“Child pianist of seven plays like genius” —Toronto Star, 1945.
“…wholly un-childlike … adult technique … highly competent artist … outstanding pianist
who happens to be nine years of age.” —Globe and Mail, 1947.
“Ten-year-old Patsy Parr charmed a critical Carnegie Hall audience in her New York debut…
displayed musical sensitiveness and sureness…and an adult understanding for the dramatic in music.” —Canadian Press, 1947.
“Grieg Concerto was sheer beauty … her tones were jewel-like in their brilliance … her persuasive
and poetic performance left one enthralled.” —Winnipeg Tribune, 1957.
“… a pianist of virtuoso powers … amazing strength … variety of colour and sound rarely outrivaled by any pianist … tone melting and golden.” —London Free Press, 1958.
“…smashing success…a pianist of sensitivities similar to those of hercelebrated teachers, Madame Vengerova and Rudolf Serkin.” —Philadelphia Evening Bulletin, 1959.
“… excitingly glamorous performance of the Rachmaninoff Concerto No. 1 … fire, power, authority and control … high in the ranks of pianists anywhere.” —Cleveland Plain Dealer, 1961.
“… artist to the core of her being … her cleanness of style and vigor of rhythm, coupled with her innate musicality cause her to be ranked with the best.” —Cleveland Plain Dealer, 1962.
“… most sensitive chamber musician, supporting or dominating as required, yet always maintaining that exceptional tone which blends to perfection.… should prompt the Orford Quartet to investigate more music for piano and strings. —Globe and Mail, 1978.
“Fenyves-Parr … in the Franck Sonata … one breathtaking flow … unusually rich re-creation.” —Toronto Star, 1983.
“… tailored her tone to the requirements of the various composers as well as the violinist [Shmuel Ashkenasi] … a perfect pianistic partner.” —Philadelphia Enquirer, 1986.
“… plays with clarity and thoughtfulness, often suggesting that she is discovering
the meaning of the music as she recreates it.” —Kingston Whig-Standard, 1985.
“… throughout, Parr’s playing was lively and lucid … the evening’s star.” —The Portland Oregonian, 1987.
“Parr, meanwhile, remained consistent to the end; poised, exact, expressive of feeling that was always informed with intelligence.” Globe and Mail, 1989.
“… Parr made light of the virtuosic piano passages.… her clear, luminous sound was capable of drama and power.” — Globe and Mail, 1990.
“Long on artistry and insight, short on egotism…some of the finest chamber playing I’ve heard all season.” —Globe and Mail, 1994. [AMICI Chamber Ensemble]
“These musicians happen to be among Canada’s finest…. Parr’s light and pearly but brilliant playing is a particular delight. —Classical Music Magazine,
1996. [Beethoven (CD) AMICI]
“It is a professional coup for AMICI to release an album on a major international
record label such as Naxos … this performance reaches an international standard and is nicely complemented by a disc-filling account by Scott St. John and Patricia Parr of Messiaen’s youthfully lyrical, seldom-heard Theme and Variations.” Toronto Star, 2001.
“… these three distinguished musicians … did not seem to be performing so much as making music…. a better example of chamber music making would be hard to find to set before the next generation of musicians.” —William Littler, Toronto Star, 2002. [AMICI]
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