My very 1st Nikka’s flute on April 22nd at Paul Hall within the Juilliard School. Prokofiev’s Sonata was simply an absolute delight. Had this performance taken place at Carnegie Hall, the duo surely would have been called back for an encore following two curtain calls. First, a word on Cosmo: his interpretation was impeccable, marked by a rock-steady tempo, crystalline articulation, and a radiant tone. I wish to pay tribute to his demeanor—one that beautifully highlighted Nikka’s own uninhibited and spirited expression.
Indeed, the man who took on the task of accompanying Nikka’s mercurial and free-spirited flute—with its ever-shifting moods—possesses a similarly whimsical and unpretentious nature himself. Furthermore, Cosmo’s talent for discerning and reproducing every conceivable tonal nuance is truly extraordinary; I would very much like to hear him perform as a soloist someday.
With a blend of acrobatic virtuosity and structural fortitude, Nikka’s flute resounded through Juilliard’s Paul Hall, weaving a rich, spirited narrative and conveying every shade of irony through fluid, kaleidoscopic modulations. Her sustained notes plunged to profound depths, resonating with a full-bodied timbre right down to the very last vibration. Her technique featured crisp staccato tonguing, a lush vibrato, and a tone imbued with ample breath support. One moment, a high note seemed to pierce the very heavens; the next, she would gracefully return to the opening theme as if nothing extraordinary had just occurred. Despite the richness of their combined sound, the duo’s performance was remarkably crisp and distinct; the recurring musical motifs seemed to linger like visual afterimages—creating an effect akin to a pantomime comedy, where the movements of the music and the listener’s sensory perception appear to momentarily diverge. Such was the sheer precision and coherence of their interpretation. Cosmo’s piano accompaniment remained in perfect symbiosis—neither too close nor too distant—at times clinging exquisitely like a shadow, and at others, allowing the piano to breathe and take center stage just before the theme returned, thereby providing the cue for Nikka’s flute to burst forth once again. The Scherzo movement was marked by a light, sprightly rhythmic pulse; brilliance seemed to radiate from every single breath she took. Her rapid scale passages flowed with a lustrous, seamless sheen. Small musical episodes would emerge from moments of *rubato*; even as the tempo shifted to a more leisurely pace, the music’s central axis remained utterly unshaken. And throughout it all, her tone remained brimming with flashes of pure inspiration. In this masterpiece by Prokofiev—which distills the darker absurdities of the world into a comedic pantomime—the duet between Nikka and Cosmo unfolds like a picture book being illustrated and read aloud, encompassing a rich tapestry of fantasy interwoven with the ironies of reality. Even amidst the entrancing flow of the *Andante*, every single note feels substantial and fully realized. Nikka’s tone remains warm and brimming with humor, no matter how biting the irony it conveys—a quality reminiscent of Amandine Beyer’s performance just recently. With boundless curiosity, Nikka and Cosmo render Prokofiev’s underlying melancholy with exquisite sensitivity. Much like Kantorow in yesterday’s performance, their attention to tonal nuance is meticulous; this stems from their prioritization of expression and resonance over mere technical prowess. The concluding Allegro con brio sees Prokofiev’s wit explode with a theatrical flair, much like watching a comic opera by Donizetti or Bellini at the Met. The central theme recurs again and again, each repetition heightening the sense of anticipation—and with every return, the duo unleashes a burst of Prokofiev's energy that exceeds all expectations. These two possess a remarkable gift: they deliver a performance of rock-solid structural integrity, yet one that keeps the listener guessing, never revealing exactly where the musical journey will lead. They are, in themselves, a complete theater. And were they to perform this piece a hundred times, they would surely find a hundred different ways to play it. It has been a long time since I encountered such a naturally delightful duo; indeed, when was the last time I enjoyed a wind instrument solo performance this much? I honestly cannot recall. Thank you, Nikka and Cosmo.
4.4.21.2026
Nikka Gershman, flute
Cosmo Coen, piano
Prokofiev Flute Sonata
4月22日にジュリアード音楽院のポールホールで、ニッカのフルートを初めて聴いた。曲はプロコフィエフのソナタ。一言で言うと最高に楽しかった。もしこれがカーネギーで行われていたら、彼らは2回カーテンコールの後でアンコールを演奏することになる。まず初めに、コスモのレンディションと安定したテンポ、音の粒と輝き。ニッカの天真爛漫な表現をひきたてる彼の態度に敬意を表したい。
このニッカの変幻自在で天真爛漫なフルートの伴奏を引き受ける彼も相当天然だ。そして、あらゆる音色を聴き分け、そして弾き分けるコスモの才能がすごい。ぜひソロも聴いてみたい。
天真爛漫で豊かなストーリーをアクロバットな技巧と鋼の構造で、あらゆる皮肉を変幻自在な転調を使ってニッカのフルートがジュリーアド音楽院のポールホールに轟く。長いノートは深く沈み込み、音色の最後まで響かせる。歯切れのよいタンギング、豊かなビブラート、息をたっぷり入れた音色。一番高い音色が天を貫いたかと思うと、次の瞬間なんでもなかったように最初のテーマを優雅に奏でる。2人演奏は豊な音色なのに、とてもくっきりしていて、繰り返さる音楽がまるで残像のように聴こえ、やがてパントマイムのコメディのように感覚と音楽の動きがずれて聴こえる。それだけレンディションが整っているのだ。コスモのピアノが付かず離れず、絶妙に影のように寄添ったり、テーマが戻る前にじっくりピアノを聴かせ、きっかけを与えてニッカのフルートが炸裂する。スケルツォの軽快な刻み。息の一つ一つから輝きが放たれる。早いスケールは滑らかな輝きに満ちている。ルバートから小さなエピソードが始まり、テンポがゆったり運ぶ中でも音楽の軸が全くぶれない。そして、その音色は閃きに満ちている。世の中のブラックをパントマイムのコメディに集約したこのプロコフィエフの名曲をまるで絵本を描いて読んで聞かせる様にニッカとコスモのデュエットは豊な幻想と現実の皮肉を網羅している。アンダンテのうっとりする流れの中でもひとつひとつの音の粒が充実している。ニッカの音色はどんな皮肉を語るときも温かくユーモアに溢れている。先日のアマンディーヌ・ベイヤーもそうだった。プロコフィエフの憂鬱をニッカとコスモは溢れる好奇心で繊細に奏でている。昨日のカントロフもそうだったが、音色への気配りがとても丁寧。技術よりも表現や響きを大切にしているからだ。最後のアレグロコンブリオは、まるでメットでドニゼッティやベッリーニの喜劇を見ている様にプロコフィエフの面白さが炸裂する。テーマが何度も繰り返され、その度に期待に胸を膨らませ、そして2人は期待を超えるプロコを炸裂させ続けた。どこにたどり着くのか想像がつかないのに、物凄くしっかりした演奏を繰り広げるのがこの2人だ。彼らは一つの劇場だ。そして彼らは100回演奏したら100通りの演奏をするだろう。こんな天然の2人組に出会ったのは久しぶりだったし、管楽器のソロでここまで楽しかったのは、いつだろう？覚えていない。ありがとうニッカ、コスモ。