You may download my curriculum vitae in pdf fomat.
Feel free to download these photographs for publicity purposes. Please give credit to photographer Murat Eyuboglu in any publication.
Click the image to retrieve full size photographs.
You can also use the following review excepts:
“Dmitry Rachmanov played the music with tightly wound energy…grand dramatic style. He gave three Rachmaninoff Preludes nice shadings of color while the gears of Prokofiev’s Sonata No. 6 were made to grind powerfully and shine with the appropriate industrial gleam.”
The New York Times
“Though Dmitry Rachmanov may enjoy a name that separates him from his legendary countryman by only one syllable, the similarities don’t end there. Mr. Rachmanov’s spirited, exceptionally lyrical Beethoven playing compares well to the leaden, academic readings of so many pianists who confuse the literal for the literary… Buoyant and suave, his Hammerklavier purls along unimpeded by any musical foot dragging. In his hands, everything sings, and sings gloriously. “
The American Record Guide
“Rachmanov’s Sunday recital was a thing of virtuosity, concept and total professionalism. For a finale, Rachmanov presented a sensational account of Rachmaninoff’s flashy Variations of a theme of Corelli, Op. 42. It simply cannot be better played. The entire program was first rate, the finale was awe inspiring.”
San Francisco Classical Voice
“A brilliant pianist endowed with a precise yet dazzling technique and a strict and absolute respect for the text. Forceful and persuasive, a magnificent interpretation.”
Nice-Matin
“The first Impromptu in A-flat Major was lovingly played and achieved many moments of subtle beauty. The most popular of the four was, of course, the Fantasie Impromptu and it would be difficult to find a better performance.”
Peninsula Reviews
“From the first measures of his Mozart, Dmitry Rachmanov…has shown himself an indisputable musician. With the Scriabin Sonata No. 5 he revealed the flame that burns in him; now dreaming and then diabolical, he translates all the fluctuations of this moving score.”
Le Soir (Brussels)