English profile / CRITICS
Carrier, Study, concert activities
As a family friend, Anna Rosa Taddei (Alfred Cortot’s disciple, Professor at Santa Cecilia, Rome) and the late Mrs. H. Puig-Roget (C.N.S.M. PARIS), and K. Yasukawa (Tokyo Fine Arts University) guided David’s first musical steps while he was living in Japan. As soon as he was in France, at the age of fifteen, he stayed in the house of the late concertist Catherine Collard who lovingly supervised David’s piano progress, both at home and at the Saint-Maur National Conservatory. Then in France, David studied at CNR of Saint Maur (three Gold medals), in C. Collard’s class and A.M. of Lavilléon-Verdier. 1995 1st Prize with Absolute Majority and Proficiency Course from M. Jean-Marie Cottet at the Paris lycée musical college. Schola Cantorum Paris 1998-2008 Course from (Perticaroli).
Postgraduate Proficiency Course in piano at Santa Cecilia National Academy in Rome with the maestros Sergio Perticaroli, and the chamber music course with maestros Ayo and Filippini. (Examination score: 95/100).
He followed regular Master Classes with the following maestros: Kazuoki Fuji, Lazar Bermann, Arie Vardi, Rudolph Buchbinder, Jacques Rouvier and Henry Barda.
An international Russian Concertist, Adilia Alieva said about David Campignon, « David’s playing is at the same time very emotional and very professional. He controls a huge repertoire that unfolds with an extensive and beautiful range of hues and tones. Yet his renderings are altogether lively and energetic, he possesses a deep understanding of the stage where his presence is commanding. »
His concerts and recital activities in France saw him travel from Paris (Gaveau Hall, Foundation of the United-States, Auditorium Franck-Schola, Church Paris- Luxembourg Saint Marcel, Auditorium Saint- Germain-des- Prés, Atelier de la Main d’Or, Théâtre les rendez- vous d’ailleurs, Quai Branly) to Burgundy (musée Rolin), Uk Steinway Hall Bond St London, to Italy (Chamber Music concert) in the New Auditorium of Parco Della Musica Great Hall, Auditiorium of Via Del Conciliazone Rome, Tempietto Torlogna, Ischia, Naples, Sicilia recitals, Festival International of Stresa-Lac Majeur), Spain Casa del medico Barcelona, to Belgium (Askenasi Hall, Hanlet-Steinway in Bruxelles), to Malta (Victoria Festival, Manoel Theatre), Germany Hannover contemporary museum, Andorra Cultural center, to Austria (Wiener Saal Salzbourg), to USA at Clarice Smith Performing Art Center Great Hall, and to Japan, Zushi Plaza Hall with Live recording, Hibiki Hall Kyushu, Hayama City Concert Hall or Modern Art Museum Kasuaya, at Tokyo Bunka Kaikan, Kamakura Geigutsukan, Yokohama-Kanagawakenmin, Matsumoto, Kyoto hall.
He is a winner of several competitions and has received prices including 1st Prize with Absolute Majority in 2000 at Villa Franca Tirrena Sicily Italy, Demi-Finaliste Diplome of Honour status at Maria Canals Barcelone, Finalist Winner at the Xe Rencontre Internationale des Jeunes Pianistes à Pontoise, 2nd Prize (no 1st Prize) at the Valle del Barocco Italy, 1st Prize at Montdidier European Competition in 2003, William Kappel (Washington Maryland), 2nd prize at Concours musical de France, Concours Vulaines-sur-seine 3d grand prix, 2004 Spécial Virtuosity Prize at Adilia Alieva International Competiton in France.
Maestro Rocco Filippini : Impressions about David Campignon’s play (34 , Corso di Porta Nuova 20121 Milano, Italie) Cellist concert performer, Professor at the Accademia Santa Cecilia, Roma (Chamber Music Postgraduate Course)
“What we have here is not only a musician blessed with a rich sensibility, but also a real virtuoso of the keyboard, hence an accomplished professional that I warmly recommend to ...
In The Malta Times, Albert Storace reviews two concerts from the Victoria International Arts Festival. Spellbinding performances « David Campignon: This interpreter showed that Schubert could make his point with the greatest of charm… He was the one who could make the piano sing. The other side of Schubert is there too: the dramatic passages, the pathos, lyrical warmth and high passion. Many different emotions went through a transition that developed according to bold rhythmic structure and always with Campignon’s assertive yet elegant, tasteful touch. »
Entire article Spellbinding performance
Concert revue From Peter Sutton (Musical critic) « In my view, David Campignon is the complete pianist, producing a ravishing palette of textures and colors, deeply-felt, exquisite tenderness where appropriate, and always a technique so accomplished that his clean, crisp melody lines and inner voices seemed as if etched into glass with a diamond. »
I have known David Campignon since he was child and his musicality was evident even at that time. Now I find in David a remarkable gifts as an interpreter as a virtuoso. I think he deserves to go through a brillant career. Annarosa Taddei Roma november 98 (40 Viale Parioli Roma Italy, Roman Concert Pianiste and Professore at Conservatorio Santa Cecilia, Pupil of Alfred Cortot)
This musician has combined charm, finesse and powerful virtuosity. Giving the impression of rediscovering fully known but so often approximately interpreted repertoiry, Mozart, Beethoven, Schubert Chopin, Rachmaninov, Scarlatti, Moszkowski... (Autun July 25, 2008, Saturday Cie) The aria and the legendary melody had never had returned to the memory of this public before in such a way..(Prélude à un soir d’été Musée Rolin)
Assahi- mainichi Japan press “Pianist David Campignon…Music that vibrates in the heart” Tokushima Japan press (From Tokyobunkakaikan recital)“He express by the music different expressons, ought to say more, the passion…” Ongakugendai Japanese CD recording press revue “sense of musical soustaining…”
Parisienne Post Cards,Thuesday, Paris October 2012 The impact of a concert in that environment was amazing. One literally was lost in the sound and beauty of the music...an evening full of magical moment of music.
Ongakunotomo Japan, write-up from piano recital January 11th 2019 at the Tokyo bunkakaikan: "...Flabbergasting Berio...deeply profound interpretation of Berg...vanishing point on a classical architecture from 106 Beethoven…” Critic writer Ishikawa Tetsuro