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She is an artist who, from the moment she starts playing, has the audience transfixed by her interpretation. One feels compelled to listen to her; she draws you immediately into her emotional world. It is a world remarkably rich and full of dramatic tension… The vibrancy of her sound imagination and her ability to translate her visions and obtain the desired richly coloured effects are admirable.
Głos Wybrzeża, Gdansk

For her encore, the pianist played Scarbo by Ravel. She has the skills to cope brilliantly with this so-called “encyclopaedia of ambushes and traps” that the infinite imagination of the composer could only ask of a true virtuoso.
Ruch Muzyczny, Warsaw

Ms Wiedner is a renowned pianist with all the energy and brilliance required for solo performance of Brahms’ formidable F sharp minor Piano Sonata and his even more taxing Paganini Variations.
Yorkshire Post, Leeds

“… pianistic brilliance… fiery performance… spirited mazurkas… Her fingers floated over the keyboard as if the keys offered no resistance… For her encore, she played Ondine from Maurice Ravel’s Gaspard de la Nuit cycle: the music sparkled and shimmered, with runs that sounded as if the artist were playing a harp. It was breathtaking, a brilliant finale to a beautiful recital.
The Record, New Jersey

The Polish pianist captivates the audience with her ten-finger magic.
The Western Front, Vancouver, Washington

The artist performed works by Beethoven (including his C minor Sonata, op. 111),Liszt and Chopin. She did not make it easy for herself with her choice of repertory, since many of the works she selected were well known to the audience in interpretations by renowned maestros. Nevertheless she succeeded in winning over and enchanting her audience, leading them from climax to climax. Her performance displayed brilliant technique coupled with great expressiveness.
Wiener Zeitung

Elzbieta Wiedner-Zajac excelled with Chopin. To demonstrate her artistry, the Polish pianist had chosen two early works by the composer: the Rondo à la Krakowiak in F major, op. 14, and the Grand Polonaise in E flat major, op. 22, preceded, as is the custom, by the Andante spianato, added several years later by the composer. The remarkable artist, who lacks neither technical brilliance nor interpretative skills, made the piano sing with sound, thus rendering her great compatriot’s music to greatest effect. Sparkling runs, intoxicating cascades of sound, and thundering chord sequences flew from the pianist’s fingers and the keys as the most natural thing in the world, and she preserved the melodic line and terse rhythms even in the most energetic flurry of notes. She achieved all this without any false sentimentality and in an attentive dialogue with the orchestra, giving rise to an interpretation that charmed the audience.
Bote von der Ybbs, Lower Austria

Probably the first time in the Austrian capital, a recital took place at the Polish Cultural Institute in Vienna introducing the public to the works of Polish composer Juliusz Zarebski (1854-1885). In the pianist Elzbieta Wiedner-Zajac, Zarebski had a dedicated interpreter and ... a good advocate for his compositions; the artist ably highlighted every nuance while preserving the broad lines of each piece.
Wiener Zeitung

Homage to great Poles…
Superb artistry and loving attention to musical details were key features of the interpretation of Chopin’s Waltz in E minor, published posthumously. Elzbieta Wiedner-Zajac emphasized not only the radiance and virtuosity of Chopin’s piece, but with her exceptional skills also underscores the significant fingering requirements, for example in the Grande Polonaise brillante op. 22 and above all in the Grande Polonaise in A flat major, op. 53.
In addition to major works from Chopin's oeuvre, the artist included the music of Witold Lutoslawski in her programme, for whose music she feels a particular affinity; she played the five “Bukolika” miniatures with great zest. In addition, she gave a truly picturesque interpretation of the “Shéhérazade” movement from “Masques” by Karol Szymanowski. She achieved an elegant transition to Chopin with the magnificently executed Caprice Valse op. 10/5 and the Variations in A major op. 16/3 by Ignacy J. Paderewski (1860 – 1941). Elzbieta Wiedner-Zajac delved with great focus into the powerful and colourful music of composer, virtuoso and politician Paderewski.
Bonner Rundschau, Bonn

Unforgettable concert -
Anyone who was not present at this cultural event – even though it all took place on 13 March 2004 at Vienna’s renowned “Alte Schmiede” venue – missed an artistic enjoyment of the highest order, as the composer, pianist and teacher Elzbieta Wiedner-Zajac presented her virtuoso, proverbial “wild talon” to her guests on that evening… The creativity, spirit and huge talent of the artist created a truly unforgettable atmosphere. The audience was as captivated by Wiedner-Zajac’s own compositions (Fantasia on Chopin and Schumann, songs with texts by Wislawa Szymborska, two poetic Etudes and a number of preludes) as they were by her naturalness and modesty, attributes seldom found these days... Those present at this meeting with Elzbieta Wiedner-Zajac also learned a little about her life, which the artist talked about invitingly, simply and modestly; it was absolutely fascinating. The pianist enchanted her audience especially with her preludes, composed under the influence of colours, showing that one can give also give haunting expression to colours with harmonious, colourful sounds.
Adam Zieliński (Vienna), Austriapol Web-Reportage