»The pianist is engaged in the romantic theme of the composition with his whole body. He is moving and oscillating, as if the music would electrify him from the head to the toe. In essence he communicates with the orchestra as with a new flame, which has to be conquered.«

International Piano Forum (DE)

 

 

“…His encore with Schumann was supple and tender….”

Matthias Gerhard · Frankfurter Neue Presse (DE)

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“[…] with his black, long hair he seems like »Romeo«. This impression does not deceit: the man on the grand piano gets involved with the romantic theme of the composition with his whole physicality; he shrugs and dandles and sways as if the music electrifies him from head to toe. Basically, he communicates with the orchestra like with a new flame, whose heart has to be won. Despite his rapid passages and his hard touch he knows how to completely restrain himself in the famous second Adagio-movement and reduces the melancholia of the melodies to their bare essence.[…]”

Tagesspiegel,  Berlin (DE)

 

“[…] Osokins offers sensibility and intimacy at its finest. And although thus Bach sounds like a romantic: the filigree fingers of the Latvian pianist have something irresistible. Also with the movement of Beethoven’s “Appassionata” op. 57 he accomplishes  something magnificent.  It gets really diabolic in the finale. Osokins begins to truckle over the keyboard, his facial expression gets even more disinhibited. The pianist takes full risk to truly display the fireworks. Osokins would have probably needed a rest period afterward, but he continues right away with two Liszt-virtuosities. Osokins myotonus increases, his filigree fingers transform into powerful paws. […]”

Berliner Morgenpost (DE)

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»…The soloist and laureate of the audience award of 2015 Andrejs Osokins made with piano concerto Nr. 1 from Liszt a key-thunder….«

Guido Holze · Frankfurter Allgemeine Zeitung (DE)