphi Saal for the Klavier Festival Ruhr
Sound engineer: Cristoph Martin Frommen

[10] Prestissimo

[11] Ondine

Editor: Stefan David Hummel - Cover photo: Sarah Ferrara


© 2011 Klassische Philharmonie Bonn
Klassische Philharmonie Bonn

[1] - [3] Piano Concerto no. 5 in E flat major Op. 73
[4] - [7] Symphony no. 7 in A flat major Op. 92

Piano: Federico Colli   Conductor: Heribert Beissel   Orchestra: Klassische Philharmonie Bonn

[3] Rondo - Allegro

Mastering recording: G. Gutten - H. Herzig   Opening comments: I. Forst - G. Massenkeil
Pages layout: M. Steymans Brenner   Illustrations: O. Runge "Der grosse Morgen" (Ausschnitt)



Federico Colli- piano playing of wonderful subtlety.
The slow movement- one of the most beautiful things in Schumann's output, surely- was moody, rapt and gloriously poetic.

Tim Ashley, The Guardian  ★★★★★

Something magical began to happen with the first variation of the Beethoven's second movement: a pattern of figuration that in other hands can be nothing more than that, but that for Federico Colli became a shifting lattice of subtle voices, light and shade- as if he could hear and imagine things that the rest of us can't.

Jessica Duchen, JDCMB

Federico Colli is undoubtedly an interpreter of extraordinary freshness, elegance and originality. The expressive tension, the tonal variety and the richness of accents in the phrasing are irresistible to the listener's ears.

Gianni Villani, L'Arena di Verona

Federico Colli has obviously a wonderful technique, which allows him to penetrate the work in different ways. His interpretation of Beethoven’s Emperor was clearly structured and logically expressed.

Harald Budweg, Frankfurter Allgemeine

Cutting a dandyish figure in his grey suit and trademark silk cravat, Federico Colli launched the Mozart Sonata regarded by many pianists as downright trivial, but which in his hands opened up like a spring flower, its outer movements shot through with brilliant lights, and its Andante exquisitely shaded; he tended to brush the keys rather than striking them, and he was very sparing with the pedal.

Michael Church, The Independent   ★★★★★

With clear and shrill sound, Federico Colli not only conquers the goal- showing a technique of extreme virtuosity- but also manages to give a his own reading of the demoniac Rach 3. He reveals the nature "liberty", decorative and insinuating of the concerto, more American than Russian, more silky than furry. Very well.

Carla Moreni, Il Sole 24 Ore

With Federico Colli, winner in 2012 of the renowned Leeds Piano Competition, Italy has gained, after a long time, a young pianist who has every chance of reconnecting with the great tradition of Arturo Benedetti Michelangeli and Maurizio Pollini. His sense for the strong contrasts, for a brilliant and resolute sound aims to the passion. His dizzying coherence in the interpretation and his focus on the changing lights are not exhausted in a virtuosic performance, but they serve to the structural explanation of the work.

Werner Haussner, Dortmund Revier Passagen

Federico Colli is a prodigious young talent, making effortless work of Beethoven’s masterful but technically demanding ‘Emperor’ piano concerto. Visually, the cravat is the most flamboyant thing about him- his playing style is composed, with all his internal energy being channelled through long, elegant fingers and into a fluidly graceful, but technically impeccable, performance. The flourish of the opening movement was impressive, but the central Allegro was a thing of beauty.

Catherine Jones, Liverpool Echo