Ingrid Carbone is a Bechstein pianist.
Award-winning in the Spring and Fall 2020 Global Music Awards international competitions, Ingrid Carbone receives three bronze medals: in March for her CD on Schubert “L’Enchantement Retrouvé” (the only Italian pianist awarded), in December (the only classical musician to receive two awards for two works) for her CD dedicated to Liszt “Les Harmonies de l’Esprit” and for the live performance of Consolation n. 2 played in performed in concert in Konstanz, Germany, on the occasion of the international photographic exhibition “Women of Mathematics throughout Europe – A Gallery of Portraits”. Her third CD, Le sentiment de la nature, relesed again by Da Vinci Publishing in May 2021, is dedicated to Franz Liszt and is receiving international unanimous critical consent.
During the worldwide competition IBLA Grand Prize, the New York IBLA Foundation awarded her in 2015 the Scarlatti Special Mention, in 2017 the Piano Special Mention, and in 2015, 2016 and 2017 accounts her among “outstanding professionals whodeserve the attention of the international public at large”, judging her “in reference to a standard of excellence at all times”.
In 2020, the Conservatory of Music of Cosenza, on the occasion of the 50th anniversary celebration ceremony, selects Mrs Carbone as one of the brightest and most successful students that the Conservatory has had, and gives her a plaque “for her highly prestigious artistic activity“.
Mrs Carbone has performed for several associations, foundations, theaters and conservatories of music (Austria, China, Germany, Hungary, Israel, Italy, Poland, Spain, Slovenia).
Beside the concert activity, Ingrid Carbone is interested to spread musical and cultural knowledge through lecture – concerts, and she is very engaged in social.
In 2018 Mrs Carbone has founded the Musical Association “Clara Schumann” (of which she is the President), that in 2020 has organized the Calabria International Piano.
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 with full marks 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 such as the Internationale Sommerakademie – Universität Mozarteum in Salzburg, and the Tel-Hai International Piano Master Classes in Israel, with internationally renowned pianists such as Lazar Berman, Aquiles delle Vigne, Andrzej Pikul, Cristiano Burato, and with the argentinian pianist and composer Eduardo Ogando.
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 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.”
«[“L’enchantement retrouve” presents] a series of reliefs that this magnific pianist highlights in Schubert’s own compositional structure. A lot of breath, a lot of accentuation of these soft but very audacious modulation passages typical of Schubert’s composition».
«[In the various pieces], the descriptive-narrative capacity that Ms Carbone has even in absolute, abstract music, [with the use of] a very warm and enveloping sound, with the capacity for extremely fascinating lyricism».
“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. “