Critical Acclaim

“I’d have to put this concert…definitely in the top 3…the buoyancy was evident before he even sat at the piano…he gave such a performance of the Gershwin Piano Concerto. Any comparisons are simply irrelevant. He played with an almost nonchalant spontaneity…it made me think that this is what it must have been like if Gershwin himself had been sitting there…I don’t think I’ve experienced a concerto soloist integrate so perfectly with the orchestra…they just seemed to be working together in complete accord. Nothing was contrived, nothing was artificial, everything was totally convincing and absolutely mesmerising. He enhanced rhythmic ideas…he brought so many phrases to life by tweaking the dynamics and just letting the inspiration of the moment dictate his performance…but the final movement was the crowning glory of the performance…one of those extraordinary musical experiences that I am just grateful to have been present at. Simply amazing.”
Tony Ryan, Radio New Zealand, November 11, 2017

“Pianist Simon Tedeschi’s stylish handling of Gershwin’s Piano Concerto in F major was captivating from beginning to end. Utterly absorbed in the moment, he looked as if he was having the best fun ever, relishing the syncopations, rattling through the flashy bits and luxuriating in the broad, slushy tunes that Gershwin writes so well. Tedeschi found interest and nuance everywhere, with that overall assurance of someone who not only knows the music backwards, but also has a great affinity with the composer, playing with genuine love. He took the third-movement at a cracking pace, edgy and certainly “agitato”, but the orchestra were with him all the way…I loved the way Tedeschi emphasised the dissonances with staccato punchiness. He then turned to the most delicate touch in the cadenza. His jazzy, rather cheeky little encore was well-deserved.”
Patrick Shepherd,, November 13, 2017

“…immaculately performed here by Simon Tedeschi…I doubt whether there has been a better pairing than Bell and Tedeschi.”
Steve Moffat, Limelight Magazine, November 9, 2017

“…delivered, as it is here, with uncompromising fealty to its provenance…such is the clarity and prudence of its performance…”
David Zampatti, From the turnstiles, June 14, 2017

‘thrilling concert…a sizzling piano duet…”
Lynne Lancaster, Sydney Arts Guide, September 14, 2017

“…a collaboration of great intensity and thoughtfulness…Tedeschi weaves a finely characterised piano dialogue…Tedeschi artfully illuminates the leitmotifs…in Simon Tedeschi, Schumann’s last piano cycle has found an insightful and passionate advocate…This splendid recording is highly recommended, above all for extraordinary performances by two leading Australian artists in an extremely fruitful collaboration…it is hoped that John Bell and Simon Tedeschi may explore more of this treasure trove in the future.”
Steven Mould, Music Trust, August 30, 2017

“Simon Tedeschi plays with sensitivity and assurance…a superb performance…”
Emily Sutherland, Radio 5mbs, July 2017

“It’s like he managed to step inside the shoes of Enoch, evident by the way he reacted and connected to the piano, pressing deeply on the keys and moving with the tone. The passion and intensity that forms Enoch Arden was sincerely displayed in Bell’s and Tedeschi’s striking retelling…”
Georgina Tselekidis, The Adelaidian, July 22, 2017

“Tedeschi’s fingers dance across the keys as he inflects passion yet lightness…this was an enrapturing performance of this classic tale and one that had the audience transfixed.”
John Goodridge, The AU Review, July 18, 2017

“He is a true master of the pianoforte…Tedeschi’s interpretation of the Strauss score is intense. He plays with his whole body and lives every note. The silence during his quieter moments are proof he is able to establish a real rapport with the audience using the language of music.”
Barry Hill, Stage Whispers, July 16, 2017

“The piano, for Tedeschi, is simply an extension of his body; there is an unimpeded flow of emotion from his heart, through his fingers and then into the air as sonic vibrations.”
James Murphy, Scenestr, July 17, 2017

…bristling with barely-contained excitement…Tedeschi’s renown is obviously deserved after seeing this performance; he plays like a madman in a straightjacket, clearly feeling every note passing through his fingers yet remaining strapped to the piano.”
CJ McLean, Glam Adelaide, July 16, 2017

“…the third of Brahms Intermezzo op. 117 in C# minor that were invested with gleaming tone and heartfelt conviction.”
Gillian Wills, Artshub, July 10, 2017

“…if it is received elsewhere as it was last Friday, it will be a resounding success…”
Helen Belli, Weekend Notes, June 16, 2017

“…charm and clarity…miraculous Schubert…dark, foreboding Brahms….beautiful played by Tedeschi throughout”
David Zampatti, The West Australian, June 16, 2017

“Masterfully played…a moving performance…”
Lee-Ann Koh, Perth Walkabout, June 15, 2017

“Composers Bernstein, Da Falla, Debussy, Bach, Gershwin, Peterson and Hunt tickled and assailed our ears…the players (Tedeschi and Hunt) excelled with sparkling improvisation and virtuosity…continuous applause…”
Ruth Buxton, Port Lincoln Times, May 11, 2017

“Simon Tedeschi almost breathed the music in his fingers….His fingers flashed over the keys of the Steinway grand piano like the beams of light off snow, they swivelled and sizzled with the speed of sound and the touch of feathers in flight.”
Rose Niland, the Cultural Concept, March 17, 2017

“The Rach is a monster to play (not that Simon Tedeschi seemed to have any problems…the soloist emerged not as the triumphant hero but as someone very much at one with his surroundings…Tedeschi’s legato is astonishing (and achieved with minimal pedal, it looked like) – giving Rachmaninov’s music a diamond-cut clarity, sorting out the themes from the nutty mountain of notes…”
Harriet Cunningham, A Cunning Blog, March 17, 2017

“a deceptively effortless performance by Simon Tedeschi…Tedeschi’s relaxed dexterity lent an easy logic to music that can seem excessively complicated…Tedeschi giving it just the right amount of space and interpretative freedom without ever wallowing…this was a satisfying and distinguished reading capped by a brilliant Chopin Revolutionary Etude as encore…”
Clive Paget, Limelight Magazine, March 16, 2017

“played with speed and precision… a revelation…Tedeschi’s sensitive statements and the sweeping orchestral responses were simply superb.”
Fraser Beath McEwing, J-Wire, March 16, 2017

Mercurial virtuoso pianist Simon Tedeschi possessed just the right degree of easygoing humour and fierce determination to make Gershwin’s Rhapsody in Blue sizzle. His tone is strictly classical with no jagged, jazzy edges, but there were lashings of romantic warmth and light-fingered brilliance in his performance, giving this iconic composition elegance, style and panache.”
Rodney Smith, The Advertiser, February 16, 2017

“At times the orchestra seemed overpowered, but Tedeschi always responded with something that shone thorough: at times it was his almost ruthless strength, and at other times it was his gentle and calming lyricism. The large audience lapped it up and didn’t let Tedeschi escape without an encore. He is an Australian treasure.”
Kim Clayton, The Barefoot Review, February 14, 2016

“a turbulent and passionate, yet hauntingly lyrical performance of the Brahms…rippled like a singing sea with its exquisite brilliance…a magnificent performance…”
Lynne Lancaster, Sydney Arts Guide, November 19, 2016

“…this intimate recital setting was as unique as Gershwin’s music itself…It was an overall enthralling and rare musical experience… a meticulous power and volume in both the left and right hands…an immense amount of musicality and diversity…seemed to sway us into a dream-like state…he exposed the intricacies and tones of the work in an effortless manner…demonstrated the pianist’s versatility as a performer, by combining a blend of jazz nuances with polished classical overtones to breathe life into this incredible work… An engaging performance from the first moment to the last, by an Australian pianist who is truly indicative of the way every 21st Century musician should strive to be.”
Michael Hammelmann, Cut Common Mag, July 23, 2016

“Masterly Tedeschi sells the music…world class performer…(he) played the heart and soul out of the music…He navigated Gershwin’s rapid gear changes in a way that felt dramatic rather than frantic and – without appearing affected – made every note appear genuinely personal…played with spacious tenderness…bristled with technical confidence…Tedeschi demonstrated his ability to spin blues–drenched improvisations alongside the best jazz pianist… lingering silences, achingly sweet melodies and brash climaxes concluded a program that was a fascinating insight into both Gershwin and Tedeschi.”
Rosalind Appleby, The West Australian, March 23, 2016

“After every performance I have seen of Tedeschi it feels like a tornado has hit the building, such is the muscular and indefatigable force with which he attacks the piano…He also carries an unparalleled machismo that oozes into his playing…He also maintains a youthful cheekiness, even while his playing continues to mature magnificently…workmanlike and consummately professional…This massive movement suited Tedeschi’s virtuosity well, with the many arpeggiated, rippling passages and successions of parallel octaves impressively accounted for, the drive and fervour maintained to the final fortissimo. The engagement between orchestra and pianist was quite spectacular…Tedeschi showed here that he is also capable of an understated and unpretentious tone, and the deadpan passages, at times barely audible, were exquisite. The control in the sostenuto lines of the strings was also noteworthy. In the finale we return to where perhaps Tedeschi is at his best: a bracing, rugged Rondo Allegro. His hands were in constant motion, bouncing off the keys gymnastically…”
Andrew Luboski, Limelight Magazine, March 21, 2016

“…pianist Simon Tedeschi plays both works with appropriate expressions and deep understanding of the music in both cases. Bringing his prodigious technique to Pictures, Tedeschi gives a virtuoso performance that offers bold dynamics and striking tone colors that only a true artist can draw out of a piano. One may be reminded of the various orchestral versions of the work, though Tedeschi’s “orchestration” of Mussorgsky’s original for piano involves varieties of attack and touch that show off the keyboard’s sonorities to their fullest…. Tedeschi is a master of subtle understatement, so the private ambience of the Album for the Young is, for him, an opportunity to demonstrate control and subtlety.”
Blair Sanderson, AllMusic, 2016

“I’ve lost count of the number of performances of Pictures I’ve listened to over the decades – and Tedeschi’s recording is well to the forefront of these. It eschews virtuosity for its own sake and it’s clear that much thought has been devoted to mood and tone colouring…Tedeschi very effectively evokes the sinister, malevolent nature of Gnomus – and solemnity pervades his account of The Old Castle. Here, Tedeschi clothes notes in beautifully mellow tone; the playing has an unhurried, soothing and near-hypnotic quality. There’s a delightful, peekaboo quality of children playing and quarrelling in Tuileries. And in Bydlo, the simulation of a lumbering, heavy, creaking ox cart is entirely convincing as is Tedeschi’s account of the delightfully delicate, chirping nonsense that is the Ballet of the Unhatched Chicks. In Goldenberg and Schmuyle, there’s a most convincing contrast of moods in turn supercilious and wheedling. And in Limoges, the market place, where there’s much raucous bargaining between housewives and stallholders, the presentation is beyond reproach, as it is in Mussorgsky’s take on the catacombs of Rome.”
Neville Cohn, Oz Arts Review, December 17, 2015

“Seldom have the oxen of Bydlo lumbered so effectively or the bells of the Great Gate of Kiev tolled so weightily as they do in Simon Tedeschi’s characterful version of Mussorgsky’s Pictures at an Exhibition…whereas Osborne’s reading is brisk and brilliant, for me, Tedeschi’s more measured approach plumbs the emotional depths and finds the quirks and eccentricities of Mussorgsky’s subjects…giving us a more human interpretation. Tedeschi is not afraid to be adventurous…the effect is very powerful….one of the most effective fade-outs in the piano repertoire…all are delivered here with Tedeschi’s characteristic technical aplomb and sense of musical adventure. Buy it now!
Steve Moffat, Limelight Magazine, December, 2015

“Tedeschi’s piano rendition of Gershwin was an ethereal vehicleIt was very evocative, and so incredibly powerful. He engaged with the audience and he brought to life Gershwin’s own composition with respect to the composer, and personal power. Tedeschi’s own arrangements of Gershwin pieces, such as the famed Summertime, proved what an accomplished maestro he is to perfectly interpret, yet encapsulate the spirit of Gershwin…”
Marie and Tom Su, Whats On Sydney, November 10, 2015

“Equal quantities of physical strength and artistic subtlety, a combination Australia’s Simon Tedeschi demonstrates with masterful balance…Tedeschi manages to fully encompass a work that almost seems too big for its instrument
Jessie Cunniffe, Sydney Morning Herald, October 23, 2015

Tedeschi’s storytelling is compelling…the opening Promenade is authoritative and well paced, as are the subsequent Promenades;  Tedeschi creates a simply grotesque Gnomus delivering rapid rippling figures which portray the scurrying gnome with a tinge of pathos. Tedeschi shrouds The Old Castle in veils of faded glory turning the passing troubadour’s performance into a lilting though plaintive melody. Ponderous chords bring the lumbering Oxen to life as the beasts of burden grapple with their load. As they pass, a very finely balanced and graded decrescendo carries them off into the distance…with a lightness of touch, brilliant technical control and more than a hint of bravura, Tedeschi injects a spritz of lightness and whimsy into the more virtuosic movements, notably the Ballet of the Chicks in Their Shells, The Market Place and The Hut on Hen’s Legs. He pulls the pace right back for the ghostly two-part Catacombs before plunging into unbridled majesty in The Great Gate of Kiev…as an adult playing children’s music, Tedeschi brings a well-balanced approach. His account is simple without being simplistic and mature without being melodramatic.  He delivers  a  well-considered rendition that is nuanced and shaded with subtleties of tempo, tone, phrasing and articulation bringing into relief the beauty of the music.”
Shamithsa de Soysa, Sounds Like Sydney, October 15, 2015

“Every now and then you go to a concert that you know instinctively is history in the making. Simon Tedeschi’s solo recital at City Recital Hall on Sunday afternoon October 11, 2015 was one of those concerts…Tedeschi’s brilliance lies in his astounding technical mastery and incredible use of dynamics and different tone qualities…the sublime use of soft dynamics created a shimmering effect rarely heard by a pianist…it was almost supernatural and held the audience in a trance…the triumphant playing revealed a great depth of sound…the effect was stunning…his was real and determined strength. Powerful left hand moving notes were balanced by beautiful bell-like sounds in the right hand…some of the fast sections were so fast it wouldn’t be physically possible to go any faster, and the result was pure exhilaration…he let things sit as they worked their way through each other, a bit like sitting in a church and hearing the echo when a phrase has finished….his sense of timing was perfect…I knew this guy was good, but I had no idea just how good…brilliant is the word.
Meldi Arkinstall, Culture Concept, October 15, 2015
“Insightful and exhilarating performance from a great artist…That is what he did on Sunday, and it was, well, pure brilliance…I am tempted to say he is particularly adept at Russian music. I suspect, however, that he is particularly adept at whatever he puts his mind to…he demonstrated a masterful ability to establish a mood within a few keystrokes…he somehow managed to imbue the dances with a nostalgia devoid of sentimentality – each a little Proustian madeleine of meaning…this was a powerhouse performance with an intense corporeality…an insightful and exhilarating performance from a great artist.”
Harriet Cunningham, Sydney Morning Herald, October 12, 2015

“The audience leapt to its feet as the last massive unison of Simon Tedeschi’s superb performance of Pictures at an Exhibition died away, and they kept clapping until he’d returned to the stage three times more…this was a commanding, authoritative performance by one of Australia’s finest pianists.”
Peter Burdon, Adelaide Advertiser, October 4, 2015

“Tedeschi..the rarest of gems..cast his spell..confirming the long held belief that you can tell a true artist within five minutes. I have never heard such subtle control of line, such proportion, such a complete mastery of space.. Technically the playing was nearly faultless and refined to an unusual degree. Yes, he’s musical..a technical wizard..has the brain power..his clear joy of being on stage..exquisite, motionless beauty! One way or another you will hear from him again.”
Gordon Sparber, Winston Salem Journal

“Greatness can be difficult to define but its presence is also tangible. In Simon Tedeschi’s recital…there was no doubting that greatness. The music…all of it technically daunting, seemed to flow,unimpeded, through the fingers of this extraordinary, 18 year old Sydney pianist. When I last heard (this piece of music) in a concert, that pianist made everything sound terribly difficult (which the music is). With Tedeschi it all danced and glittered…brilliant and technically daunting, in this performance it was dazzling…Tedeschi never overdid his treatment…he had the measure of music in every respect. Tedeschi played it with tact and poise, all the more remarkable after the virtuosity of the two redoubtable memorial fantasies…It was a triumph for Tedeschi…Was it wild? Yes, but formidably disciplined too – an exhilarating piece played with breathless flair, for a breathless audience. True greatness.”
John Shand, Sydney Morning Herald, 2001

“…(his) command of the keyboard and musical insight continue to grow and impress…enormous technical fluency and a wry sense of humor…Tedeschi made the virtuosic passages seem like child’s play, but never let this most articulate music to become childish gobbledygook…an enchanting account…the pianist’s feeling for colour, sonority and poise never deserted his performance, an encouraging sign in a young artist.”
David Vance, Sydney Morning Herald

“Brilliant…he seemed clearly the most musically mature of them all…done with a subtlety and grace…”
Lawrie Strachan, the Australian

“He was quite brilliant…Tedeschi’s technique is impressive, and his whole manner shows maturity beyond his years.”
Lawrie Strachan, the Australian

“The night’s star…promises much for the future…”
Diana Simmonds, the Bulletin


“A terrific reading…went over big with the crowd…his rhythmic discipline in the often martial episodes of the outer movements was good and nimble, and he gave the slow movement a wonderfully rounded tone.”
Gordon Kerry, Sydney Morning Herald

“His concert…was notable for three things: fresh repertoire, immense technique and radiant musicality.”
John Carmody, Sun Herald

“exceptional talent…a rare delight in both timing and expression”
Daily Mercury, Queensland

“precociously talented…the clear highlight of the concert… due to the undoubted talent and commitment of the young soloist.”
David Gyger, Opera Opera

“This was not excessive, overblown pianism but an intelligent programme that explored Tedeschi’s breadth of skill…here was gentle,even playing, with legato elegantly executed and with a subtle emotional edge applied…beautifully phrased…Tedeschi’s talent is being ideally nurtured towards a long and impressive career at the keyboard…intelligence in one so young is a rarity in modern musicianship.”
Jeremy Vincent, The Australian

“…easy confidence and unflappable manner…a nice balance of tone with the fugal themes well articulated…tossed the Schubert Impromptu off with brilliant clarity…”
Gold Coast Bulletin

“Smouldering, passionate young pianist….burning up the keys…”
JT, Sunday Mail

“Played with furious ease…”
Adelaide Advertiser

“Played with limpid clarity and sweeping rapture by Simon Tedeschi….”
Alan Brissenden, The Australian

“Piano pieces played live with appropriate rigour and empathy by the award winning young pianist…”
Jill Sykes, Sydney Morning Herald

“I just wish Gershwin were here… one of the finest exponents of his music I have ever seen.”
Larry Adler

“The young pianist was superb: clean, bold and confident and Adler clearly relished his playing.”
John Shand, Sydney Morning Herald

“This superb young pianist seems to have the chameleon personality (and robust technique) to cope with it all…it is a daring collection, and it works splendidly…his performance of Mozart’s Fantasia in D minor typifies his approach: almost brooding in the arpeggios of the opening with a clipped fortepiano style…for the rest of the piece. Whether it is the insouciance of a Friedman waltz arrangement, a droll little syncopation by Mary Mageau, the dash of Gershwin’s Preludes, the gentle undulations in Debussy’s En Bateau or the totally controlled Helter Skelter of Morton’s formidable Fingerbuster, there is not a dull track. But for sheer relish it is hard to go past the poker faced parody (it’s macabre too) of Schedrin’s Humoresque, Seiber’s coilspring Scherzando Cappricioso or the outdoor vitality of Agnew’s Rabbit Hill… the mecurial Simon Tedeschi.”
John Shand, Sydney Morning Herald

“When the dance seems over-extended you can switch your attention to Tedeschi, for his performance is also an exercise in movement, with dramatic gestures or hunched fervor, and the music allows for a shift from concentrated focus to meditative reverie.”
Hilary Crampton, The Age

“Brought back memories of Levant in its relentless pizzazz. ………displayed a fine technique.”
Clive O Connell, The Age

“…brought to the piece an assured technique and rich understanding of its changing moods and colours in a memorable performance, amongst the best of the series.”
David Vance, Sydney Morning Herald, July 20, 2005

“..a level of intensity that only a history of tragedy, war and cold weather can invoke. He may not be Russian ,but 24 year old Simon Tedeschi can certainly express a Russian intensity. Tedeschi plays with great depth. The famous opening chords of Tchaikovsky’s first concerto are right on the beat, but every key phrase thereafter is reined with rubato, which instills the sense of Russian passion…”
Jodie McLeod, Limelight Magazine, 2004

“Played like an angel…one of the best musicians of his generation worldwide.”
Leslie Howard

“On the evidence of this recording he brings an assured technique to his performances, as well as an obvious musical intelligence. These are thoroughly competent, assured performances; the faster movements are played with commitment and panache, the slow movements are properly, and unexaggeratedly, poetic. The lyrical opening of the Grieg adagio is particularly well played…in the Tchaikovsky the long melodic line of the andantino is attractively shaped and there is plenty of energy in the final allegro….He is a name to note.”

“Putting Tedeschi (and Cooper) is like mixing nitro with glycerine – an explosion of musical virtuosity!”
James Morrison

“The performances from Simon Tedeschi and the Melbourne Symphony Orchestra under Paul Mann are of the highest order…warmly recommended.”
International Record Review, March 2005

“One of the finest artists in the world”
Roger Woodward

“Magic with the lively lad…raises a smile from admirers…brought these two players together in a performance of vivid rhythmic intricacy…hewed out spiky textures and flinty phrases with exhilarating dispatch…galvanised the two into splendid momentum…rang as if tapping into the viscera of eternity.”
Peter Macallum, Sydney Morning Herald, June, 2007

“A magnificent evening of music from the two preeminent pianists of their respective generations…few people could have doubted the technical challenges to both performers and how brilliantly they carried them off…A delightful reading of J.S. Bach’s double harpsichord concerto in C, BMW1061, followed and showed how well Woodward and Tedeschi fire off each other…it is hoped (these concerts) become annual events…”
Steve Moffat, Manly Daily, 2007

“An absolute treat for all those fortunate enough to hear it…from J.S. Bach to Charlie Parker….these musicians (Ian Cooper and Simon Tedeschi) are totally professional, with an impeccable technique, showing a complete mastery of their instrument….their infectious personalities endeared them to their listeners from the beginning. Their amazing rapport with the audience and with eachother was unique and very entertaining…”
Blue Mountains Gazette, July 22, 2007

“He already draws the listener into his world, and that is a rare gift”
Nick Kimberley, This is London

“This one is for true believers…it was a night when two of our finest pianists from the realms of jazz and classical music had a Steinway standoff, their facial expressions mirroring their delight as they fired off eachother in a clever combination of prepared arrangements and good, old fashioned jamming…left us all wondering ‘who could ask for anything more?”
Steve Moffat, Manly Daily, July 20 2008

“The versatility of classicist Simon Tedeschi makes me seethe with envy”
Lloyd Bradford Syke, Australian Stage Online, August 10, 2008

“They were still wanting more from pianists Simon Tedeschi and Kevin Hunt when the performance finally ended over two hours later. Whether I Want to Play Like Him is really a cabaret act or not seemed to matter less than the richly playful quality of what the performers were doing with a lot of jazz, a little classical and a bit of original.”
Canberra Times, July 23, 2008

“His (Leigh Warren) choice of Scriabin’s demanding piano works, and of Simon Tedeschi to perform them, give the feeling of an impromptu immediacy, an added stimulus to the intimacy of the dancers’ performances…Tedeschi, seated at the grand piano in the centre of what would be the pit, is like a wondrous puppet master. His sensitive coaxing or thrusting of the score draws the invisible strings of the eight dancers from the informality of their onstage warmups into wild pairings in the central pool of light, or in the half-life of the penumbra. Always there is a perfect unity of purpose and execution.”
Russell Starke, Adelaide Messenger

“Tedeschi’s fireworks show…Simon Tedeschi demonstrated why he has been dubbed one of the finest musicians of his generation with half an hour of sheer artistry…starting off with a dazzling performance of Rachmaninov’s Rhapsody on a Theme of Paganini, Tedeschi then delighted a big Angel Place crowd with a ragtime pianistic fireworks display worthy of the Foti family…with one of Tedeschi’s all-too-rare Sydney appearances, this was a stirring and uplifting night.”
Steve Moffat, Mosman, Daily December 16, 2008

“Tedeschi’s fireworks show…Simon Tedeschi demonstrated why he has been dubbed one of the finest musicians of his generation with half an hour of sheer artistry…starting off with a dazzling performance of Rachmaninov’s Rhapsody on a Theme of Paganini, Tedeschi then delighted a big Angel Place crowd with a ragtime pianistic fireworks display worthy of the Foti family…with one of Tedeschi’s all-too-rare Sydney appearances, this was a stirring and uplifting night.”
Steve Moffat, Mosman Daily, December 16, 2008

“The well recorded sound of good musicians having fun paying wildly diverse music on superb instruments is a delight…while anchored in jazz, the playing flirts with tango, country, gypsy and classical strains, all executed with great flair, including tongue-in-cheek moments and pools of genuine beauty.”
John Shand, Sydney Morning Herald, January 15th, 2009

“Strauss…in the hands of Simon Tedeschi and Deborah Cheetham evoked a magic equal to that of the Gyuto Monks’ chants.”
World Tibet Network News

“Well, enter Simon Tedeschi and suddenly you’re hanging on every note of what suddenly you realise is an extraordinary masterpiece. This was an absolutely wonderful performance and the soloist explored every subtlety and harmonic originality and he enjoyed himself so much and that enjoyment made his involvement in the piece totally infectious….I was soon finding myself listening totally freshly as if I’d never really heard the work before. The only word, I think, for this astonishing performance is breathtaking. It was absolutely compelling from start to finish. He carried the audience with him every step of the way so that the spontaneous standing ovation at the end was rather inevitable, really….the ease of his technique and his virtuosity was always at the service of the music and he brought every phrase to life with absolute charisma. The music making was as intoxicating as you could wish. The audience was on quite a euphoric high…It was an inspired performance . It was as if he was improvising the whole piece from start to finish. There’s also an orchestral element in Rhapsody in Blue…the orchestra played with equal commitment and flair, perhaps inspired inspired by some extent…by the soloist. The whole performance was a superb example of shared music making, not just a one sided showpiece for the soloist. And then Simon Tedeschi gave us an encore that seemed to raise the stakes of virtuosity and inspiration even higher…whatever it was, I’ll certainly be going out of my way to see this pianist if the opportunity arises again…he’s certainly a name to watch…a truly magnificent concert…one of the highlights of the year so far.”
Tony Ryan, Radio New Zealand, July 6, 2009

“Interwoven are some brisk clever pieces that underline the central pair’s lightly sprung style informed by a sympathetic, often surprisingly elegant musicianship….this CD radiates class.”
Clive O’Connell, The Age, Sept 26, 2009

“…Tedeschi adds an impressive array of ideas, channelling Bach via Loussier…”

Peter Wockner, Limelight Magazine, November, 2009

“Ian Cooper (Violin), and Simon Tedeschi (Piano) are both great entertainers and performers. The near capacity audience at Bennetts Lane Jazz club are captivated…”
Steve,, November 2, 2009

“…an electrifying performance….Tedeschi, always an exciting pianist, was in cracking form.”
Steve Moffat, Inner West Courier, June 11, 2010

“Simon Tedeschi was an inspired choice of soloist. He leaped into the work with brittle glee. On multiple occasions he was close to a cruel parody of himself as mad pianist, but each time it came back from the brink of crude sarcasm as a keen musical intelligence prevailed. His lyrical moments had a wonderful, airy feel of taking a tune for a walk, full of relaxed curiosity about where it might end up.”
Harriet Cunningham, Sydney Morning Herald, June 12, 2010

“Australian pianists Simon Tedeschi (classical) and Kevin Hunt (jazz) complement each other’s techniques and sonorities. Tedeschi could deliver Debussy’s Prelude from Suite Bergamasque or Claire de Lune, or Ravel’s Mother Goose Suite with exacting class, and Kevin Hunt is capable of spinning the best from Gershwin’s I Got Rhythm or Dave Brubeck’s Blue Rondo a la Turk. But put them together and a new music sensation emerges. A new dynamism lights the product. It is Mother Goose like you’ve never heard it, embellished with quirky rhythms and feathery runs, but suave and evocative just the same….Debussy’s Footprints in the snow is pensive and sparse, more jazz reflection than impressionist sonority…just listen to what soft jazz shading can do to vintage romantic. Ellington’s C Jam Blues is a classical jazz finale.”
Patricia Kelly, Courier Mail, 23rd October, 2010

“One of the most enjoyable jazz albums to come my way recently…(Simon Tedeschi has) a rare feel for improvisation…together they are dynamite, as their release Woodlands on the ABC Jazz label shows. I heard this duo play a set at the Basement three years ago – pretty much what is on this album – and their Steinway standoff rocked the socks off the customers… the Mother Goose Suite, originally written for two pianos, is a delight… listen out for their exhilarating take on Brubeck’s Blue Rondo a la Turk. Top notch.”
Steve Moffatt, Mosman Daily, 8th December, 2010

“Australian audiences are the lucky beneficiaries of his already consummate keyboard prowess now so well-refined. Tedeschi has built a solid reputation for his pianistic versatility, moving effortlessly from the most difficult classical works to the freedom of jazz. This concert was no exception….Tedeschi’s performance was stunning….Simon Tedeschi’s playing style is dynamism in its element. One minute he is pushing down notes so gently, they can hardly be heard. The next he is testing the power of the piano to its limit. It is never forced though; his deft fingering carries exquisite sensitivity. All the while, his relaxed on-stagepersonality delighted a smitten audience.”
Clinton White, Canberra City News, July 28, 2011

“There can be few more pleasant ways to spend a damp and gloomy winter afternoon than attending a recital by one of the country’s greatest pianists….Tedeschi’s Sunday recital in the National Gallery of Australia’s Gandel Hall was, as expected, a masterful balance of passion and virtuosity. The surprising thing is that it was also a lot of fun….Tedeschi retains much of the boy-ish charm that served him so well as the wunderkind of the Australian piano….reminiscent of Chopin in its rhythmic freedom and expressiveness….Tedeschi revelled in the filigree of embellishment…”
David Sanderson, Canberra Times, July 26, 2011

“Then, for something completely different, in every way, onto the stage bounded the effervescent Simon Tedeschi who blazed away on the piano with a deeply felt and individual interpretation of Gershwin’s ever popular ‘Rhapsody in Blue’.”
Kym Clayton, The Barefoot Review, December, 2011

“You can reach out and touch his passion (so to speak), which is amply evident in every note he plays and in the way he enthuses about each piece. Mindblowing.”
Brad Syke, J-Wire, March 29, 2012

“This (Tedeschi and Sydney Omega ensemble) was a tightly-performed and entertaining program, given in one of the most inspiring rooms in which to listen to chamber music.”
Wentworth Courier, May 30 2011

“Pianist Simon Tedeschi’s performance is remarkable, creating strange percussive sounds with the piano which further suggest metal on rock.”
Melanie Burge, ArtsHub, September 10, 2011

“These young performers (Simon Tedeschi and Sydney Omega Ensemble) always put on a great show, and this concert was no exception…in all this was a lovely evening of music.”
Steve Moffatt, Manly Daily, 20th April, 2012

“The prodigious and indefatigable Simon Tedeschi…certainly, Tedeschi and Macneish derive every nuance of feeling from the work: in their skilled hands, piano and cello couple with the intimacy of a man and woman sharing the most tender love…ST, of course, is the kind of savant one tends to imagine only existed in bygone days…Tedeschi’s quick and nimble fingers dance on the keyboard, to provide a lightness and brightness, especially to the opening movement, with a delicacy and sprightliness that is rare and, for mine, what distinguishes a memorable performance from an also-ran…I’ve no doubt even Ludwig would’ve sprung to his feet….But the piece de resistance was inarguably Tedeschi’s solo performance, which ended the programme. His arrangement of Gershwin’s Rhapsody In Blue in itself proves him no less a genius than Schubert. Then again, one might argue he has a profound genetic leg-up….erhaps this blood brotherhood explains why Tedeschi is prepared to be so bold with the work, changing emphases, delivering it with a kind of urgency and fervour that is both unusual and arresting. It just so happens Gershwin brought a similar attitude to it, if a precious piano roll is anything to go by. Between the two of them (and it almost seems like both are present), ‘wonderful. A piece with which I’m always thrilled to be reacquainted, it’s held a fascination with me since early childhood and it’s still really got a hold on me. So has Simon Tedeschi….”
Lloyd Bradford Syke, J-Wire, November 16, 2012

“Though separated by time, pianist Simon Tedeschi and George Gershwin have been connected in spirit…Tedeschi’s performance is of the highest calibre and his interpretation sympathetic, deftly moving from the brighter and punchy style of ragtime, through the mellow romanticism of Gershwin’s ballads….”
Shamistha de Soysa, Sounds like Sydney, November 21 2012

“Played superbly by Simon Tedeschi…”
Ken Healey, North Shore Times, November 30, 2012

“…So just when you thought you had heard Gershwin’s works at their best, along comes another must-have recording to add to your collection…some very satisfying, sensitive playing…an excellent collection and a fine tribute to the composer…”
Lloyd Capps, Fine Music Magazine, January, 2013

“A suave, personal, a piacere dimension to some of the finest creations of the inimitable George Gershwin…took to Gershwin like a duck in water…superb…”
Patricia Kelly, Courier Mail, January 12, 2013

“Simon Tedeschi is a wonderful performer whose passion and personality comes through in the performance – live or recorded. Listening to his CD feels like you’re there live and, for me, it can’t get much better than that. The Gershwin & Me CD has been my desk buddy on rotation this week and I haven’t tired of it yet. The music reaches out of the speakers and pulls me in.”
Kate Tribe, Classikon, January, 2013

“Given the uniform mastery of these performances, it must be agreed that this project has been worth the wait…it is apparent that this is a Gershwin interpreter who can hold his own against anyone in the catalogue…Tedeschi has the full measure of these short but elusive pieces…and, as elsewhere in this remarkable recital, goes a long way towards proving
that it is no longer considered necessary to be an American musician like Bernstein, Graffmann or Tilson Thomas to fully identify with this most American style with its syncopated rhythms, jazz references and improvisations. Simply put, Tedeschi delivers a rarity: a high-energy Gershwin disc that can stand tall among the finest that America has to offer…it is Tedeschi as soloist who must be singled out for distinct praise….Even in these done-to-death tunes, Tedeschi finds much that is refreshing, offering a new take upon the familiar.”
Brett Allen-Bayes, Limelight Magazine, March 7, 2013

“IT’S a brave Aussie pianist who ventures into quintessentially American territory, especially with those Yankee Michaels (Tilson Thomas, Feinstein) breathing down your neck. Yet, in the music here, recorded by the ABC mostly in September last year, Simon Tedeschi joins the pantheon of these Gershwin gods. Most beguiling of all is Tedeschi’s languorous reading of the three Preludes, where pulse and metre hover in the air.”
Vincent Plush, The Australian, March 23, 2013

“Tedeschi  conveys Gershwin’s style with assuredness.  After all, he is an experienced performer of Gershwin. He is adept at revealing the surprise of the new….Syncopations and crunchy harmonies are presaged with the slightest of pauses – a momentary suspension of the breath before the revelation; there is a jaunty confidence in Promenade, a hint of ‘honky-tonk’; improvisation and irresistible rhythms.”
Shamistha de Soysa, Sounds Like Sydney, December 3, 2013

“Tedeschi can dive and dive deeply…with a pulsating delivery…the abundance of his musicality serves these treasures well…’
Andrew Vélez, New York City Jazz Record, April, 2014

“Simon Tedeschi’s playing was mesmerizing…”
Lynne Lancaster, Sydney Arts Guide, April 4, 2014

“Simon Tedeschi is nothing if not versatile…profound understanding…a gentle and questing sensibility…”
Margaret Steinberger, ClassikOn, June 2014 

‘Tedeschi’s pianism is as comforting as a favourite coat on a chill day.’
Patricia Kelly, Courier Mail, July 10, 2014

“An artist of expert ability…at times an irresistible groove…Tedeschi’s performance is nuanced and sensitive and perfectly suits the demands of the piano writing…executing busy scales and punchy rhythms with ease and a cool assurance…also calls for Tedeschi to improvise, which is carried of brilliantly and seamlessly into the musical fabric…Tedeschi inhabits each sound world perfectly, and shades the transitions flawlessly and with great sensitivity.”
Andrew Aronowicz, Limelight Magazine, September, 2014

“The combination of powerful virtuosity and commanding personality of the pianist Simon Tedeschi…make this a compelling aural experience. From Tedeschi’s hands are found the greatest subtleties, as well as the gigantean assertiveness needed in much of the dramatic passages of both works…what a showcase it is for the pianist who successfully carves a lasting impression of authority as one of Australia’s finest pianists.
Barry Walmsley, Fine Music Magazine, September, 2014

“…robust and sensitive playing…one of the world’s top interpreters of the music of Gershwin…it’s not surprising that it topped the classical music charts…”
Peter Pinne, Stage Whispers, 2014

“Tedeschi unleashes himself…(he) plays very expressively, with the suppleness and tenderness appropriate to the material that he clearly relishes. The whole album is a satisfying musical listening experience with overall a beautiful, soft, gentle and reflective atmosphere with a few surprises along the way.
Chris Cody, Music Trust, March 2015

“Tedeschi…makes KV 488 entirely his own, dealing particularly capably with the plangent second movement, taken at a slow enough tempo to wring every agonised gesture from the music.”
John Weretka, Music Trust, 2014

“Tedeschi is deservedly known as a fine pianist and one of Australia’s gifts to the musical world…”
Houston Dunleavy, Music Trust, May 1st, 2014

“a dexterity that recalls Rubinstein…”
Steven Francis Vasta, Music Web International

“As an observer, it is intriguing to watch this pianist as he captivated them with his command…Tedeschi’s talent is irrefutable, his execution sublime…Tedeschi truly is a sight to behold and seeing this pianist in concert is something I would recommend to all music lovers… there is a lot to be learnt just by watching someone who is so in tune with both the music he plays and his audience.”
Jackie Smith, Hush Hush Biz, June 7th, 2015

“Tedeschi’s interpretation was both exciting and exquisite. The melodic lines we know and love in this work were beautifully structured and played with virtuosic care. His bravura, whether chordal or otherwise was stunning without marring shifts to the concerto’s more intimate lyrical moments. What was especially enjoyable about Tedeschi’s pianism and quite personal painting of the emotion was his incredibly soft playing. Even more pleasing was the successful balance in such moments between TMO and the soloist. Tedeschi became a quite sympathetic accompanist where needed underneath key orchestral motifs. This was a secure partnership and environment in which to safely deliver such a massive classic of the repertoire. The first movement cadenza was brimming with energy, colours and thankfully also a deal of Tedeschi’s characteristic poise, restraint and calm. As in the remainder of the work, expertly graded single-note lines sang with real edge-of-the-seat cantabile phrasing…”
Paul Nolan, Sydney Arts Guide, June 29, 2015

“Simon Tedeschi has been described as one of the best exponents of George Gershwin’s music by none other than legendary harmonica player Larry Adler, and it’s easy to see why when you listen to this double disc set…His amazing physical control over the keyboard comes to the fore in his exquisite use of soft dynamics…he achieves this and more, with a brilliant performance…at times it sounds as though more than one person is playing, there is so much going on, but this amazing Australian pianist handles all the layers wonderfully, highlighting the different voices with flair and with great care. A stunning disc!
Meldi Arkinstall, The Culture Concept Circle, August 4, 2015

Tedeschi has a winning way with this music…indeed, there’s a marvellous sense of eavesdropping, of catching our pianist at his most relaxed and reflective. Lovely… a warmth and generosity of spirit that Tedeschi captures so well; in particular those Gottschalk-like trills are beautifully done. This is a congenial and communicative recital in which final notes and flourishes are allowed to fade into an appreciative silence….Really, Tedeschi is a most insidious artist, adept at bypassing one’s defences with a sudden harmonic twist or a subtle shift of rhythm…Tedeschi gives a bracing, nicely articulated account of Gershwin’s signature piece, Rhapsody in Blue. He and the Queensland Symphony under Benjamin Northey do Ferde Grofé’s orchestration proud…played here with all the insight and imagination I’ve come to expect from this fine pianist…Simon Tedeschi romps home in this repertoire.
Dan Morgan, MusicWeb International, August 24, 2015

Tedeschi performance shines… both performers (Roger Benedict and Simon Tedeschi) are instinctive storytellers. Their need – and ability – to sculpt narrative from even the most fleeting of notes, brought life to an otherwise slow-moving repertoire…. a truly transporting rendition…
Jessie Cunniffe, Blue Mountains Gazette, August 26, 2015