Awarded at the “Worldwide Competition IBLA Grand Prize” in 2015, 2016 and 2017, the New York IBLA Foundation considered her among “outstanding professionals who deserve the attention of the international public at large”, judging her “in reference to a standard of excellence at all times”. In addition, in 2016 the New York IBLA Foundation awarded her the Scarlatti Special Mention, in 2017 the Piano Special Mention. In 2015 she also won the First Prize at the International Music Competition “Erik Satie” in Lecce (Italy), and the Second Prize at the International Piano Competition “Città di Rocchetta” (Italy).
On 21 February 2020, the Conservatory of Cosenza, on the occasion of the 50th anniversary celebration ceremony, selects Mrs Carbone as one of its two best piano alumni, and gives her a plaque “for her highly prestigious artistic activity“.
In November 2018 the label Da Vinci Publishing Japan relased the CD “Les Harmonies de l’Esprit”, recorded on her personal grand piano Bechstein A228, with four compositions by Franz Liszt: Après une lecture du Dante: Fantasia quasi Sonata, Liebestraum n. 3, Consolations (six pensée poétiques) and Légende n. 2 (St. François de Paule marchant sur les flots). Among them, the recording of all the six Consolations together and of the Légende n. 2 is very rare, as well as very rare are the occasion to listen them during a recital. The CD has been broadcasted by Radio Rai 3 (during the radio broadcast Primo Movimento and Piazza Verdi, where she played live), Radio Marconi, Radio classica, Radio Popolare, Radio Svizzera Italiana, and received a critical unanimous consent.
The new CD “L’Enchantement Retrouvé”, recorded on a grand piano Bechstein Model D from Fabbrini Collection, containing the four Impromptus op. 90 and the six Moment Musicaux op. 94 by Franz Schubert, released on February 2020 with the label Da Vinci Publishing, Japan, won a bronze medal at the international competition Global Music Awards. The CD was broadcast by Rai Radio 3 Primo Movimento, Radio Classica, Rete Toscana Classica (in full), and has unanimous critical acclaim, in Italy and abroad. Numerous articles and interviews were published following the release of the CD and the award ceremony at the Global Music Awards.
In 2017 the International Federation of Professional and Business Women – FIDAPA – BPW Italy (Rende) also awarded her the biennial prize “Donna del Sud” for her artistic value. Because of this prize, Donata Marrazzo (journalist for the Italian newspaper Sole24Ore) published the “portrait” on CalabriaCult: Schubert, Liszt and Mathematics: a portrait of an Aristotelian piano soloist. In the same year, she appeared in the movie-documentary “Italian genius under the stars”, which has been presented at Venice Film Festival: the soundtrack uses her interpretations of some Liszt compositions. In addition, the quarterly Calabria nel Mondo (Calabria in the World) dedicated her a four-page service on the third issue of 2017 entitled “Ingrid Carbone: a Calabrian pianist, an artist of rare ability“. In 2018 she was awarded the XXI edition of the Prize “La città del sole” (section Art) by the Rotary International Association “La città del sole”.
Mrs Carbone has performed for several associations, foundations, theaters and conservatories of music as soloist in Austria, Cina, Germany, Hungary, Israel, Italy, Poland, Spain, Slovenia, with orchestra and with the Italian violinist Eugenio Prete, with whom she regularly played from 2007 to 2015. In Spring 2019 she went to China invited to play, give masterclasses and lectures to piano teachers.
Beside the concert activity, Ingrid Carbone is interested to spread musical knowledge: she has in her agenda several lecture – concerts, among them the last ones where given for Roma3Orchestra Foundation (Rome) and Institute Foundation Liszt (Bologna).
She has been invited to be a jury member of international piano competitions and jury member for Piano Diplomas at the Conservatory of Music of Bari (Italy).
Mrs Carbone began her musical education in Italy, at the Conservatory of Music of Cosenza, her home town, where she studied with Maria Laura Macario and Flavio Meniconi, and achieved her piano Diploma at the age of nineteen with Francesco Monopoli. There she studied Composition, too.
She attended several Master Classes in Italy and abroad at prestigious academies and with renowned pianists: in Italy, she attended masterclasses with Lazar Berman, Aquiles delle Vigne, Eduardo Ogando, Hector Pell at the Accademia Musicale Curci (where she received the Diploma of Honour after an International Biennial Piano Master Course), Sergio Cafaro at the Accademia Musicale Pescarese and with Cristiano Burato.
Ingrid Carbone studied abroad with Aquiles delle Vigne in Brussels and at the Internationale Sommerakademie – Universität Mozarteum in Salzburg, and in Israel at the Tel-Hai International Piano Master Classes with Aquiles delle Vigne and Andrzej Pikul and had lessons with Emanuel Krasovsky and Ronan O’Hora (she was the only Italian participant among about sixty pianists from all over the world).
Mrs Carbone has a wide repertoire which runs from the baroque period (including Bach concertos with string orchestra) to the 20th century.
In 2018 Mrs Carbone has founded the musical association Associazione Musicale “Clara Schumann”, of which she is the President; the 2019 Calabria International Piano Festival has been postponed to 2020 for covid-19 emergency.
Eclectic personality, she graduated summa cum laude in Mathematics at the University of Calabria (Italy) at age 21. She moved to the University of Bari (Italy) when she became Assistant Professor in Mathematics at age 27. She is the author of articles, published by international journals, and was invited to give talks and conferences in Europe and at the Fields Institute for Research in Mathematical Sciences in Toronto (Canada). Currently, she is Assistant Professor at the University of Calabria, where she teaches mathematics and where she also was the President of the Scientific Library for some years.
“Ms Carbone remains very faithful and pure to the score. She is herself exactly like the composer she plays. This is a gift that great talents have: the ability to put themselves in the place of the other without imposing themselves and in any case remain tied to the composer and his work. It makes the message clearer, more pleasant and understandable; something that only genes manage to do so deeply in their work. The composer and the pianist together make music eternal, which we hope many generations after us can remain involved, inspired, moved, and make us hope and desire.”
“[Ingrid Carbone] conceives a timbre liquidity that allows to express a rarefied, crystalline phrasing, […] whose cantabile seems to truly recall the human voice and that the pianism of the artist from Cosenza manages to unravel with a veil of subtle magic [… ] The reading that makes Ingrid Carbone place the attention, or rather the accent, on a dimension that, however, has nothing to do with heroism, preferring instead to dip the nib of the interpretation in the inkwell of the dawn of a new spirituality.”
“It is certainly a very fine recording – among the very best new recordings of these works that I have heard in recent years. […]
What is compelling about her performances, overall, is the way in which she balances the claims of melody and structure in her playing of these ten short, but pre-eminently mature, pieces. […]
The very least one can – should – say is that Carbone is already a very accomplished pianist of real insight, and that she shows promising signs of becoming an even more remarkable and important artist.”
“… the spell can strike again and again. As Ingrid Carbone demonstrates with her new album, which was not without reason given the title “L’Enchantement retrouvé”: in this case the spell that could (had to) be rediscovered in her eyes and that she managed to redeem with the heart and soul. [… Ingrid Carbone] Provides a convincing display of what will always remain a fascinating landscape in my ears.”
“Ingrid Carbone’s reading is full of pathos, the grainy sound and dynamic nuances, which characterize the interpretation, effectively render the exasperated expressiveness and dominant character of one of the greatest exponents of Romanticism in music.”
“The fluidity of the touch is combined, in the interpretation of the pianist, with a refined agogic that does not yield to the spectacle (a trap, this, in perennial ambush in the central section, the one called” all’ongarese “), transforming itself into a sound painting . […] the last Impromptu in A flat major shows a reading in which tactile liquidity predominates, with the piano keyboard transmuting into the famous main theme in a luminescent stream […]. With this “liquidity” it is as if the artist from Cosenza wanted to remember how Schubert intended the concept of pianism; a pianism free from the laws of concertism, at the antipodes of both the way of treating the piano as Liszt did, as well as far, far away, from that peaceful and crepuscular virtuosity emanated by Chopin, as his priority was to make the instrument “sing” . A “cantabilità” that reaches its peak precisely with the Impromptus and the Moments Musicaux, whose “communicability” is rendered internally thanks to knowing how to sing them with your fingers, because only singing, rendered with another voice, can express the plethora of emotions and sensations that lurk in these short pages. “