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Debussy on the Net

Many people tend to disparage musical “impressionism” on the piano as a woolly, poorly contoured miasma produced very largely by exaggerated use of the sustaining pedal. In Debussy’s case, nothing could be further from the truth. His piano works are scrupulously chartered organisms calling for an abundance of precisely planned effects calling for superlative technique, sophisticated use of the pedal, meaningful rubato, tempo changes almost from one bar to the next, minute articulation, different weighting of notes within one chord (!) et cetera, et cetera. The pianist must be able to follow all these instructions, compromise is impossible. Smudges and fuzzy edges are anathema, they ruin the structure and the listener loses touch with the specific species of sonic cohesion that makes these pieces unique.
Mirjana Rajic copes with these challenges superbly. In all respects she proves fully equal to Debussy’s extravagant sonic-pictorial demands, be it in Reflets dans l’eau with its allusions to Monet, the suggestion of autumnal bells chiming through the foliage, or the Poissons d’or, the darting goldfish on the lacquered Japanese screen in Debussy’s studio. Characteristic of Debussy’s complex musical inventions are the different layers (sometimes noted on three systems) that have the pianist scurrying across the entire keyboard and make the instrument sound like a full orchestra.
It is encouraging to see Mirjana Rajic entrust these immensely challenging works to a medium that is not exactly overendowed with classical music. By embarking on this adventure she proves her awareness of the potentialities of contemporary communication for winning new listeners who might not otherwise have expected to come across such a treasure on the Internet.
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Reiner Zimmermann,
Neue Aufnahmen,
21. April 2015

ArtLink European Music Cycle
Jan Vogler, cello and Mirjana Rajic, piano

(...)This time he was presented to the Belgrade audience together with pianist Mirjana Rajic. She is also an artist of high qualities, active as a pedagogue as well as a soloist, and her cooperation with the organiser, ArtLink, dates from 2005 when she was pronounces the Most promising young artist for that year. JanVogler and Mirjana Rajic accorded a concert with a classical repertoire with compositions by Bach, Beethoven and Schumann, offering the audience a music event of exceptional quality.
(...)Then came Beethoven's Cello Sonata where Vogler was accompanied by Mirjana Rajic. These two musicians cooperated very well and, almost without rehearsals prior to the concert, almost routinely performed this piece. Even though in the role of the accompanying artist, whose role is – as it is often said – not to hinder the soloist, Mirjana Rajic showed all her musical potential with the same intensity and effort as Vogler.
In the second part of the concert, the audience could hear Schumann’s works. Firstly Jan Vogler and Mirjana Rajic interpreted Fantasy Pieces for Cello and Piano. Just like the titles of the movements, these artists played Tenderly and with expression, Lively and lightly, Quickly and with fire, respecting the intended characteristics of each piece. Jointly they created the essential air of the movements, successfully separating the main from the minor musical thoughts. Dynamically nuanced, with special attention to every detail, interlacing and supplementing the melodies of the piano and the cello, a rich and exciting musical imagery was created.
Following the Fantasy Pieces, the musicians continued the program by performing Schumann’s Andante and Variations op. 46, when they were joined by pianist Jovanka Visekrua Jankovic, the founded of ArtLink, cellist Nemanja Stankovic and Igor Lazic on the horn. These are excellent musicians among which Nemanja Stankovic, currently doing his masters with Natalia Gutman at the Vienna conservatorium, certainly stands out. With their confident and precise playing, the musicians showed undeniable mastery of instruments.


25. January 2014

The Sound of Beauty


Anyone who experienced the unforgettable solo recital by Belgrade-born pianist Mirjana Rajić in Dresden will immediately have been struck by her seriousness of purpose. The programme was anything but conventional. Starting off with Beethoven’s late Bagatelles op. 126 means sailing very near the wind. The virtuosity they require has to be coupled with restraint, refinement must never degenerate into mere sophistication. Their ursine wit needs to be administered in small doses. Mirjana Rajić fulfilled all these demands with a nonchalance that would have been remarkable in a much more seasoned artist.
Then came Liszt’s Venezia e Napoli. Here again the responses called for by the music were wide-ranging indeed, extending from the lachrymose pulse of the lagoon waves against the hull of the gondola to the mind-boggling technical booby-traps of the Tarantella. Mirjana Rajić struck precisely the right balance between virtuoso legerdemain and emotional involvement. The cascades of notes demanded by Liszt were tossed off with the greatest of ease, the yearning melodies arched up over the great torrents of chords the composer entrusts to the left hand. Invariably her sights were trained on the structure of the work as a whole. Many pianists are at one with their instrument. Mirjana Rajić is at one with the music.
This impression was confirmed by her performance of Prokofiev’s Sonata No. 8 op. 84. This work is by no means easy to bring off, but Mirjana Rajić’s technical aplomb and identification with the music enabled her to give the audience a fully authentic rendering of this eccentric late masterpiece.


Michael Ernst,
3./4. Dezember 2011

Relishing the Challenges
Mirjana Rajić and Marc Danel in Heidelberg

[…] The sun came out with a vengeance in Beethoven’s vernal “Spring” sonata. Familiar as the piece is, these two magnificent artists managed to strike new sparks off it.
After the interval came Mieczyslaw Weinberg’s 4th violin sonata. The long first section, a black-as-night adagio, is given over entirely to the piano, the subsequent altercation between the two protagonists came across with all the requisite agony. The pain and suffering Weinberg “works over” in this piece was communicated perfectly in a technically blistering and emotionally eloquent rendering that gave the final return to the adagio all the sorrow the composer wrote into it. Here the audience was made witness to the tragedy of Weinberg’s fate (he lost his entire family in the Holocaust).
The last part of the concert brought us back to the lighter side of life. Mirjana Rajić made so little of the technical difficulties of Liszt’s “Venezia e ezia e Napoli” that the audience could simply sit back and enjoy all the wizardry the great virtuoso invests in these three pieces. Mirjana Rajić brought out the glitter of the tarantella with inimitable panache, but (unlike many of her contemporaries, who use Liszt as a vehicle to show off their technical prowess) she was equally sensitive to the atmospherics of the gondoliera and the profundities of the canzona.
The encores were unusual. First a little-known fragment of a Shostakovich violin sonata, then Tchaikovsky’s winsome Melody, both superbly done.


Dieter Brenzke
4. July 2011

Big Billing for Beethoven Bagatelles
Pianist Mirjana Rajić thrilled her audience at Plön Castle

Beethoven’s six Bagatelles op. 126 set the scene for a concert as remarkable for the pianist’s virtuosity as for her poetic sensitivity. With all the professionalism at her command, she left her audience in no doubt about the fact that these pieces are not just chippings from the master’s workbench but a musical jewel highly deserving of the kind of outing they were given here, a performance that made the most of the many contrasts and yet welded the (not always tiny) pieces into a convincing whole.
The first work after the interval was Chopin’s perennially fascinating Fantasy Impromptu in C sharp minor. Rajic’s response to its characteristic blend of high-flying virtuosity and effusive, typically Chopinesque poetry was refreshingly slimmed down and anything but overblown. At no point was the high voltage of the rendering vitiated by sentimentality or self-indulgence. For the last work on the programme, Liszt’s Venezia e Napoli from the Années de Pèlerinage (Italy) inspired by Goethe’s Wilhelm Meister novels, Mirjana Rajic transformed herself into a hot-blooded Italian and gave us an account that had it all: carefully terraced dynamics, a fair share of minatory bass grumblings, immense technical sophistication. Notably in the fiery Tarantella her razor-sharp articulation and sheer technical aplomb so delighted the audience that they finally only let her go after she had treated them to three encores.


Werner Bodendorff
Ostholsteiner Zeitimg,
27. October 2010

Electrifying Torrents of Notes


[…] The item most likely to live on in the minds of the audience was Mozart’s C minor piano concerto with Mirjana Rajic as soloist. Pianist and orchestra gave the first movement highly dramatic intensity, superbly united in their determination to give the music its due. With electrifying effect Rajic imperiously dispatched the torrents of notes in the cadenza. Here, at the latest, it was clear why she is generally considered one of the most formidable pianists before the public today.
The second movement demonstrated how arresting music can be when it is performed with the affection and passionate involvement lavished on it here. The final variations veered between airy lightness and crackling tension. Protracted applause and enthusiastic cheers …


Carsten Jelinski
Goslarsche Zeitung,
23. February 2010

Homage to Home
Mirjana Rajic’s Earthquake recital


Belgrade-born Mirjana Rajic divided the programme of her Friedrichshafen piano recital into two sections, one devoted to the German tradition, the other featuring three Yugoslavian composers.
She began with Beethoven’s six variations on Paisiello’s Nel cor più non sento, presenting the Rococo theme itself as a charming blend of simplicity and sentiment. The first two variations were remarkable for her finely turned passage-work, while the third and fourth revealed all the harmonic, rhythmic and expressive potential Beethoven draws from the artless melody. In the final variation Ms Rajic relished to the full the dialogue between the upper and lower areas of the keyboard.
The Bagatelles op. 126 are Beethoven’s last work for piano and can be seen as a retrospective summary of his astounding innovations in the treatment of the instrument. Ms Rajic began in lyrical vein, going on from there to point the contrast between the gentleness of the first Bagatelle and the dramatic dialogue of the second piece. The songlike third Bagatelle was replete with elegant arpeggios and glittering trills, while the storm-tossed presto of the fourth came as a demonic contrast, with truculent unisono passages and dynamic ascents and descents over the ostinato fourths and fifths in the left hand. The final piece began (and ended) with all the requisite impetuosity, beautifully offset against the lyrical central section.
Wolfgang Rihm’s sixth Klavierstück (“Bagatellen”, 1977/78) provided an interesting comparison. The pianist moulded the individual notes as tonal cells in a piece that hovers in a kind of limbo between tonality and atonality. She was fully attentive to the tensions between the upper and lower registers of the piano, fearlessly bringing out the dynamic contrasts in the freely-structured individual bagatelles.
Mirjana Rajic explicitly designated her performance of three compositions from her home country as a homage to Yugoslavia and an expression of her heartfelt desire for friendly cooperation between the various ethnic groups of the region in the aftermath of the hostilities in the Balkans. This same desire is identifiable in Alexandre Damnianovich’s If I Forget Thee, Jerusalem, a highly expressive piece in a largely traditional garb. The pianist acquitted the trills, tremolos and quick repetitions of individual notes called for in Sewing with immense aplomb, subsequently bringing out all the tensions between very high and very low notes in The Shroud. The coruscating whirls of the final Spindle were superbly set off against the elegiac closing section.
In Josep Slavenski’s Sonata op. 4 the pianist began with immense tenderness, subsequently proving more than equal to the virtuoso demands of the later impressionistic passages. Finally, she demonstrated equally eloquent advocacy for Marko Tajcevic’s Seven Balkan Dances, skilfully projecting the striking contrasts between Bartokian martellato and the mildly exotic flair of the more restrained sections.
The highly sympathetic pianist thanked the audience for their warm-hearted applause with a spirited rendering of Manuel de Falla’s Fire Dance.


Josef Lay
12. January 2010

Audience Captivated by String Quartet and Pianist


Schumann’s piano quintet proved to be a tour de force for the young pianist Mirjana Rajić, whose playing ideally combined spot-on precision and feline grace with coruscating brilliance and sheer power. In the march-like slow movement the ensemble displayed all their musical poise and imagination. The muted march rhythms were followed by a winsome string cantilena underpinned by billowing triplets in the piano, while the dramatic agitato outburst in the middle of the movement was a striking demonstration of all the astounding rhythmic stability, technical aplomb and dexterity that these young players have at their command.
Then came the magnificently flighted scherzo with its two contrasting trios and the more down-to-earth finale culminating in a stirring fugato peroration. The applause from the audience was long and rapturous. The ensemble responded with an unusual encore, a piano quintet version of a tango by the Argentinian composer Astor Piazzolla particularly notable for its beautiful cello cantilenas.


28. September 2009

... Chamber Concert in the Fruchthalle


...The two string players achieved complete harmony with the arrival of pianist Mirjana Rajic, who acquitted her part of the proceedings with consummate artistry although she had only stepped in at short notice. The selected tango melodies were subjected to varying musical forms, such as fugue and tarantella, and this gave them a balladesque quality. The performance was electrifying, as remarkable for its precision as for its wit. As with the Bach pieces, Piazzolla’s works profited from the arrangement, achieving a new plane of expression through the various performance and composition techniques employed. The superb ensemble brought out all the qualities of the music in an exemplary manner.


Reiner Henn,
Die Rheinpfalz,
28. Februar 2009

Serbian celebrated enthusiastically
From Hefty to Heady: Mirjana Rajic in Altensteig

“Incredible,” muttered an entranced concert-goer during the near-sold-out piano recital by Mirjana Rajic in Altensteig. And basically there’s very little to add.
The young Serbian pianist had chosen a programme designed to show off the whole gamut of pianistic virtues at her command. She proved herself fully equal both to the audience’s expectations and the demands of the works themselves.
In Schubert’s Three Pieces D. 946 she was determined to bring out all the contrasts between energetic vitality and sublime lyricism, and it was fascinating to see how the different emotions were reflected in her facial reactions as she formed these pieces into intoxicating patterns of sound.
Most of the audience had probably never heard of Marco Tajcevic, but his Balkan Dances once figured in recitals by such famous pianists as Rubinstein and Gilels, only to lapse into oblivion in the aftermath.
“My job is to bring these pieces back to life,” says Mirjana Rajic with reference to the music of her compatriot. And that is precisely what she did. The dances themselves and Rajic’s interpretation were an expressive mixture of hefty rhythms, heady sensualism and folk-inspired sophistication.
The very different demands made by Debussy’s Images found Rajic in complete control, fully alive to the bewildering array of moods and colours in the music. She displayed an enviable capacity to set the music alight without indulging in the murky pedalling lesser pianists have to resort to. Her attention to nuance and her sensitive articulation had the audience breathless with admiration.
Liszt’s Tarantella is a virtuoso display piece if ever there was one. One moment Rajic was hammering out the Italianate rhythms in the bass, the next her fingers were eliciting exquisite harp-like sounds from the piano. Technical aplomb and the coruscating variety of moods kept the listeners mesmerised throughout. Only after a breathtaking encore – Falla’s Fire Dance – were they willing to let Mirjana Rajic finally leave the platform.


Christian Schlager
Schwarzwaelder Bote
28. January 2009.

Every Note is Pure Emotion


The Quatuor Ebène treated us to one of the very best concerts in the current chamber music series. The same exquisite quality was apparent when they were joined by pianist Mirjana Rajić for Dvořak’s Piano Quintet. From the very first bars her sensitive touch and her sense of colouring amazed the audience. The ensemble was astoundingly successful in combining rhythmic esprit with broad brush strokes and passionate commitment. The encore was the slow movement of Beethoven’s Fourth Piano Concerto. The five musicians played Beethoven’s first musical dialogue with the hereafter so stunningly that it was easy to imagine the final movement, which in the original concerto follows without a break. Thus it was that this superlative concert found its continuation in the minds of the audience on their way home.


Reinald Hanke
Cellesche Zeitung
10. April 2008.

Masterly Interpretations


We can only hope that the spring concert at the Manufaktur Glashütte Original concert venue will usher in the spring just as surely as it captivated the audience. Cellist Jan Vogler was joined at the piano by Mirjana Rajić. The result was a concert of a quality that one rarely has the good fortune to experience. From the outset, the two artists conjured up an atmosphere that completely mesmerised the audience. The technical accomplishment of the performers was as consummate as their visionary interpretations of the works on the programme. In Schumann’s Fantasiestücke the sumptuous warmth of the cello and the sensitivity of the pianist were just as fascinating as the astounding virtuosity they both displayed.

The two performers played Beethoven’s magnificent A-major cello sonata with passionate commitment, risking everything in their hell-for-leather approach to the scherzo. Jan Vogler was completely at one with his wonderful Italian cello and Mirjana Rajić enticed the most ravishing sounds from the superb piano.

This was a concert that will live on in the hearts and minds of the audience. Two encores. Standing ovations.


Heinz Weber
Sächsische Zeitung
5. April 2008.

Getting to the Heart of the Music
Mirjana Rajic at Wienhausen monastery


…First on the programme were Beethoven’s late Bagatelles. Rajic’s interpretation was a real ear-opener. She has a consummate feeling for the subtleties of the score, relishing every phrase, never exaggerating the dynamics. Though she takes all the time in the world, the music never loiters or drags. She makes no attempt to weld these fragments into a cycle, but leaves them to speak for themselves like so many open questions. Their proximity to the late quartets was thus made startlingly clear. This was indeed an impressive start to the concert.

In Debussy’s first set of Images, Rajic gave the heady, sensual side of the music its full due, all the coruscating colours of the three pieces communicated with astonishing and intoxicating sensitivity. In Prokofiev’s 8th Sonata the pianist truly plumbed the depths of this late work, getting to the heart of the music with impressive and unerring accuracy.

There can be no doubt that Mirjana Rajic has what it to takes to establish herself as one of the foremost pianists of her generation. Even at this early stage her artistry and intelligence are on a par with many of her better-known colleagues. A good thing that the Wienhausen Culture Circle had the foresight to invite such an excellent pianist. Even better news is that Rajic will soon be heard here again, at a concert organised by the Celle Chamber Music Society.


Reinald Hanke
Cellesche Zeitung
29. January 2008.

Tumultuous Ovations

Cellist Jan Vogler and pianist Mirjana Rajic at the Sorbian Museum

With Schumann’s Fantasiestücke op. 73 the phenomenal degree of attunement between the two artists immediately won the hearts of the audience. … In Beethoven’s A major sonata op. 69 they fathomed the whole range of nuances in this masterpiece, from belligerent martellato to the subtlest traceries. The second part of the concert enchanted the listeners with superb transcriptions of pieces like Tchaikovsky’s Prayer or Elgar’s Salut d’amour, rendered with impeccable taste. The artists excelled themselves, displaying indescribable ingenuity and invention in conveying the terpsichorean brilliance of Dvorak’s Rondo. The audience was rewarded for its cheers and tumultuous ovations by a string of wonderful encores.


Crista Vogel
Sächsische Zeitung

23. January 2008.

Mirjana Rajic and Pavel Berman in Heidelberg

"Virtuosity was the common factor uniting the works on the programme selected by the Russian violinist Pavel Berman and the Serbian pianist Mirjana Rajic for their concert in Heidelberg. The demanding programme was also an explicit homage to the great pianist and teacher Lazar Berman, who had a major musical and human influence on his son Pavel and his pupil Mirjana Rajic. In Heidelberg this influence was apparent above all in the technical perfection and the gripping expressive urgency of the playing. Concentration on the penetration of the scores free of pretension and sentimentality was the keynote, not vainglorious display. The performance of Schumann’s rarely performed D minor sonata op. 121, often chided for the “weaknesses” said to be typical of the composer’s late works, was a completely convincing representation of its true status, combining courageous, in-your-face immediacy with authentic lyrical ardour. Mirjana Rajic gave a stunning demonstration of her pianistic prowess in a sensitive and subtly flighted performance of Debussy’s Images and a vibrant rendering of the Tarantella from Liszt’s Venezia e Napoli full of elegance and ebullience. With de Falla’s Fire Dance as a heart-stopping encore she really brought the house down."


Klaus Ross,
Rhein-Neckar-Zeitung (Heidelberg),
3./4. November 2007.

An Eye for the Essentials

"Mirjana Rajic’s debut at the Ruhr Piano Festival was a truly impressive visiting-card! Rajic has an infallible technique, plenty of stamina, inexhaustible vitality and above all an intelligent grasp of the musical essentials. She revealed all the vulnerability and morbidity lurking below the smiling surface of Schubert’s late A major sonata. In the central section of the 2nd movement she whipped up a storm of emotions that left the audience gasping. She also displayed a true appreciation of the songlike elements permeating the final Rondo. With Debussy’s Images she spirited her audience away to a very different world, unerringly conjuring up the interplay between sunlight and water in Reflets dans l’eau, finding just the right sedate melancholy for the homage to Rameau and igniting a cascade of keyboard fireworks in Mouvement. Finally she tackled Liszt’s Tarantella, a virtuoso showpiece that in the right hands never fails to make a dazzling effect. And so it was here. The audience was completely bowled over."


onruhr. de Kultur 3
15.June 2007.

Full Immersion in a Torrent of Notes

She came, saw, smiled – and in the course of a fearsomely daunting programme played herself into a state of complete self-forgetfulness. Mirjana Rajic’s rapturously acclaimed solo recital at the Ruhr Piano Festival started brilliantly and got better and better as the evening progressed.


Hans-Jörg Loskill,
15. June 2007.

Power and Vitality

Cellist Jan Vogler and pianist Mirjana Rajic began their recital with a sensitive performance of Schumann’s Fantasiestücke. Beethoven’s A major Cello Sonata op. 69 is one of the high-spots of the literature for this combination. The two musicians conveyed the full range of emotions with an élan that had the audience responding with spontaneous bravos between the individual movements.
The virtuoso piece “At the Fountain” op. 2 by the eccentric cello star Carl Davidoff was reminiscent of a sprint: breathtakingly fast runs executed with all the power and vitality one could wish for. The encores – Grieg and Mendelssohn – left the audience gasping for breath.


Kölnische Rundschau,
04. June 2007.

Out of the Ordinary

…This was a concert of true superlatives! … It assembled David Geringas, the world-famous cellist and former pupil of Rostropovich, the pianist Mirjana Rajic from Belgrade and the Russian violinist Mikhail Ovrutsky. The biographies of the two younger artists vie with one another in terms of the fame of their teachers and the number of successes they have notched up in national and international competitions and recitals. The concert was a consummate blend of the experience of the older musician and the impulsive “storm and stress” of the younger generation. The results enchanted the audience and obviously gratified the performers as well.

…Where did this young woman (Mirjana Rajic) get the stamina to cope with the feats of technical prowess demanded by Liszt’s Tarantella? The great fistfuls of chords, the pearling delicacy of the runs in the right hand, the sophistication of touch, the Chopinesque features, the presentation of theme in all its multiple guises – all this and more could not have found a more gifted exponent.

The performance of Shostakovich’s Piano Trio op. 67 did full justice to the groping anxiety of the initial section, the violent protest and grotesque raillery invoked by the further course of the music, and the hell-for-leather virtuosity of the finale. After a few seconds of stunned silence, the audience broke out into tumultuous ovations, silenced only by a repeat of the Allegro.


Hans Peter Altmann,
Dresdner Neuste Nachrichten
05. December 2006.

Whirlwind Beethoven
A matinee at the Semper Opera House, Dresden

"In Beethoven’s Fourth Piano Concerto pianist Mirjana Rajic and conductor Ekkehard Klemm achieved the ultimate in unanimity of purpose. The soloist displayed an amazing range of technical skills, including high-speed runs in the right hand and extreme clarity of enunciation in the bass. The second movement gave her a chance to invest the lyrical passages with sublime expressive beauty. It must have been a pleasure for Ekkehard Klemm to accompany such a pianist. The audience quite rightly responded to the performance with roars of acclaim."


Peter Zacher,
Dresdner Neuste Nachrichten
25. January 2005.

The Spirit of Sensitivity

"In Mozart’s A major piano concerto K. 414 the slightly muted, velvety tone of the soloist Mirjana Rajic immediately banished any soul-on-sleeve sentimentality that might have jeopardised the authentic spirit of Mozartean sensitivity. With the self-assurance born of thorough training and selfless devotion, the pianist gave us a performance equally remarkable for its interpretive freedom, its tonal bloom and its complete grasp of structure."


Maja Smiljanic-Radic,
Politika Belgrade
29. June 2004.

Sensitivity Coupled with Virtuosity
Mirjana Rajic’s piano recital in Herrnsheim Castle

..."The tumultuous applause was interspersed with loud bravos. Liszt’s Tarantella is just the kind of warhorse with which a pianist can stun the audience into unbelieving admiration – always provided, that is, that the interpreter’s technique and expressive range are equal to the task. With Mirjana Rajic there was never any doubt about the outcome. She magicked up airy garlands of notes in the upper register, thundered her way through the bass at astonishing speed and generated immense drama with the subtlety of her phrasing. In their muted quirkiness, Ravel’s Valses nobles et sentimentales may be less of a show-stopper but they gave Rajic an ideal opportunity to show off her exquisite sensitivity and structural awareness. The programme begin with Beethoven’s Les Adieux sonata, an ideal vehicle for Rajic’s technical prowess and her gift for precise and detailed articulation"


Philip Schäfer,
25. February 2002.

Keyboard Wizardry
Mirjana Rajic at the Prinz Carl Palais, Heidelberg

"Mirjana Rajic can look back on a number of successes in piano competitions and has been studying for the last two years with the legendary Liszt specialist Lazar Berman. His incisive brilliance and insistence on technical perfection are decisive features of Rajic’s exceptionally sovereign command of the keyboard. Her energy is enormous and her concentration on the essentials truly admirable. As a Rachmaninov interpreter Rajic really showed what she was made of, combining unsentimental noblesse with the subtlest of colouring and treating the audience to a veritable feast of keyboard dexterity. The high-point here was the entrancing B flat minor Andantino, captured by Rajic in all its soulful eloquence. Her rendering combined virtuoso grandezza, songful sensitivity, tonal luminosity and stylistic taste to divest the music of anything even remotely resembling superficial kitsch."


Klaus Ross,
7./8. June 2001.

Audience Taken by Storm

..."The 22-year-old pianist Mirjana Rajic swept the audience off its feet with her performance of Beethoven’s Fourth Piano Concerto. This concerto calls for a truly “complete” pianist and Rajic passed the test with flying colours. The audience responded with thunderous applause, appreciative whistles and enthusiastic bravos. The reward was Franz Liszt’s Tarantella as a thrilling encore."


Ingrid Versen,
4. December 2000.