Young Israeli pianist Ishay Shaer, violinist Liza Ferschtman and cellist Quirine Viersen held the audience spellbound in an almost hypnotic trance. The listeners were so enthralled that they even forgot to cough! Could they have been witness to the birth of a new piano trio?

Joost Galema, NRC, The Netherlands, 2017

"The technical demands are at the limit of what is humanly possible and Shaer dealt with them masterfully. In addition to the finesse and transparency of his touch, it was remarkable to see how he was able to make the instrument thunder, while achieving symphonic sonorities that seemed to come from the inside of his body. A great pianist".

Click here for the full articale in Spanish

Jaime Donoso, El Mercurio, Chile, 2016
"A brilliant success... superbly articulate and always intact and brilliantly focused... achieved with most judiciously managed colour and character, and with a more than impressive sense of underlying turbulence."
Bryce Morrison, Music critic, UK, 2006

"Ishay Shaer showed a constant rapport with the sonority of the piano, constantly maintaining a dialogue with the orchestra… Impeccable performance in all aspects; technique and virtuosity at the service of [the] work".

Read the full review (in Spanish) on the performance with Orquesta Filarmónica de Málaga

Alejandro Fernández, Opinión de Málaga, Spain, 2014

..."Everything which the Israeli pianist Ishay Shaer delivered had fluency and grace".

Michael Church, "Classical Music Magazine", UK, 2009

"Embedded in the orchestral sound, almost overshined by playful joy, the Israeli Ishay Shaer plays Concerto KV 488 in A Major expressively, with a differentiated touch, a soul deep articulation and a thrilling phrasing. A storyteller who knows his Mozart well."

("Klanglich in den Orchesterklang eingebettet, von spielerischer Heiterkeit schier überglänzt, spielt der Israeli Ishay Shaer das A-Dur-Werk KV 488: ausdrucksstark, differenziert im Anschlag, seelentief artikuliert und spannend phrasiert. Ein Geschichtenerzähler, der seinen Mozart kennt.")

Peter Buske, Das Orchester Magazine, Germany, September 2011
"At the piano, a young and brilliant pianist, one of those who you know guarantee impeccable technical reliability and a reading charged with the most deeply rooted musical tradition. Ishay Shaer comes across as restrained, reverential, secure but free of mannerisms... It is not only technique, but rather judgment, and a tempo that doesn't seek the brightness of velocity, but the tranquility of profoundness".

Click here for the full articale in Spanish

Diario de Noticias de Navarra, Spain, November 2012
"It was not only a brilliant virtuosic achievement of this demanding work, but also rhythmically gripping, and sensitively conveyed its abundant subtle nuances of dynamics and delicate sound timbres"

Read the full review on the performance of Ravel’s Piano Concerto for the Left Hand
Uri Epstein, The Jerusalem Post, June, 2013

"The concert showed astonishing affluence, with excellent playing. Shaer stood out throughout the concert with confident sound and tasteful phrasing"

Click here for the full articale in Hebrew

Hagai Hitron, "Haaretz", Israel, 2014
Dass sich zwei Streichinstrumente und ein Flügel auf der Bühne zu einer Einheit fügen, ist nicht selbstverständlich: Bei dem Ishay Shaer Pianotrio entsteht der Eindruck großer Verbundenheit....

Im Ravel-Klaviertrio brilliert Pianist Ishay Shaer mit Kaskaden, Wellenbewegungen und Arpeggien und vermag Tiefe, aber auch Spritzigkeit und Heftigkeit aus Ravels Werk herauszuholen...

Click here for the full articale in German
Saarbruecker Zeitung, June 2012

“Once again Shaer ‘walked over’ the keys of the piano and enchanted us with tones that taste like violets - flowers of eternal spring”

Ludwig Van Mechelen, "Klassiek Centraal", Belgium, May 2013
"General-Anzeiger" Bonn, Germany, 2010
"Not the meteorological phenomenon, but Shakespeare's last play, "The Tempest", is the programme of Beethoven's piano sonata Op. 31 No. 2, carrying the same title. The 1983 born Israeli pianist Ishay Shaer treats the composer's allusions by "reading" both the musical and the literary texts: Asking questions, providing answers, leading dialogues, meditating, narrating or being impulsively enthusiastic. Ideas that seem as though they develop at the very moment give his interpretation of the piece a persuasive originality.

In his "Pianoplus" performance, Shaer played, in addition to Beethoven, also Bach's prelude and fugue in F sharp minor (BWV 883), the last 10 preludes from Op. 28 by Chopin, Liszt's concert etude No. 2 in F minor, "La Leggierezza", and "Gaspard de la Nuit" by Ravel. Especially worth mentioning is the pianist's ability to experience each and every piece at an equal level of authenticity.

The excerpt from "The Well-Tempered Clavier" captivates him just as intensively as the gentle autobiographical introspections of the zealous, lovesick Chopin. Shaer handles Liszt's virtuosity calmly and pleasantly, and in Ravel's work he unfolds the entire palette of Impressionism, with the widest range of dynamics. Here, as in Beethoven, he is exceptionally convincing."

-By Fritz Herzog, August 4 2010

For the original review in German click here, -
"...an outstanding Chopin player, investing the Sonata No 3 with the delicacy and power it demands by halting the pace so convincingly in the largo that the first movement's intensity, the scherzo's frenetic revisions and the final one's relentless gallop sounded truly inspired."
Nigel Jarrett, "South Wales Argus", UK, 2008

"The program's highlight was Schumann's Symphonic Etudes... Though an extremely demanding work, the pianist did not indulge in showy virtuosity, despite his impressive technical competence, but concentrated on its formidable aesthetic and artistic qualities. He conveyed its complex and incessantly changing emotional content with utmost sensitivity and intensity"

Read the full review

Uri Epstein, The Jerusalem Post, May 2012
"Supported by a solid technique, the pianist gave an inspired reading of Schubert, revealing a very clear concept of the subtleties in the first "Allegro ma non troppo"... [and] concluded with a brilliant interpretation of the final "Allegro giusto"... There is no room for doubt, Shaer has a brilliant career ahead of him".
Luis Mergal, El Nuevo Día, Puerto Rico, November 2011
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