BIOGRAPHY

Praised as a pianist of “huge intensity” (The Telegraph), Alexander Soares is developing a reputation as an artist of formidible technique and virtuosity, with performances of “diamond clarity and authority” (BBC Radio 3 ‘In Tune’). In 2015, his performance in the BBCSO / BBC Radio 3 ‘Boulez at 90’ celebrations received widespread critical acclaim in the press, described as a “brilliantly unbuttoned account” (The Sunday Times) and “most memorable of all” (The Financial Times). The 2014-15 season began with a BBC Radio 3 broadcast of the rarely heard piano repertoire of John Tavener, and included Alexander’s debuts at the Queen Elizabeth Hall and the Edinburgh Festival Fringe, the latter performance applauded for its “explosive sound world, pulling out a rich array of colour and texture” (The Herald). He was awarded 1st prize and Gold Medal in the prestigious Royal Overseas League Competition, and was subsequently selected as a 2015 Artist by City Music Foundation. 2016-17 highlights include returns to Wigmore Hall, West Road, Cambridge and St. James’s Piccadilly, and debuts at various festivals across the U.K.

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Contemporary French repertoire forms a major part of Alexander’s programming. Since a U.K. premiére of Tristan Murail’s work in the BBCSO Total Immersion series, he has performed this repertoire in his debut recitals in the Royal Festival Hall, the Purcell Room, and the Bridgewater Hall. In 2014, he collaborated with Diego Masson performing Messiaen’s Des Canyons aux Étoiles in Milton Court Concert Hall. The following year, he performed Boulez’s Dérive with David Corkhill in LSO St. Luke’s. His first album will be recorded in 2016, comprising of the solo works of Boulez, Dutilleux and Messiaen.

A keen chamber musician, Alexander has performed on numerous occasions in the Barbican, working with notable artists such as Boris Brovtsyn and Alexander Baillie. Collaborating with violinist Mihaela Martin, he debuted in Spain at the Palacio de Festivales, Sala Argenta. He has also toured France, in venues including Auditorium St. Germain and Opéra Rouen, performing Stravinsky’s Les Noces on Pleyel’s original double grand pianos, manufactured in the late nineteenth century. Alexander has greatly benefitted from the guidance of pianists including Richard Goode, Stephen Kovacevich, Stephen Hough, and Steven Osborne.

Alexander graduated with first class honours from Clare College, University of Cambridge. He then pursued postgratuate studies with Ronan O’Hora at the Guildhall School of Music & Drama, achieving a Master’s with Distinction. In 2015 he completed a doctorate investigating memorisation strategies for contemporary piano repertoire, under the supervision of Professor Daniel Leech-Wilkinson. He is most grateful for generous support from the Guildhall School Trust, Help Musicians UK, Countess of Munster Trust, Martin Musical Scholarship Foundation, Park Lane Group and Making Music. For more information please visit
www.alexander-soares.com

PRESS QUOTES
Diamond clarity and authority
Sean Rafferty, BBC Radio 3
Most memorable of all
Hannah Nepil, Financial Times
Huge intensity … and jazzy flexibility
Ivan Hewett, The Telegraph
The recital usefully — thrillingly — ended with Boulez’s earliest published work, the 12 Notations (1945), piano miniatures each 12 bars long and 12-note in idiom. Five have been orchestrated and expanded (1978-97) by the always revision-obsessed composer, and these sizzling late displays of colour formed the first part of the BBCSO’s concert under Thierry Fischer. But in Alexander Soares’s brilliantly unbuttoned account, the crazed toccata of No 2 (for instance) had already sounded sufficiently orchestral.
Paul Driver, The Sunday Times
"Delius's Piano Concerto … dashed off with sensitive aplomb"
Christopher Webber, Opera Magazine
"An exciting new prospect … Soares, a London based pianist of extraordinary technical skill and phenomenal memory."
Rick Jones, Words and Music
"Fine pianism …. Soares played the work as if it was in his blood.”
Bob Briggs, Seen and Heard
"An impressive performance … easeful and clarifying the music’s argument."
Colin Anderson, Classical Source