"... the young virtuoso succeeds in creating the romantic nuances with elegance and freshness... ...The contrasts of the "Vallèe d'Obermann" break dramatically and clearly enough, and the "Cloches de" Genève " proves Piemontesi powerful and different."Liszt: Anées de Pèlerinage, Deux Lègendes CD Review, SPIEGEL ONLINE, April 21, 2018

"Francesco Piemontesi was in magical form in Bartók’s Third Piano Concerto, his delicately trilling digits uncannily evoking the insect nightlife of the Great Hungarian Plain that was, for Bartók, the nearest thing to evidence of a God." - Bartók's Third Piano Concerto with the London Symphony Orchestra, THE TIMES, February 12, 2018

"Piemontesi numbers Alfred Brendel among his teachers, and his style is intense and rich enough in micro-detail to make even Brendel sound easy-going." - Mozart Piano Concertos No. 25 and 26 with the Scottish Chamber Orchestra CD Review, IRISH TIMES, September 13, 2017

"Francesco Piemontesi is a pianist with amazing expression, which is combined with excellent technical skill." - Mozart Piano Concertos No. 25 and 26 with the Scottish Chamber Orchestra CD Review, MY CLASSICAL NOTES, August 29, 2017

"Piemontesi plays with the vivacity of a young man and decorates the solo parts sparingly, but his captivating soft playing is equally in touch with the music’s inner soul." - Mozart Piano Concertos No. 25 and 26 with the Scottish Chamber Orchestra CD Review, FINANCIAL TIMES, August 18, 2017

"Francesco Piemontesi is a pianist of exceptional refinement of expression, which is allied to a consummate technical skill." - Mozart Piano Concertos No. 25 and 26 with the Scottish Chamber Orchestra CD Review, CLASSIC FM, August 14, 2017

"...Piemontesi’s polished playing is alert with exactly the kind of spontaneity essential to great Mozart performance." - Mozart Piano Concertos No. 25 and 26 with the Scottish Chamber Orchestra CD Review, THE GUARDIAN, August 6, 2017

"The entrance of the soloist, nostalgic and unconcerned in its first passages, was evidence of the musicality and dynamic exquisiteness of Piemontesi, who extracted from the piano a sound so clean and transparent and filled the room of the Palace of the Opera without the slightest difficulty. But it was in the heroic central passages of the movement in which Piemontesi, leaning on incisive winds, gave an overwhelming lesson in virtuosity. This culminated in a thriving cadence at which Piemontesi denied any topic about intractable difficulty of this work."Dvořák's piano concerto with the Galicia Symphony, BACHTRACK, April 29, 2017

"...you can’t get much more persuasive playing than Mr. Piemontesi’s. His light touch, fleet-footed yet full, offered moments of grandeur (the mischievous first theme in the finale) and chamber music-like collaborations with the woodwinds throughout." - Dvörak's Piano Concerto, PITTSBURGH POST-GAZETTE, March 11, 2017

"Another factor that lifted this concert well beyond the ordinary was the presence of young Italian pianist Francesco Piemontesi. He gave a wonderfully winning performance of Mozart’s final piano concerto, faithful to the work’s dewdrop lucidity and gentle nostalgia, but irradiated with joie de vivre too, in the way he garlanded Mozart’s notes with stylish and witty flourishes of his own. The orchestra and Gražinytė-Tyla were alert to his every move." - Mozart Piano Concerto No. 27 in B-flat major, K. 595 with City of Birmingham Symphony Orchestra, THE TELEGRAPH, January 30, 2017

"Francesco Piemontesi was the soloist, his neat, relaxed fingers drawing a warm, pearly tone, if a little distanced (no lid to bounce the sound into the hall), his decoration flowing ripplingly, his added ornaments perfectly fitting, his nuanced phrasing as natural as singing. He conjured a whole range of moods from these deceptively simple textures, and his collaboration with Mirga's orchestra was as empathetic as in chamber-music." - Mozart Piano Concerto No. 27 in B-flat major, K. 595 with City of Birmingham Symphony Orchestra, BIRMINGHAM POST, January 30, 2017

"In Ravel’s Piano Concerto in G (1932), Francesco Piemontesi immediately showed that he was not a soloist to be hurried, catching the improvisatory poetry of slow passages as convincingly as he handled the fistfuls of notes Ravel hurled at him in more riotous sections." - Ravel's Piano Concerto in G with Philharmonia, LONDON EVENING STANDARD, December 2, 2016

"The concert opened with an unaffected, alternately sparkling and passionately inward rendition of Beethoven's Piano Concerto No. 4, featuring Swiss pianist Francesco Piemontesi in his L.A. Phil debut.

Piemontesi, 33, counts Alfred Brendel and Murray Perahia among his mentors. Although he shares Brendel's insistence on musical integrity and attention to detail and Perahia's Romantic spirit, Piemontesi showed an unpredictable temperament all his own, beginning the famous hushed opening bars in the first movement Allegro with a brief glissando. For a moment, it wasn't clear which concerto he was about to play. Perhaps intended as an attention-getter, Piemontesi's gambit reduced any possibility of a too self-consciously poetic entrance before the orchestra replied.

Using Beethoven's dramatic cadenza, the pianist also displayed a fiery quality, playing in ways that felt both epic and intimate." - Beethoven's Piano Concerto No. 4 with Los Angeles Philharmonic, THE LA TIMES, August 12, 2016

“Mozart‘s seldom-heard Rondo in A for Piano and Orchestra restored equilibrium, played with wonderfully nonchalant grace by Piemontesi...“   - Strauss‘ Burleske w/ the BBC National Symphony of Wales, THE TIMES, August 14, 2014

“What the Burleske does have to offer is a virtuoso piansdfdfafsado part, and Francesco Piemontesi sparkled with dashing insouciance, only to contrast that with playing of lyrical beauty in Mozart’s Rondo in A major, K386, after the interval.”   - Strauss‘ Burleske w/ the BBC National Symphony of Wales, FINANCIAL TIMES, August 12, 2014

“[Piemontesi] was hard-hitting and energetic, yet admirably witty, debonair and flamboyant…. Piemontesi is an exquisite Mozartean, elegant in style and fully aware of the emotional depths beneath the graceful surface.”   - Strauss‘ Burleske w/ the BBC National Symphony of Wales, THE GUARDIAN, August 12, 2014

“Hands firmly positioned over the keys, the touch of this Swiss-Italian pianist remained deliciously light through all the work’s technical difficulties. Brilliant cascades shot out to dazzle us. He even generated appreciative chuckles as he jumped down to the lowest register in a chain of abrupt, knotty chords as the work’s whimsical end approached... Piemontesi’s exquisitely poised encore, a limpid sliver of a Mozart sonata, proved the ideal icing on the cake – and just the squirt of civilisation needed before Nielsen’s menacing side-drum arrived.“   - Strauss‘ Burleske w/ the BBC National Symphony of Wales, THE ARTS DESK, August 12, 2014

“Piemontesi’s encore, the Adagio cantabile (Variation XI) from the finale of the D major Sonata (K284) best showcased his pianism: for an exquisite moment the Royal Albert Hall became an intimate salon.“   - Strauss‘ Burleske w/ the BBC National Symphony of Wales, CLASSICAL SOURCE, August 11, 2014

“A stellar Mozartean, an artistic temperament both soulful and playful, whose sound Sunday was crystalline and yet not weightless or too ethereally pretty. His was Mozart of shape and substance, just the thing to enchant a houseful of first-time guests.“   -Mozart Piano Concerto No. 27 w/ Cleveland Orchestra, THE PLAIN DEALER, July 22, 2014

“Francesco Piemontesi combines stunning technique with an intellectual capacity that few can match.“   - "I think I‘ve found the new Alfred Brendel", Damian Thompson, THE SPECTATOR MAGAZINE, June 21, 2014

“Piemontesi is a highly intelligent musician, with a wide-ranging repertoire, but his Mozart playing is certainly special, intensely thoughtful and scrupulously prepared.“   -CD: Mozart Piano Sonatas, THE GUARDIAN, April 30, 2014

“(Debussy’s La Cathédrale Engloutie) was so unusual in its rapid swirling tempo, and so beautifully suggestive in its colouring, that it formed the highlight of the evening.“  Mozart Piano Concerto w/ Bournemouth Symphony, THE TELEGRAPH, April 30, 2014

“But really the night belonged to the astonishing Swiss-Italian pianist Francesco Piemontesi for his dazzling and amazingly fleet performance of Mendelssohn‘s First Piano Concerto, one of those rare performances that reveals the mastery and genius of a composition and asks why we hear the piece so infrequently.“   - Mendelssohn Piano Cto. No. 1, Scottish Chamber Orchestra with David Afkham, THE HERALD, January 14, 2013

“He played the streams of arpeggios and scale passages in the outer movements with effortless aplomb. However, his talents really came to the fore in the lyrical andante where he basked in the honeyed glow of the cello and viola accompaniment. Piemontesi then topped his own performance with Debussy’s shimmering Feux d’artifice as an encore.“   - Mendelssohn Piano Cto. No. 1, Scottish Chamber Orchestra with David Afkham, THE SCOTSMAN, January 12, 2013

“At 29, the Swiss-Italian pianist Francesco Piemontesi is still at the beginning of his career, but his recitals and recordings attest an artistry which is world-class in its mature refinement...He combined the black and white notes of ‘Brouillards’ to create soft grey tonalities, and went on to dazzle us with a wonderful range of effects in which a flawless technique was put to the service of some very original interpretations.“   - Recital at Queen Elizabeth Hall, THE INDEPENDENT, November 9, 2012

“With some young pianists, native brilliance and joy in sheer digital dexterity sometimes runs ahead of musical intelligence. That’s never the case with Italian pianist Francesco Piemontesi. At the age of 29 he’s already a superbly self-possessed artist. He has technique to burn, but the striking moments in this recital – and there were plenty of them – owed nothing to the ‘wow’ factor.”   - Recital at Queen Elizabeth Hall, THE TELEGRAPH, November 8, 2012