Ingolf Wunder, dopo il secondo premio vinto nel 2010 al Concorso Chopin di Varsavia, ha registrato tra il 2011 e il 2017 quattro CD per Deutsche Gramophone, tenendo concerti in tutta Europa, Asia, Nord e Sud America, in sale come Musikverein di Vienna, Konzerthaus di Berlino, Stuttgart Liederhalle, Hamburg Laiszhalle, Queen Elizabeth Hall, Wigmore Hall e Cadogan Hall di Londra, Sala Verdi di Milano, Teatro Manzoni di Bologna, Tonhalle di Zurigo, Auditorium di Lyon, Théâtre du Palais Royal di Parigi, Warsaw Philhamonic, Cracow Philharmonic, Rudolfinum di Praga, Teatro Mariinsky di San Pietroburgo, Suntory Hall di Tokyo, Teatro Municipal di Santiago del Cile, National Concert Hall di Taipei ecc.
Ingolf Wunder, 30, is not a boastful pianobeast, not a virtuoso who is intoxicated by the thunder of chords and sparkles of arpeggios. That’s why on Sunday evening his encore wasn’t the spark striking Sigismund Thalberg transcription of Vincenzo Bellinis Normas aria "Casta Diva", but instead he took a bow before the chaste goddess with all humility and tenderness. He let the Steinway gently sing in the footsteps of the Bellini admirer Chopin and created the enraptured magic of this splendid music out of the beauty of the vocal line and the silence, which he never left further than it was needed.
The musicality of this perseveringly demanded encore exemplifies the piano-playing of the young Austrian, whose culture of the subtle touch was unmistakably influenced by his mentor, the still unmatched Chopin specialist, Adam Harasiewicz.
Before that Wunder took us out of this world and into the skies with his Mozarts C major Piano Concerto KV 467, with the same delicacy and stylistic assurance, the same scrupulous avoidance of unnecessary effect.
— Peter Korfmacher, Leipziger Volkszeitung, 26.1.2016
I giochi di parole attorno al cognome del trentenne pianista austriaco vincitore del secondo premio ex-aequo al Concorso Chopin del 2010 si potrebbero sprecare, ma almeno grazie a un particolare estratto dal recital milanese dell’altra sera il nomen omen è del tutto giustificato, giacché oggi non esiste a nostro parere nessun pianista in grado, come Wunder, di eseguire il micidiale Hexaméron di Liszt-Thalberg-Pixis-Herz-Czerny-Chopin, dimostrando di possedere nel più alto grado possibile la tecnica (o meglio le tecniche) che si potevano associare a quei formidabili pianisti-compositori negli anni Trenta del secolo XIX. [...] Era probabilmente la prima volta che si ascoltava l’Hexaméron dal vivo a Milano e ciò è avvenuto nel migliore dei modi grazie al fenomenale talento di Wunder.
— Luca Chierici, Il Corriere Musicale, 19 marzo 2015
To describe Ingolf Wunders performances as couched in a kind of neo-Mozartian aesthetic isnt to criticise but to applaud them . . . These are warm-blooded, big-boned, panoramic accounts, richly and subtly expressive without displaying a hint of bombast or manipulative self-indulgence. They are remarkably alike in their natural balance and their "symphonic" demonstration of unity achieved through diversity . . . Vladimir Ashkenazy is very much more than an accomplished and insightful accompanist. He is a fully fledged, generous partner, weaving the variegated orchestral strands into a polyphonic tapestry of timbres, perfectly suited to offset and enhance the very different sounds of the piano. Wunder, meanwhile, easily distracts us, when its appropriate, from the essentially percussive nature of his instrument, not least when he uses his power, depth of sound and breadth of phrasing to meet the orchestra on its own terms -- as in the first movement of the Tchaikovsky. Indeed this is one of the most subtly and illuminatingly coloured accounts of this work Ive encountered . . . these are both outstanding performances.
— Jeremy Siepmann, BBC Music Magazine, 1/9/2014
[Tchaikovsky 1]: The fireworks are impressive. Wunder has a huge and commanding tone, well recorded . . . He plays excitingly and with conviction. In the "big" moments, the pianist relishes the spotlight. Elsewhere, he plays like a young firebrand . . . A great performance . . . [Chopin 1]: [the orchestra plays] with attention to details -- and thus clarifying the much-maligned orchestral textures -- as a main attraction . . . [Wunders] obvious gifts for Chopin are fully on display . . . this album displays genuine talent and artistry.
— Brian Wigman, Classical Net, 1/9/2014
Debut at London QEH
Ingolf Wunder came away from the 2010 Chopin competition in Warsaw with prizes for the best concerto performance and the best Polonaise-Fantasy, even though he only came second overall. It has taken a while for the 28-year-old Austrian to get noticed in London; this recital in the Southbanks international piano series was his first at the venue. He will surely be back very soon, however; its a long time since Ive heard a young pianist make such an impression on his debut in the Queen Elizabeth Hall.
On this evidence, Wunder seems a fearless player, with a totally secure technique that he never flaunts unnecessarily, and the musical intelligence to put it to good use. That fearlessness is clear in his programming, too: this recital was not a sequence of jewelled miniatures designed to charm and beguile, or of showpieces intended to impress, but serious and muscular music-making, which opened with Beethovens Eroica Variations and ended with Liszts monumental B minor Sonata. Just to show that Wunder can charm and beguile as well as anyone, there was some Chopin in between: the B major Nocturne Op 9 No 1, spun out like the finest silk, and the Andante Spianato and Grande Polonaise Brillante, equally ravishing to begin with, and then wonderfully paced and varied as the tension mounted towards the close.
It was difficult to imagine that the pianist who could float a line so exquisitely in Chopin could make Beethovens variations so earthily direct and physical, almost challenging, or generate as much dramatic excitement in the Liszt, while ensuring that every section of the Sonata was clear within its overall scheme. In both works, the security of the playing was taken for granted and it wasnt until the encore, Arcadi Volodoss gleefully OTT paraphrase of Mozarts Rondo alla Turca, that Wunder showed that he can strut his stuff as flagrantly as any flashier pianist. A wonderful recital.
— Andrew Clements, The Guardian, 21.3.2014
Chopin and Liszt in Warsaw
with Jacek Kaspszyk and the Warsaw Philharmonic Orchestra
Tchaikovsky & Chopin Piano Concertos
with Vladimir Ashkenazy and the St.Petersburg Philharmonic Orchestra
Three hundred years of piano music