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New York, Brooklyn Academy of Music: Latest Reviews from the Diary of One Who Disappeared tour!

“But the unsung (literally, as she does not sing or even speak) heroine of Diary of One Who Disappeared is the pianist Lada Valešová. Like a background character in a Woody Allen film, she was placed firmly at the piano in some grand Manhattan or European apartment, intended to be invisible but was not only the secret scene-stealer but the pulse of the whole production. She sat at the piano for the entirety of the performance, playing relentlessly but with subtlety and grace much like the persistence of memory; with a haunting quality of longing, infatuation and the spark of inspiration. Her soft pianissimo style carried the text, story and emotions through the black and white keys like dark ink on parchment paper from letters exchanged. Valešová’s fluid, languid interpretation of Leoš Janáček and Annelies Van Parys’ score drifted over the audience continuously like soothing warm waters alternating with crashing waves.”

Cindy Sibilsky,


“Pianist Lada Valešová was the anchor of the performance. She brought forward Janáček’s adventurous harmonies, his unsurpassed ability to express with economy of means abrupt changes in states of mind. She underlined the sense of sexual longing in Intermezzo erotico. In Dark Alder-grove or The Magpie is Flying, she emphasised the composer’s deep feeling for the marvels of nature, thus foreshadowing the music of The Cunning Little Vixen.”

Edward Sava-Segal,


“Musical accompaniment was compellingly played on stage by pianist Lada Valesova.”

Steven Pisano, Feastofmusic


“Unsung star of this production, pianist Lada Valešová assails the difficult score with expressive insight and panache.”

Brian Taylor,


“Stage left a piano played by Lada Valesová, who beautifully captures the composer’s spare score.”

Susan Hall,


“There was subtlety in Lada Valesova’s piano playing.”

Zachary Woolfe, New York Times


“ The formidable piano part requires the widest palette, from the soothed monody to   the eruptive violence.

The postlude where Janik decides to follow Zefka who is expecting a child, is pushed to the climax. Lada Valešová, familiar with the work, is an interpreter inhabited by the singular language of the Czech master. “


“ The score is splendid and Lada Valešová is a marvellous pianist to whom we are indebted for so much happiness. Whether it is to evoke the luxuriance of this nature so dear to the composer, the violence of passion or the doubts of the young man, the palette is very wide, close to the music language of the Cunning Little Vixen. “


“ the rhythmic precision, the sharpness of the half-hues and the bevel lyricism of the Czech pianist Lada Valešová arouse enthusiasm. “


“ interpreted by the expert hands of the pianist Lada Valešová, who manages to compliment the voices on the stage, accompanying them and carrying them as well as she does with the score.”


“ Finally, the pianist Lada Valešová offers an assured and invested accompaniment. If her stage presence remains discreet, her role is essential in the musical discourse, and very well delivered. “


” The pianist Lada Valešová consistently powerful, rhythmic, and sensitive playing – ideal for Janáček’s repetitive, proto-minimalist compositional cells and angular melodic lines. ”…/