Despite the maturity and sophistication of Daudet’s conceptions, it is difficult to escape the sense of still greater things in store. I can’t wait.
…parce que cette pianiste a des idées, des convictions et du talent.
Piano: Haïti, nouveau terrain de jeu. Interview réalisée par Guillaume Tion
« La force de son interprétation la place au-dessus du lot. »
« Une excellente maîtrise de l’instrument et une émotion qui a d’emblée conquis les spectateurs. »
» Tant de musicalité déjouant les séductions faciles : un vrai défi. »
» Le timbre d’un Steinway auquel Célimène Daudet donne une résonnance cristalline »
» Il va sans dire que tant de flamme alliée à des moyens virtuoses frôle ça et là le risque de l’excès, mais cette audace qui secoue est tellement préférable aux jeux censurés par la prudence académique. »
» Enrichissement du sens et de l’émotion : que demander de plus ? »
» Une sensibilité palpable, performance de virtuosité et d’élégance »
» Un jeu expressif à souhait »
» Ce récital fut un pur moment de bonheur pour le nombreux public »
» La richesse et l’intelligence d’un piano intense et délicieux »
« Dazzling Daudet, French pianist Célimène Daudet had a formidable task to carry out in her recital last Friday, when she chose to perform excerpts from the Russian repertoire, all of which made hefty demands on the performer, which were met with confidence by Ms Daudet, whose innate bravura and consummate musicianship were much in evidence throughout the recital which was presented by the Embassy of the Republic of France and that of the Russian Federation… »
« She chose to perform a group of six Préludes from the [Debussy’s] Book 2 beginning with Brouillards– a depiction of mist through sound. The young French pianist immediately captured the atmosphere of the work, which was performed with fine balance and which revealed her sharp analytical skills. It was followed by the contrasting La puerta del Vino, which was both spirited and sensuous. This was very finely crafted to secure a performance of high order. Daudet’s fine technique and musicianship were further confirmed inBruyères, which the pianist entered the character of the work wholeheartedly. After Ondine, that was again replete with much character and also control, came Les tierces alternées, which revealed Daudet’s impressive technique and excellent interpretative skills. […] Clearly Daudet’s performance as a solo pianist presented her as a remarkable master of Debussy. »
« She performed a number of Préludesat the end of the first half. The sound and the texture were such that made it possible to evoke impressions of various images. The misty, elusive landscape of Brouillards, followed by the bright and also bitter-sweetness of La puerta del Vinostood up when followed by the bleakness of Bruyères. On a different and rather satirical and comic vein came General Lavine-Eccentric. The set was rounded off with Les tierces alternées. It was exactly these, the alternating thirds which are so specific to the piece’s technical’s demands, which dominated it and carried off with such masterful aplomb by the young pianist. »
» Wonderful playing with an enormous tonal and dynamic range and typical French refinement. »
» There was authority as well as delicacy in the performance. »
» Passionate, free, almost improvisatory virtuosity of the highest order that went beyond the empty display it could have become. «