Discography
All CDs are available at the
address noted above – besides, you can ask at your local
CD dealer.
NEW:
ENJOY WAGNER
Wagner - Liszt - Tausig - Raff - Busoni - Czerny
 Wagner/Czerny:
RIENZI. Rondo op. 758/1
Wagner: Züricher Vielliebchen-Walzer
Wagner/Raff: DER FLIEGENDE HOLLÄNDER. Andante des Quetto. Salon-Etude
Wagner/Liszt: DER FLIEGENDE HOLLÄNDER. Spinnerlied
Wagner: Polka
Wagner/Liszt: TANNHÄUSER. O du mein holder Abendstern
Wagner/Raff: TANNHÄUSER. Sextet. Salon-Etude
Wagner/Liszt: LOHENGRIN. Elsas Traum
Wagner/Liszt: TRISTAN UND ISOLDE. Isoldens Liebestod
Wagner: Ankunft bei den schwarzen Schwänen
Wagner/Tausig: DER RING DES NIBELUNGEN. DIE WALKÜRE. Der Ritt
der Walküren
Wagner/Tausig: DER RING DES NIBELUNGEN. DIE WALKÜRE. Siegmunds
Liebesgesang
Wagner: Elegie
Wagner/Busoni DER RING DES NIBELUNGEN. GÖTTERDÄMMERUNG. Siegfrieds
Tod. Marcia funebre
Total time 66:38
Elisio ECD-1813, 2013
NEU: SCHERZI
Chopin - Balakirew - Mussorgski - Kjerulf
 Frédéric Chopin: Scherzo h-moll
Milij Balakirew: Scherzo h-moll
Frédéric Chopin: Scherzo b-moll
Milij Balakirew: Scherzo b-moll
Frédéric Chopin: Scherzo cis-moll
Modest Mussorgski: Scherzo cis- moll
Frédéric Chopin: Scherzo E-Dur
Halfdan Kjerulf: Scherzo E-Dur
Total time 70:00
Elisio ECD-1821, 2013
Press reviews
CD overview
Reviews of
Joanna Michna CDs:
"... what makes her play so admirable
is a vital strength, allowing her to obtain a mighty sound, which
however is never mechanical or forced. Thus she achieves a breathtaking,
truly symphonic final of the Dante Sonata. The play of Joanna
Michna is distinguished by a great variety of colours and the
beautiful subtle sound ..."
Fono Forum,
September 2011 (Frank Siebert)
"This Pole perfectly understands
all wonderful songlike moments in Liszt's music. She creates both
Petrarch's Sonnets with mastery. Also, the way she exhibits the
lyric and dramatic narration of ballads is enchanting ... one
might tell these pieces were composed especially for her.
Piano News,
July/August 2011 (Carsten Dürer, editor-in-chief)
"... she discerns most subtle
nuances. A wonderful CD in the Liszt year."
WAZ Kultur,
22 July 2011 (Hajo Berns)
"I am deeply impressed ... insightful
and brilliant, continuously convincing interpretation of Liszt."
Peter Cossé,
31 May 2011
"Just during the anniversary
of Chopin, original news are rare, any discoveries are hardly
to be noticed. In contrast, Joanna Michna even presented an authentic
premiere to Chopin fans. ... Her special sensitivity and style-knowledge
on Chopin are proved here very well. ... Joanna Michna's virtuosity
in performance, brilliantly swinging between poetry and bravura,
made them (the concert works without orchestra) being oblivious
as inspiring showpieces, which unconditionally need to find the
way into repertoire."
Rhein-Neckar-Zeitung,
23. Juli 2010 (Klaus Roß)
"Joanna Michna is a pianist,
who brillanty understand her performances, who in the Chopin-style
is at home and Chopin 'kantable' melodies bring to shining. She
show sense for colours and mood, she overcome virtuoso- demand
with elegance."
Fono Forum, June
2010 (Gregor Willmes)
"A complete record of all work
for piano and orchestra without orchestra on CD, appeared so absurd,
as crusad without water under the keel But the pianist is with
her project by no means on the falsified 'steamer'. Who that 'give
me the hand, my life personally rouse will', need not only pianist
experienced finger, but also long breath ... and he need courage
for free playing. All this bring Joanna with herself.
In every case are the solo-handlings, which have been proposed
origin proposed for piano and orchestra , an enrichment... An
extremely and also musical convincing contribution to the Chopin–year
2010".
Deutschlandfunk, 24.05.2010 "Die
neue Platte - Joanna Michna spielt Chopin" (Falk Häfner)
(Deutschlandfunk
radio, "The new CD - Joanna Michna plays Chopin")
"Really it is possible leave out
the orchestra ... exact has the composer that also done ... Chopin
has these chamber versions often personally 'for the best' given.
These are therefore fully legitimated and approach them allready
to the three great sonatas ... played by Joanna Michna, who herself
in programm let so quote: 'The solo version give more space for
artistic license'. Nowadays are concerts often performed, only
after one or two understanding tests and wanted flexibility of
dirigent prevent often for Chopin so important 'rubati'. Right
has the women."
SWR 2, 28.03.2010
"Neues von Klassikmarkt" (Thomas Rübenacker)
(SWR 2 radio, "News in classical music")
"Add to this be, that the loss
of instrumental colours basicly don't really hurt. The accompany
ensemble take anyway rather keyword giving extra part and the
works find their presece-ground now truly not in a typical dialouge
between the solist and the orchestra. Michna overcome the task
souvereign, as in technical as interprete manner, clear contour
and without enrapture herself, from the wined freedom of alone
playing, to sentimentality."
Codex flores
– Switzerland, January 2010 (W. Böhler)
"... Therefore be away, in the
both from Chopin established version for piano solo, also nothing
fundamental. But what has changed is the attitude, these work
to play and to hear. Joanna Michna ... tasted ... the new wined
freedom fully in her playing, on the other side, she show
clearly her root in the polish folklore. In this tension
succeeded her a small coup. The decorations (fioriturs) in the
top movements costed she with fully delicacy, the melodies are
swinging in the middle movements in 'rubati' bows, the polish
dances in the final movements win a peculiar and native power.
In all movements she put a fine poetry ... she mark in it overcoming
of pure virtuosity, through inspiration the varied melodies.
In this scope are the both 'Concertos' without orchestra
every time a win, because in it Joanna Michna personified the
unity from sololist and conductor."
Nmz, July/August 2008 (Patrick Troster)
"Joanna Michna be up good reasons
for revival the forgotten movements ... She alone fulfil her claims
on clarity of the intepretation, with exact and unequivocal phrases
and keep also by the typical Chopin 'rubati', the inside pulse
of the music."
Piano News,
July/ August 2008 (Isabel Fedrizzi)
"... a masterly dextrous performance,
with fascinating poetic moments ..."
Fono Forum, July
2008 (Frank Siebert)
"But from the first bar Joanna
Michna prove her souvereign performance" and "illuminate
... the apparent familiar works, with sensitive touch and much
love for details, from a new informative point of view, which
also for experienced listener hold ready a number of surprises."
Rondo, June 2008
(Tobias Hell)
"So quiet and discreet, so happy
and in himself rested, rare has been possible to hear the f-minor
ballad. Wonderful."
Piano News, January/February
2008 (Rafael Sala)
"If the Chopins ballads are so
nuanced light up, if it is possible to let them breath and the
contrasts ... so sharpen let, win this works a fully new life.
Joanna Michna ... has the power for vehement attac, but
also for quiet, the poetry this music to discover, and that is
very inspired."
Fono Forum, January
2008 (Michael Stenger)
"Convincing is the Pianist way
always, because it is now once consequent and fully and whole
with intention of the composer covered."
Rondo, January
2008 (Oliver Buslau)
"... Joanna Michna's sensitive and beautifully-sounding recordings
... In a smooth dynamic range and like breathing, she makes the
melodies flowing, savours the details tastefully and forms exalted
bows of enhancement."
Fono Forum, Juli 2007 (Frank
Siebert)
"... as Liszt conscious arias and duet- thems, with regard
to their expressions bends and background psychological out- tickles,
it has not only something dramatic, but completly also something
comical, yes funny.
The pianist Joanna Michna, with virtuoso
repertoire very well familiar played this works aspects full out.
Splendid, how the music, on the confess march from 'Le nozze di
Figaro', in which Cherubino must be sent in the war, creep in
and even short from straight appointed young lieutenant let guess,
or how in sweet as sugar 'La ci darem la mano' from 'Don Giovanni',
from soft lure the grimaces of the inconsiderated women - hero
peeled - fully be silent about the brilliant 'champagne aria',
which to a funeral march darken. Cementary and life-joy lying
just together ... Impressive is the concentrated
charge of paraphrases, which Joanna Michna offered here us.
It is going till the highest level
of Italy Opera."
Rondo, July 2007
(Oliver Buslau)
"... Joanna Michna sensible and
tone-nice played in ... dynamic fine terraced and respired let
she the melodies flood, tasted details elegant and formed for
instance in the Norma-fantasy elevated intensifications turns."
Fono Forum, June
2007 (Frank Siebert)
"In spite of the new –event
– fine hack CD title 'Opera Gala for piano', Joanna Michna
shows, that she dominates the piano technique with naturally musical
depth. She lived after the opera-scenes in her CDs … and
is so near on the contents, narrow the language and therefore
whole dense to dramaturgy paraphrased opera events. The opera
scenes once more arise in the tone-scenary of Liszt piano art
and with the grasp of Joanna Michna explained, as emotional loaded
picture sounds."
Tonkünstler Forum,
March 2007 (Patrick Tröster)
"By that arias and scenes come
Joanna Michna very near to her claim, giving the singing parts
per piano an acceptable physiognomy. In this respects is the Liszt
collection already a surprise, because the piano is not every
time an end in itself, for soloist escapades, but sometime an
interesting pricipal actor."
Piano News, January/February
2007 (Hans Dieter Grunefeld)
"Clearer
still is her affection to 'the Reminescences Don Juan de Mozart'
from Liszt, which orchestra format, by her playing become to 'Grande
Fantasy' …"
Piano News, March/April
2006 (Hans Dieter Grunefeld)
"…great piano meditation. The fit into counterpoints
in the duet handlings, are heard keep back, as in the half- light
of a gothic church ... in poetic- programmed: the religious affection
arise to fervour and that all the more so much the virtuosity
of pianist-claims are formed."
Piano News, January/
February 2006 (Oliver Buslau)
"... Joanna Michna keeps cool and does not directly appeal
to the audience's emotions but rather lets them grow automatically
without any fishing for effects on her part ... Michna plays brilliantly,
a true romantic, who is characterized by a light, soft stroke.
Deliberately, she does not play heavily or hardly (something
she is undoubtedly capable of)."
Scala, December 2005
"Joanna Michna's piano musical skills have been acknowledged
repeatedly in this magazine. Also on her new CD she is impressing
by her virtuoso technique and her concrete and sensual sound with
its wide palette of colors."
Stereoplay, March 2005
(Jens Hagestedt)
"There is the wonderful CD entitled Enjoy Verdi,
full of highly virtuous piano art ... Joanna Michna plays all
9 pieces technically brilliantly, with ease, with charme and very
often with wit."
RNZ, feuilleton, 02.02.2005
(Klaus Roß)
"Joanna Michna followed her imagination, which completed
her perfect performance ... Godowsky's paraphrases elucidate Chopin's
profile, which gains shape by Joanna Michna's esprit."
Piano News, Jan./Feb. 2004
(Hans-Dieter Grünefeld)
"... technically perfect performance ... her piano sounds
very colorful, she impressively places the emphasis on the orchestral
parts, for which there exist also orchestrate versions."
Piano News, Mar/Apr 2003
(Oliver Buslau)
"Joanna Michna is a brilliant pianist, a musical personality
who has something to say. Her play has a figure, her technique
is perfect, one has to admire her sense of balance concerning
the play of the polyphone structures ..."
Stereoplay, December 2002
(Jens Hagestedt)
"... In her very difficult programme, Joanna Michna does
very good work – profound, forceful and vivid ... Whoever
wants to pass a happy hour, full of richness, delight, skill and
brilliance, balancing between the grief of love, the joy of love
and the request for dance? We are very well taken care of by Joanna
Michna."
Klassik heute, June 2002
(Peter Cossé)
"Very often, Schubert's Fantasy
of a Wanderer with its
compact blocks of sounds is played monumentally, even martially.
Joanna Michna is far from this ... She artfully succeeds in unifying
these blocks instead of minimizing them ... Impressive her capability
of perfectly interpreting the Dante sonata as well as the piano
fantasy Islamey..."
SCALA, February 2001 (Jens
Hagestedt)
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