FROM THE CRITICS

Renée Anne Louprette presented herself as a communicative player with no shortage of imaginative ideas, with fingers fully capable of backing them up, and with feet which are not just nimble on the pedals, but every bit as expressively articulate as her fingers. The feet first dazzled at the end of a thrusty performance of Buxtehude’s Praeludium in D minor, BuxWV140. She followed this with a contrasted pair of works by Georg Böhm (1661-1733), and then a pairing that crossed the centuries. The Ricercar Cromatico post il Credo from Girolamo Frescobaldi’s Fiori Musicali of 1635 and the 30-year-old György Ligeti’s homage to Frescobaldi, his Ricercare of 1953, are united by their extreme chromaticism and also their fondness for spiraling shapes, which clash in ways that Louprette captured with a sense of energized relish. Her coupling of two works by Bach offered the Prelude and Fugue in A minor, BWV543, in a performance of impressive sportiness, and the chorale prelude Dies sind die heiligen zehn Gebot in a reading of stately calmness that communicated a sense of unutterable richness in the complexity of its counterpoint. For all its bustle and brio, the fourth of Mendelssohn’s six organ sonatas came as something of an anti-climax after the Bach. On the evidence of this performance, mid 19th-century sweetness would not seem to be as close to Louprette’s heart as the earlier and later music of this impressive recital.”
(Michael Dervan, The Irish Times, July 2009)

“A thoughtful, rich-hued performance…”
(Allan Kozinn, The New York Times, February 2009)

“Renée Anne Louprette, a technically nimble and dynamic organist [whose] performance won a deserved ovation.”
(Anthony Tommasini, The New York Times, July 2007)

ABOUT HER RECORDINGS

“This towering late collection of chorale preludes is not entry level Bach, least of all for those unfamiliar with the chorale tunes themselves. But the music rewards deep immersion, and the performances by Renée Anne Louprette, one of New York’s finest organists, invite it.”
(James R. Oestreich, Classical Critics Pick the Top Music Recordings of 2014, The New York Times, on BACH: ‘THE GREAT 18 CHORALES’)

“Recording the ’18’ as a début CD is an ambitious, project, but Louprette has chosen a fine organ [Trinity College Chapel, Cambridge University, England], surely regarded as an historic instrument by now. Her registrations sound beautiful, and there is a well-schooled musicality in her playing that encourages contemplation and stillness. However, in some pieces the reverent character leads to tempi that are laid back, although this is a subjective interpretational quibble. Louprette seems to be playing to the spacious building rather than to my study, and there should be a difference in approach to playing in large empty buildings and making recordings for the domestic market.”
(David Ponsford, CD Review, J.S. Bach: The Great Eighteen Chorales, Choir and Organ, September 2014)