About him
About his playing

... It seems that Pogorelich persistently plays uphill
... It is an unusual and moving experience to meet such a great musician...
J. Jacoby, Politiken, Copenhagen, 2000
…The main part of the concert, however, were Liszt's Transcendental Etudes… There is no doubt that such works require a pianist of colossal piano technique and the ability to connect it all. Pogorelić was in complete control of that. And while we enjoyed such a rare opportunity to gain a unique introduction to one of the most famous works of piano literature, the term "piano lion" could not escape our minds. This was by no means strange because the "piano lion" is described in dictionaries as "a virtuoso, a pianist who plays fiercely"… C. Røllum-Larsen, Roskilde Avis, 2021

… Lovro Pogorelich does not need to show and/or prove himself in Croatia or outside of it: this ingenious and outstanding artist possesses an enviable inner fullness rendered by mature years, which is in blissful harmony with a superior technical mastery. His biography, as well as his technical mastery, does not need to be described – it is implicit. His position on our increasingly expanding artistic horizon cannot be threatened by any new, sparkling talent. It can be assumed that he is one of reference points of modern Croatian pianism. Such an artist is a pleasure to listen to, regardless of his choice of repertoire: Brahms, Liszt, Chopin or, as in this concert, Russian composers... H. Novak Penga, KLASIKA.hr, 2017

Lovro Pogorelić's Concert
”Music is not a calling, but the way of living”, the artist pointed by in an interview before the concert. A few minutes later he has proven that claim at the piano, when his playing elevated the Russian mystique to the unreachable height. And even though the piano keys are only black and white, under the fingers of Lovro Pogorelić they rang in a million of colours in our minds. N. Žličar, Our Time, Velenje, 2017

Lovro Pogorelić - master at the piano
All that characterizes a master Lovro Pogorelić has in abundance: his own sacrosanct access to everything that he plays, a technique that allows him to fill the space with sound colours and by not making compromises with the difficulties experienced by most performers in their performances, an ability to concentrate and focus in a way that enchants the listener; the listener is convinced that what is going on at the given moment is the most important thing... Bent-Erik Rasmussen, Schubertiaden, Roskilde (Denmark) 2015

Inner reflection in the Lovro Pogorelich's Performance at Bibiena
... the refinement of sound that affects meditative inner reflection which is opposed by dynamic explosions that follow a very personal logic. It could be seen in Mantova’s recital in the works of romantics Schubert (Sonata D. 960) and Schumann (Kreisleriana Op. 16) as well as in the ecstatic and mystical 'symbolist' Scriabin (Sonata No. 5). R. Chittolina, Cultura&Società, 2015

“...A noble elegance of Lovro Pogorelich's interpretation, his sovereign, yet not excessive, highly individual choices of the tempo – which the orchestra followed mainly flexibly – his natural virtuosity was rewarded by the thundering applause, and the musician whose modesty should serve as an example to all thanked for it with a striking Rachmaninoff's prelude.” A. Kovács, Eozin magazine, Pécs, 2012

“I have to say that the visiting artist fitted well with the evening’s character. Lovro Pogorelich, who is well known himself, is also an excellent pianist. I. Dauner Nagy, www.momus.hu, Budapest, 2012

Born in 1970, he is currently coaching his young-juniors at Zagreb University. At his recital on December 15, 2011, he played Vallée d'Obermann from Années de pèlerinage (Years of Pilgrimage), Ballade 2, St. Francois de Paule marchant sur les flots from Legends (Liszt), and Pictures at an Exhibition (Mussorgsky). He is a big man in size and plays in full impact, although I myself felt refined delicacy in his astonishing sound.
I sensed a little sombre sound in a music piece of Liszt, however, depth of sound and lyric sentiment were absolutely perfect which trembled my heart. In Ballade, a beauty contrast between colourful repetition of chromatic scale and sophisticated play was impressive. He breathed vitality into the music. Pictures at an Exhibition took me to an exhibition site where artwork of miniatures are being exhibited. Each piece described every scene very well. Music art has been built up in a confident manner.
It was lucky for his music fan to enjoy Rachmaninoff and Nuages griss (Gray Clouds) by Liszt in his encore program. Kyoko Michishita, Let's Enjoy Tokyo, 5 best concerts in 2011

Sequence of tune in rich variety-glossy as velvet
He is an absolute career concert-pianist, and is associated with refined art creation. His performance is matured, heal people and make people peaceful. The first part was for the year of “Liszt”. Three compositions express composer’s matured state of mind. He played as if he carefully listen to the composer’s “thoughts”, as if asking a patient about his condition and stroke the keys of piano softly. He was relaxed, receiving a rising poetic sentiment. In the middle and highlight part of “Valley of Obermann”, every tune is knock-out active and sensation beauty. It’s not that fingers tapping piano keys, but piano keys are fascinated with his fingers to come out. Reverberation generates one after another which creates a lot of depth in tune. This phenomenon skill makes “Ballade” and “St. Francois de Paule marchant les flots” more impressive and brilliant. He is extremely rich in performing music in a great variety, and holds inexhaustible skills in his hands. Visually, as sparkling crystal and powerful as dust blown up in the air. I am utterly astonished by a great variety of dynamic range, and his capacity in a swift shifting power of sequence in tune. His work contains many eccentric factors, although every grain of tune is as smooth and brilliant as velvet.
Kayo Fushhiya, www.jazztokyo.com/live_report/report394.html 2011

Brilliant Lovro Pogorelich at SC ... by playing lyrical, deeply introverted, melancholic, emotionally charged pieces from the Années de Pèlerinage, thus showing the virtuosic ability of achieving pianism that left the audience speechless.
B92 Beograd, source: Tanjug, unknown author, 2011

Sensitive triumphs Lovro Pogorelich, the pianist whose inherent exquisite delicacy in the approach to the piano enables him to strive for balance between the high intensity of creative endeavour and sensitive personal touch, performed at the third Spring Piano Festival at Belgrade’s Sava Center. His performance, both as a soloist and in the company of the Belgrade-based Dušan Skovran String Orchestra, was part of the exclusive Jugokoncert’s program titled Stars Play Liszt!.
Relatively delicate in the introductory Vallée d'Obermann, Lovro Pogorelich developed it by alternating spiritual resting places with tumultuous moods, and then by even increasing the doses of personal contemplation of the piano storms of the subsequent Légende No. 2 – Saint François de Paule marchant sur les flots. In this soloist introduction to the evening he flared up his complex artistic temperament, raising it from time to time to real piano-playing typhoons.
Z. Kojić, Danas, Belgrade, 2011

Lovro Pogorelich shined as the soloist of the concert Pianist Lovro Pogorelich can already be called a regular visitor in Kuopio. He surely isn’t an unwanted quest: his regular concerts with the Kuopio Symphony Orchestra have been enjoyable music experiences...
Malédiction is quite modest with its longitude, but piano stays well in the centre of the work and Pogorelich played it clear tones and upright... In Liszt’s Piano Concerto No 1 E-flat Pogorelich had a fairly heavy approach, so that the trills were very bright and octaves rolled enthusiastically. On the other hand, you could only hear the soft, atmospherically elegant moments counterweighing the power and energy. Pogorelich is an all-round, skilful soloist. A musical soloist also lights up the orchestra. Kuopio Symphony Orchestra played amazingly well in co-operation with Pogorelich under the baton of Atso Almila.
J. Mattila, Savon Sanomat (Finland), 2011

        ... In Pogorelich's performance, not only do the notes seem to be purified from the residuum of style and time, but the very time of the sonata's origin has come to life under the soloist's fingertips (1st Sonata by Beethoven). ...
And that what goes without saying, and what has already struck our nerves and excited us two years ago with Brahms - feline softness, power, energy, diversified virtuosity, only now it is imperatively presented in the quality of the only possible, main, domineering expression. ( Symphonic Etudes by Schumann)...
S. Petuhova, www.forumklassika.ru, Moscow, 2009

       After an album dedicated to Liszt compositions, pianist Lovro Pogorelich returns with a new record on the same label, Intrada, the contents matching his big and powerful hands. This one brings us two Russian composers whose works he usually performs at the concerts. Even though Mussorgsky's 'Pictures at an Exhibition' and Rachmaninoff's preludes are reputed as difficult to interpret, this wasn't his main preoccupation, as he states in the following interview. On the previous record he demonstrated an orchestral and colourful sound which he had no trouble repeating in 'Pictures at an Exhibition'. When it comes to technical complexities of Rachmaninoff's preludes, his selection was such that allows for a nuanced sonority and a fluidity of his play, as we can hear in a Prelude op. 23, n. 7, on play during January 2009.
A. Jourdain (France),www.pianobleu.com , 2009

        ... In 'Pictures at an Exhibition' Lovro Pogorelich's intention is less to grasp his audience than to guide them. Isn't this absence of violence closer to the spirit of the piece? Without a doubt, his expression well paused and measured, his vivacious harmonic intelligence ('Catacomb'), his manner of touching the keys and his sound inclined towards intimacy ('The old castle') captivate. Not forced, but richly coloured, his performance succedes, almost without noticing it, to evoke the orchestra. Nice work ...
F. Langlois, Le monde de la musique, Paris, 2009

Splendid Croatians
His previous CD, consecrated to the music of Liszt, we liked a lot. Here again Lovro Pogorelich delights us with a beautiful program dedicated to Rachmaninoff, nine preludes chosen from the opus 23 and 32, played with refinement (n. 10, op. 23) and restrained might (n. 2 and 5, op. 23): luminous. His version of the Moussorgsky's 'Pictures at an Exhibition' is distilled with subtlety and rejoicing expressiveness. At the peak of his art Lovro almost makes us forget that other Pogorelich equally talented, who is his older brother!
Ph. Gut, Le comtadin, Avignon, 2009

       ... Softly, extraordinarily clearly in both the articulation and psychological plunge, the artist not only overcomes the virtuoso (and let it be said, not small) demands of the piano, but he also masters the story-line. It is this that gives the sense of wisdom and serenity that the oldsters spoke of: this man knows something about life that we are yet to learn.
S. Petuhova, www.forumklassika.ru, 2007

       Pogorelich made the grand piano sound ... Lovro Pogorelich did to Kuopio Music Center's Steinway the same that Liszt did in his time to the whole piano music: for the first time I heard this grand piano sound really concerto-style, filling the big hall with its tone. Pogorelich let it sound using the grand piano's capability to orchestral capacities... J. Mattila, Savon Sanomat (Finland), 2007

       Brahms brilliantly ... This material got a cultivated form, when Lintu conducted and Pogorelich interpreted. Especially in improving the first part's thematic material, Pogorelich was able to take a totally balanced role in relation to the orchestra. ... The work's finale was soloist's brilliant celebration...
J. Mattila, Savon Sanomat, 2007

       ... It is clear that this is a pianist of a considerable reputation with impressive musical arguments. ...
J. Hamada, The Record Geijutsu Disc Review (Japan), 2006

       ... Especially in the Sonata in b-minor he draws, with a boundless, dynamic and strong performance, a clear line of division from its delicateness. A little bit of harsh atmosphere can also be sensed but it is far from not-sophisticated. In touch with the piano there is strong power of the will but the pisanissimos are beautiful and steady and they sparkle like crystals and the passages just flow. Forte, strong as steel, and tempo, as fast as it might be, do not subside a single bit - virtuosity that takes off the burden from our chest. The constantly growing crescendo represents an energy that never slackens. Above all that, while expressing the tender feelings, he does that with delicacy and a fresh lyric and poetical feeling that enchant the listener's soul. These emotions of high purity should be emphasized and in connection with that also fresh color changes. The extraordinary strength of molding as well as the art of producing a turbulent drama adorn this impressive performance. This would not be possible without a great dose of courage. The other pieces are of outstanding interpretation and worth listening.
N. Tsutomu, The Record Geijutsu Disc Review, 2006

       ... At the age of 36, he demonstrates magnificent playing. For his CD he did not choose easy pieces, attacking Liszt's opus with the certainty, masterly skill and controlled power. Four of Liszt's greatly appreciated compositions allow him to raise to the level of the great ones. Discover him.
Ph. Gut, Le comtadin

       ... This 36 years old Croatian pianist is not new. But remains a mistery. Mysterious and more than talented, he defends the musical approach, concentrated and intense, sometimes to the point of introversion. His new recording is dedicated to the inventive and radical interpretation of Liszt's music ...
J. Lukas, Journal La terrasse, Paris, 2006

        ... In this manly perspective, the Sonata in H minor appears more credible than the most recent affectation from Far East. Also, the Obermann Valley does not wallow in the sublime, so that powerful things are expressed in a dark manner ...
O. Bellamy, Le monde de la musique, 2006

        Atypical artist ("disputable for some, fascinating for others" was reported about him), be as it may, Lovro Pogorelich is above all an artist ... up to his fingertips. His "seeing" of Liszt in this recording of quality proves this, in which several major works are united around the magnificent Sonata in H minor. Beyond any excessive eloquence, but in full glory. And that is beautiful.
P. Tomassini, Le quotidien, 2006

        ... The intense performance by Lovro Pogorelich reveals an exceptional control of the dramatic inspiration. An absolutist and almost violent, an extremist and a percussionist with love for syncope and at times a cutting and sharpened hardness of sound, his piano often gives out a sound of one skinned alive. ... Reading provided by the Croatian pianist is a forceful immer-sion, obviously a contrast one, with magnificent episodes. ...
C. C. Humphray, www.classiquenews.com , Paris, 2006

        Wouah! (orthographe not certifie...) it is the exclamation which one cannot retain with the listening of Liszt de Lovro Pogorelich ... like says it the text of presentation registered on the case of the disc: " Croatian Lovro Pogorelich leaves certainly seldom indifferent" ... not, unless being completely deaf null cannot remain indifferent to such a passion, his play sharp and powerful with what to stir up the tripe. The particularly firm left hand always maintains a great tension. ...
A. Jourdain, www.pianobleu.com , 2006

        ... pianist Lovro Pogorelich has discovered how to invest the brooding inevitability of Slavic music with the blustery style of his own ... already a veteran concert artist, Pogorelich played an all-Slavic program for an overflow audience ...
C. Porter, Washington Post, 2003

        ... The concert proved that Pogorelich is a real virtuoso in terms of technique. He played all the hard parts just like that. Determinedly he led the concert further - sometimes even despite the moderate deceleration of the orchestra. Pogorelich mastered absolutely marvellously the concerto as well as the instrument.
J. Mattila, Savon Sanomat, 2003

        Croatian Piano Lion ... Pogorelich is a pianist with the capital P. His technique is overwhelming and his strength is bear-like... In "Pictures at an Exhibition" his contrasts are so plastic and powerful that we can almost touch children in Tuileriers, feel Bydlo's attack, experience the orgy of colours at the Market-place at Limoges, hear rumble in Catacombs, and enlarge and empower the Great Gate of Kiev more than heard ever before. Did anybody miss Ravel's orchestration? No, Lovro Pogorelich's interpretation is sufficient. Prokofiev (The 7th Sonata) remains faithful to himself in all three movements... In the third one he dominantly mastered restless tempo, vigorously but with strong feeling..., leaving everybody breathless while playing. That was overwhelming!
H. Krarup, Dagblader, Denmark, 2003

        ... His pianism is basically formed of excavation of the sound, of defined and linear courses, of formally determined round pillars and beams, not feigned, with fullness, but placed without overemphasis.
B. Zappa, L'eco di Bergamo, 2001

        ... It seems that Pogorelich persistently plays uphill ... It is an unusual and moving experience to meet such a great musician...
J. Jacoby, Politiken, Copenhagen, 2000

        ... The audience enjoyed an exciting piano performance: Chopin and Rachmaninov are composers who promise maestral brilliance. Pogorelich fulfills all technical requirements, which are set ahead of him, and in doing so does not succumb to the danger of falling into drawing-room music performance. His music has a driving force, since it does not linger on the surface, but has a melancholic overtone. That is expressed while he is performing Chopin. Pogorelich takes away every trace of sentiment from him; and gives him depth ... Pogorelich achieves the fullness of his expression by his hands and entire body. "Stroke" - hos fingers fall on the keyboard. But, namely in those blocks of accords individual tones do not sound empty, as Pogorelich wraps them in warmth. This is not only the meaningless thunder of tipple forte, but music, which is felt, and at the same time remains earth-bond. That is to say, the tones, which remain on the ground ...
I. Schwenke-Runkel, Leverkusen Stadtanzeiger, 1997

        ... this young Croat possesses all that it takes in music, from strength and ease of technique, while as the musician he is extremely reflective and serious up to being introvert. Parallel to the dynamic forming of round, grand expressions, he exceptionally well and expressively managed to play the torn apart middle tones. He wraps into a soft velvet of the dusk of gently modulated nuances, and carries across a strong message (which we simply cannot refuse) about the spiritual intents of this Russian (Scriabin): overflowing the boundaries and the restless melancholy surpass the conventional virtuosity. That reflective attitude is visible in the peaceful parts of the most beautiful and expressive. Pogorelich has the strength and the drive for the wild and reckless, so he found strongly dramatic tension in a (V) Sonata ...
J. Jacoby, Politiken, Copenhagen 1996

        ... His introvert and concentrated approach to piano is very peculiar. His anschlag has the strength and his playing the format ... Lovro is really the lion at the piano ...
E. Hvidt, Kristelight Dagblad, Copenhagen, 1995

        ... Busoni transcription of the "Chaconne" from Bach's Partita For Solo Violin In D Minor but also Schumann's Symphonic Etudes gave him many openings for the blend of bravura and bravado that characterized his playing ... It was, however, a completely different Lovro Pogorelich that moved with such poetic assurance through Mussorgsky's Pictures At An Exhibition, so often played trough as pastel miniatures ...
R. Hambleton, The Toronto Star, Toronto, 1994

        Auster Piano Virtuoso... It is highly unusual for a young pianist with such a great surplus of technical superiority to do so little to seduce his audience ... He forms with the great strokes, almost an orchestral understanding of the gesticulation of the sound, light and shadow, of what is beneath and behind ...
J. Jacoby, Politiken, Copenhagen, 1994

        A Piano Talent from the Master Category ... He is genuine in his playing without unnecessary embellishment, not trying to mislead anyone, doing everything to enter the soul of every tone and to inhale it the full value. There are no superficiality or easy solutions in his performing; everything is presented clearly and strongly...
P. Woetmann, Berlingske Tidene, Copenhagen, 1993

        Great Younger Brother ... Only 23 years old Lovro Pogorelich is really the giant talent who already dominates the technique of great and difficult works of the romantic piano repertoire...
Th. Kjems, Jyllands Posten, Copenhagen, 1993

        ... Lovro Pogorelich's big scale in music making was very vivid and fresh. In terms of technique, he played magnificently, with calmness, and it was highly applaudable that he made the best of the sound of piano...
A. Hirano, Yomiuri Shinbun, Tokyo, 1992

        ... The first edition of The International Festival of Classical Music in Cannes directed by Gabriel Tacchino, was marked by the first appearance in France of Lovro Pogorelich ... He reveals confidence and the Olympic calmness in Busoni's transcription of the Bach's Chaconne, elegance and youthful simplicity in Chopin (Nocturne op. 48 and Fantasie). This born artist owns beautifully contoured phrase, rare sonority, visibly touching. Pictures from Exhibition confirmed everything he already showed ...
G. Thomas, Le Monde de la Musique, Paris, 1992

       Here is a unique artist who will, undoable, divide opinions. Questionable for some. Fascinating for the others. Interesting, in any case ...
A. Busser, Nice-Matin, Nice, 1992

       ... Lovro Pogorelich's style is precise and well schooled ...
G. Norris, Daily Telegraph, London, 1988