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"The soloist excelled at Mozart's performance"

"...Mozart's Piano Concerto No. 23 also featured a first-rate local soloist: Agustina Herrera. The very young pianist impresses with her confidence, the elegance of her phrasing and a powerful sense of integration in a continuous line, sensitive to the dialogue with the orchestra and at the same time strongly centered on itself."

Federico Monjeau - Clarin - March 29, 2004


"...excellence of the pianist Agustina Herrera as a soloist"... "Mozart's beautiful piano concerto K. 488, was heard in an irreproachable version from the stylistic point of view and provoked a silence in the audience that only occurs very from time to time "..."Herrera contributed a refined mastery of the keyboard, a sound wrapped in a charming nuance and a controlled sense of expression so as not to fall into a discourse typical of later romanticism. The adagio, a striking example of supreme simplicity and Mozartian inspiration, was the object of an admirable execution, not only because the soloist looked great due to her delicate and painful expression... "

Juan Carlos Montero - The Nation - March 28, 2004

"Agustina Herrera luxury soloist"
"...strong temperament, full and round sound with outstanding enhancement in the left hand when striking the strings, which is essential in the Rachmaninoff concerto, which he played with unusual authority..."

Abel López Iturbe - Financial field - November 1990


"...A recital of irreproachable quality! .... a wonderful concert truly characterized by quality, finesse of touch and heart..." " incomparable recital..." "...Agustina Herrera showed her great talent as a musician, manifested through an incredible touch placed at the service of the soul that she breathes into the works performed, to which she knows how to confer those nuances that provoke deep emotion in the listeners."...

Dernières Nouvelles d'Alsace - January 1997 - France


"... the soloist Agustina Herrera sovereignly modeled the solo that begins the slow movement. Sparkling, graceful and elegant was the Presto..."

Acher-Rench-Zeitung May 1997 - Germany


..."He drew attention to himself with an at once graceful but intelligently examined and logically constructed interpretation of Mozart's concerto in A Major K. 488. Agustina Herrera knew how to convince artistically with a delicate and clear touch as well as with vigorous interventions. Emotionally deep transcended the second movement, Adagio..."

Acher - und Bühler Boat - May 97 – Germany


"...The scales of the solos had brilliance, the cadence unfolded true dimensions. The slow movement drove the art of the "sung legato"...with expression..."

Helmut Weidhase Südkurier - May 97 - Germany

"...Mozart's adagio in F minor is a consecrated nocturnal work, concise and with the qualities of an aria. This is how Agustina Herrera understood it when she played it very expressively with the Hochschule Chamber Orchestra. The soloist born in Argentina, offered light, ethereal and vaporous Mozartian sounds..."

Badischer Zeitung - April 1997 - Germany

"...Together with them was the Argentine pianist Agustina Herrera, whose outstanding merits have been appreciated in recent times, especially as a chamber performer. This became evident in the Chamber Quintet op.24 by the Argentine Constantino Gaito, a work by inspired fluidity, extremely pleasing to the ear, offered in a version of interpretive hierarchy, ... and Brahms's masterful Quintet in F minor, offered in a magnificent version."

The Nation - Hector Coda - October 16, 2009


"the Sarastro Quartet from Switzerland...gained a lot with the addition of the solvent pianist Agustina Herrera in the quintets of Constantino Gaito (op.24, a more than interesting rarity with its Creole post-romanticism) and Brahms (the masterful op. 34 in F minor)."

Clarin - Federico Monjeau - October 19, 2009


"...the Piano Quintet op.34 in F minor by Johannes Brahms elicited an enthusiastic approval from the audience, especially towards the pianist Agustina Herrera, whose dedication and passion had already rewarded the spectators with prolonged applause at the beginning of the evening. "

Rio Negro - Monica Jofré - October 16, 2009


 "...with the three miniatures that Beethoven wrote about Goethe's poems, Alejandro Meerapfel started confident and solvent, very well supported by Agustina Herrera -a fantastic chamber pianist..."

The Nation - Pablo Kohan - September 2008

"... a pianist of undoubted category, such as Agustina Herrera, who adds to a delicate sound a very clear articulation and good criteria to find the style, the presentation had undoubted artistic interest."

Juan Carlos Montero - The Nation - November 8, 2006


"Agustina Herrera's intervention was commendable, because her phrasing was amalgamated with post-romantic expression to reflect the intense inner world of the composer."

Héctor Coda - The Nation - August 1, 2006

"Alejandro Meerapfel together with the consecrated pianist Agustina Herrera gave an intimate, deep and vibrant concert in which they reeled off works by Brahms, Wolf, Mahler, Ravel and Debussy, and lit up the icy winter night with passion."

Rio Negro - August 14, 2005


"Subtle in touch and owner of a superior pulsation in its various intensities, the Buenos Aires pianist revealed a highly refined color palette, and also exhibited high musicality and a solid expository line, with exact articulation of silences."..." of the best cellists in our milieu...showed a clear sonority and very deep expressiveness, a legato of penetrating beauty and pitch of absolute precision.All these qualities and the particular communication of both interpreters could be appreciated in Debussy's Sonata....the culminating moment of the night was undoubtedly constituted by Shostakovich's harrowing sonata...., a piece that both soloists poured with remarkable level and a dominant expressive force, even in its touching fragments of accused introspection.

"Carlos Ure - The Press - June 26, 2004


"Agustina Herrera and Serguei Kotounov played with conviction". "They tackled an uncompromising repertoire and brilliantly executed two complex pieces: the Debussy and Shostakovich sonatas for cello and piano. The performance was excellent both stylistically and expressively and technically.

The Inside Voice - June 26, 2004


..."Pianist Agustina Herrera exhibits an impeccable technical fingering mechanism for its neatness, a charming sound always covered in a pearly hue, with the gift of homogeneity of touch in fast passages and a passionate expression to give warm inflection to each phrase"....

Juan Carlos Montero - The Nation - May 2001

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