The first important thing to say is that American music had and still has its own folklore just as Hungarian music had it in the time of Bartók and Kodály and their followers. Listening to this album, we realize that for many American composers it has a very similar function to the one of traditional songs, folk songs, gospels, and also jazz and popular music.Read More
Piano duos can be just as different from each other as individual musical personalities. The twin pianists Christina and Michelle Naughton thus enter a sphere in which duos are not often encountered: that of downright idyllic spontaneity.Read More
The only moments not in sync during pianists Christina and Michelle Naughton’s Sunday recital at the Kennedy Center arrived before and after every piece, in the form of staggered bows before an adoring audience. The bows served as visual reminders that the twin sisters — who recently became the first piano duo recipients of Lincoln Center’s Avery Fisher Career Grants — are each talented musicians in their own right yet when together become a perfect storm.Read More
The art of good piano transcription is in keeping true to the spirit of the original orchestral work, but also giving a fresh insight into the music while also avoiding the feeling that something has gone missing in reducing the forces from a full orchestra to a single piano.Read More
On Thursday, March 14, 2019, at 6PM, four 2019 Avery Fisher Career Grants are officially being announced by the Avery Fisher Artist Program’s Chair, Deborah Borda, Charles Avery Fisher and Philip Avery Kirschner. The recipients being honored at The Jerome L. Greene Performance Space at WQXR are Henry Kramer, pianist; Angelo Xiang Yu, violinist; Christina and Michelle Naughton, piano duo; and the JACK Quartet. This marks the first time a piano duo has been awarded a Career Grant.Read More
Mozart & Mahler. New Zealand Symphony Orchestra conducted by Edo de Waart, with Christina and Michelle Naughton (duo pianists). Horncastle Arena, April 11.Read More
Malaga. Museo Picasso Auditorium, Malaga (MPM). Duo: Christina & Michelle Naughton, pianos. Works by Bach/Brahms-Busoni-Kurtág, Bernstein, Mozart, Conlon Nancarrow/Mikhashoff and Schubert.Read More
Poulenc’s Concerto for Two Pianos and Orchestra is a mixture of influences from Parisian music halls to Mozart, Javanese gamelan music to jazz. It starts out hyperactive, moves to dreaminess and ends with lovely, limpid phrases, covering a lot of ground along the way.
Portland Piano International brought identical twin virtuosos for two recitals, and they delivered performances as polished as their presentation
Many renowned classical piano duos have kept it in the family — consider the Labèque sisters, the Pekinel sisters, or the Kontarsky brothers. The vast benefits of a musical partnership between siblings were obvious during Christina and Michelle Naughton’s concert with The Gilmore’s Rising Stars Series yesterday. The two 28-year-old pianists brought esoteric unity to their art form in a way only identical twins can. But as their spellbinding Sunday afternoon performance showed, the Naughton sisters are no gimmick. The two extraordinary musicians demonstrated uncanny harmoniousness and technical precision, even when expressing individual soulfulness and spontaneity across two separate Steinways.
They are dynamite — and not just musically. Twins Christina and Michelle Naughton gave an acclaimed debut at Frankfurt's Alte Oper concert house. In two concertos by Mozart and Francis Poulenc, the dazzling sisters from Princeton, USA not only displayed virtuosity as they climbed the musical summit, but also demonstrated an assured sense of style in their appearance, which included a glamorous costume change.Read More
Mozart peppered his Symphony in D Major (KV 297) with crowd-pleasing effects for a performance in Paris in 1778. And yesterday at the Museum Concert in Frankfurt's Alte Oper opera house, Giancarlo Guerrero set the rapid scale passages alight like Mannheim Rockets, his pleasure clear for all to see.Read More
The Milwaukee Symphony Orchestra delivered the delightful auditory equivalent of double vision Saturday evening. Duo pianists Christina and Michelle Naughton joined the MSO, under music director Edo de Waart, for a completely mesmerizing performance of the Poulenc Concerto in D minor for Two Pianos and Orchestra. The twin sisters, both expressive, technically agile performers who pull an astonishing array of sounds and colors from the piano, played on nested instrument, facing each other.
In recent months, there has been a lot of buzz around Christina and Michelle Naughton, 27-year-old twin pianists from Madison, Wis. Such hype tends to make me skeptical. But now that I’ve heard the pair’s new Warner Classics release of music by Olivier Messiaen, J.S. Bach and John Adams, I’m ready to say, emphatically, that they really are that good. Indeed, I’m ready to put them on a level with some of the greatest piano duos of our time: Vronsky and Babin, Luboschutz and Nemenoff, or Argerich and Freire.
Pianists Christina and Michelle Naughton, twin sisters who began their careers as solo artists but now have a following as the Naughton Duo, played with inspiring fire on Mozart’s Concerto No. 10 for Two Pianos and Orchestra. Reflective imagery is trite when describing twins, but the women really do mirror each other in performance mannerisms; their technique and voice on the piano feel effortlessly the same. During bubbly passages that flowed from one piano to the other, the sisters sounded like one pianist with four hands. When playing in harmony — or solo, for that matter — it’s impossible to tell one sound from the other.
Adams. JS Bach. Messiaen.
From the formidable intensity of Messiaen’s Visions de l’Amen to the sprightly grace of Adams’s Hallelujah Junction, these pianist twins demonstrate remarkable virtuosity and rapport.
For their debut album on the Warner label, Christina and Michelle Naughton—twin pianist sisters from Princeton, New Jersey, with European and Chinese heritage—have selected a repertoire that expresses joy, happiness and peace. Olivier Messiaen wrote his "Visions de l'Amen" in 1943 following his release from a prisoner of war camp. The seven movements of this composition are imbued with an incredibly orchestral sound, adorned with a mystical smile yet strongly inquisitive and full of hope and dynamism; a quest for the divine flows into these visions of the word "amen". Messiaen gave the two pianos very different roles; the first is entrusted with rhythmical flourishes while the second takes care of the melodic and thematic elements of the piece — everything that is needed to express emotion and strength.Read More
Sisters Michelle and Christina Naughton answered one of the questions that they were asked in an interview about the concert which they gave today with this phrase. That is how they define "music". And we could say that this definition fits very well with the concert we attended tonight in the music hall of the Luis Ángel Arango Library: A journey into the human soul. These young American performers, who have just released their second album,Visions, proved themselves to be musicians of the highest quality. They performed pieces by J.S. Bach, J. Brahms, O. Messiaen and J. Adams with finesse and elegance. The "two pianos" format is always astounding, but even more so when the performers are twin sisters. They have developed a sort of "secret language" after all these years playing together, they explain, and this mutual understanding and magical symbiosis, placed at the service of musical performance, produces wonderful results.
Perhaps it is just a game. Like exuberant children throwing a ball back and forth, the two pianos interact - playful, effortless, carefree. They fully embrace the here and now in the joy the moment. But perhaps it is more than just a game. If you pay closer attention and dive beneath the glittering, effervescent surface, you can hear the pianos repeatedly calling out a magical word — Hallelujah! Hallelujah!
Last Sunday, at the Teatro de Bellas Artes, sisters Christina and Michelle Naughton concluded their performance with a lively unprogrammed encore: a four-handed version on piano of Paul Schoenfield's Boogie. Such was their enthusiasm that their performance sounded like there were three pianos and twelve hands, and yet they still maintained melodic clarity and the true harmonic essence of the blues.Read More