-- Miles Black -- Jazz Pianist
-- Dr. Sasha Starcevich -- Concert Pianist
-- Angela Hewitt -- Concert Pianist
-- Max Zipursky -- Jazz Pianist
-- Tristan Teo -- Pianist
-- Daniil Trifonov -- Concert Pianist, Winner of the International Tchaikovsky and Rubinstein Competitions
-- Clare Yuan -- Pianist
"I liked the Fazioli in Calgary during the Honens International Piano Competition very much and had a good collaboration with the Fazioli technician Michael Lipnicki. Unfortunately I don't have a chance to play Fazioli pianos often however I just love playing them. They offer an vast range of possibilities, very creative pianos. Wish I could play Fazioli more often". www.mariamazo.com
-- Maria Mazo -- Finalist at Honen's International Piano Competition
-- Evgenia Rabinovich -- Pianist
Linda Lee Thomas – Principal Pianist, VSO and CBC Radio Orchestra
Adam Neiman - Concert Pianist
Jon Schmidt -
Classical New Age Pianist & Composer
Liz Parker, Foundress - LIZPR
John Teraud, The Toronto Star
Dr. Ronald Morgan – Concert Pianist
Lester J. Soo – Pianist/Musician
Garrett Glass, Pianist
Louis Lortie – Concert Pianist
Serge Mazerand –
Pianist & Relaxing Music Producer
Jane Hayes – Director of Keyboard Studies, Kwantlen Polytechnic University
Perry Dickison – Pianist & Vocalist
Boris Konovalov – Concert Pianist
John Dupuis – Pianist & Teacher
Svetlana Ponomarëva - Concert Pianist
Bob Murphy – Jazz Pianist
Dr. Christine Vanderkooy –
Department of Music, University of Regina
David Pickell – Musician/Song Writer
Michael Onwood – Composer, Pianist
Bill Lashmar, Piano Technician
Nikolai Demidenko – Concert Pianist
Tom Lavin – Director, Pacific Audio Visual Institute (PAVI)
Stephen Hough – Concert Pianist
"Several things come to mind about the Fazioli: First of all, through [Manuel's] sincerity, the dealership in Vancouver exhibits a touch of class. My immediate impressions after playing were that many aspects of piano building have been elevated to new heights. The action is so acutely responsive and precisely mated to what you hear, the sustainability especially in the upper registers is incredible. The feedback you get from these instruments allows you to create music you thought not possible. The F278 feels like you have an orchestra at your command."
Laurence Pellizzari – Pianist
Dr. Peter Jancewicz –
Professor of Piano Performance, Mt. Royal Conservatory College, Calgary AB
Nick Sergienko - Concert Pianist and West Vancouver Piano teacher
Scot Ranney – Jazz Pianist
Greg Novik, CTV News
Ingrid Gates – Piano Teacher
MY FAZIOLI DREAM: About 3 years ago, I received a copy of The Piano Shop on the Left Bank by TE Carhart. The book is about the author's relationship with Luc, the owner of a little Parisian piano shop in which old pianos are nursed back to health. It is also an endearing history of the piano from its heyday in the mid- to late-nineteenth century and the technical advances that have transformed it. I was well into the book when I turned the page to a new chapter and was presented with the title "Fazioli".
Fazioli? What is a Fazioli piano? I had never heard of it. By the end of the chapter, which included the author's experience of visiting the Fazioli Factory in Italy, I was thoroughly entranced and enchanted by this piano. Even without playing one, I knew this was something exceptional. But until now, the Fazioli piano has just been a fantastic dream.
Finally, it is available here in western Canada. When I walked into Manuel Bernaschek's new Showcase Pianos store and played his Fazioli pianos I had some minor feelings of trepidation - would I be disappointed? Would it indeed be the glorious piano I had created in my imagination? Well, my experience exceeded my wildest dreams! The Fazioli piano is nothing short of miraculous! Every detail from design, construction and of course sound is attended to. You know what you are getting when you play this piano. Unlike some other high end pianos, the Fazioli does not need to be worked in for a year before it really starts to sing. They take care of that before they ship the piano.
Craig Addy – Pianist/Composer
Here at the Chan Centre for the Performing Arts during the past several months we have had the opportunity of enjoying one of your F278 pianos during two different concerts. The piano for both events was provided by Showcase Piano's here in Vancouver.
Most recently Louis Lortie played Mozart's piano concerto no. 20 in D minor, K.466 in concert with the CBC Radio Orchestra. What struck me most about the F278 was the level of clarity and tonality that the instrument maintained and incumbent with that was the detail of rhythmic articulation that could be heard within the venue.
As the person responsible for adjusting the room acoustics to best serve the artist and audience a lot of my time is spent in critical listening. And having been here at the venue for such a long time, I have heard many different instruments played by numerous artists – to the point where I have begun to discern between individual Stradivarius - and in all honesty few pianos have sounded as nice in our venue and in my opinion only one sounded better.
I have always been fascinated by the mechanics and ergonomics of playing music and there respective influences on execution and interpretation of the repertoire being played. One of the privileges that I enjoy is having the opportunity to chat with some of the greatest performers of our age and on rare occasion, when time and circumstance permits, engage an artist in depth over the nuances and minutiae of their craft. One of the most generous with his time and knowledge has been pianist Krystian Zimmerman.
During Mr. Zimmerman's last visit we chatted for about 45 minutes where we discussed his preferences in balancing the action and tuning the piano; he shared his knowledge and insight about everything from hammer reflex to the coupling effects of wheels on various surfaces. Mr. Zimmerman is perhaps the most fastidious and particular pianist that I have ever had the pleasure of working with and without a doubt the Steinway instrument that he toured with sounded the absolute best in this venue. That piano was an instrument that he had spent weeks preparing prior to the concert tour.
In contrast your Fazioli fresh from the showroom floor faired just as well.
In a highly reverberant field, such as ours, it is often difficult to hear the detail or maintain the harmonic integrity during fast passages because the reverberant energy tends to build up to the point were it begins to obscure the rhythmic motion and chord structure. What I have noticed most with your piano is the balance of the overtones, the upper partials do not tend to smear together, but rather continue to sing and decay at a favorable rate. This is especially true with harmonics generated from notes in the lower registers – which to my ear is what differentiates a good piano from an exceptional one.
I know full well that different artists, with their different styles, different repertoire and differing preferences to tuning and hammer felt density all have a profound effect on how a particular instrument sounds. This is why I chose to reserve my opinion on your piano until after I had the opportunity to hear your instrument in a second setting, with a different artist.
In closing, as of yet I have not had the opportunity to hear your piano's in other venues, but in this one your F278 sounds spectacular.
Cheers, Jay O'Keeffe — Head Audio Technician Chan Centre for the performing Arts, University of British Columbia