“The Ligurian pianist finally made us understand Schumann’s musical intention of his opera ,reviewed by the artist himself , saying that those pages should have been played in a playful way, sounding like a puppet show. A playful atmosphere was given to the Secondo Studio (on Capriccio n 17) thanks to the excellent rubato and the admirable executive calm that gave it a theatrical effect, reminding the opera buffa, instead of the puppets show.
The expressive mood was fully shown in the Quinto Studio(La Chasse,dal Capriccio n. 9), admirable for the musical articulation on different expressive and dynamic plans, really evocative, and in the second part of the Sesto , magically free and rich of different timbral atmospheres: see the seventh variation that amazingly suggested the colors of the wood requested by Liszt.
The same imagination characterized the second of the Studi da Concerto put at the beginning of the concert, Ridda di gnomi, subtracted from the grotesque by the softness play.
After the awful and seamless Lisztian section, the insidious Momenti Musicali di Rachmaninov.
The initial B-flat minor Andatino was amazing,absorbed and poignant where Tomellini could alternate delicacy, nostalgia and vigor. Here and in the next two Momenti, the pianist could highlight the Tristanian temptation that emerges from some harmonic delays, fully catching the “modernity” of the structure expressed in the Andante Cantabile, taking the peculiar internal dialectic of the opera to a double-response-to-the-first-four-tracks end : the peace of the Quinto and the affermative Sesto, a spontaneous and deep play that will be remembered for such a long time from listeners , I think. “