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How Ware forms words into the keys in his piano preludes and (especially) postludes, how his fine sound positively creeps into the words, and how he, for instance, advances the strophic and musical dénouement in Goethe’s “Ganymed”: This is thrilling sorcery. The baritone sings not only the emotionally torn “Ich grolle nicht” from “Dichterliebe” on the highest level. A great future is wished to the duo, and as broad an audience as possible.
Stuttgarter Nachrichten, Internertionale Hugo Wolf Akademie / October 2015
....Not only in the prelude to Schubert's Auf der Bruck, into which he positively threw himself, Jonathan Ware showed himself as the best text painter among the keyboard artists, and he fitted excellently with the extroverted and highly theatrical baritone Ludwig Mittelhammer, who made a small drama from each song.
Stuttgarter Nachrichten / International Hugo Wolf Competition 2014 Stuttgart
...they have a real interpretation to offer, and what Jonathan Ware provides on the piano, surpasses everything that was heard this evening.
Stuttgarter Zeitung / Inernational Hugo Wolf Song Competition Stuttgart / September 2014
'This was followed by three songs by Respighi. Largely mood-based, these songs allowed pianist Jonathan Ware to show off his considerable musical skills as well. Particularly effective was a suitably suspenseful and creepy account of ‘Nebbie’. The first half of the recital finished off with Brahms’ op. 103 Zigeunerlieder, and it was in these songs that Erraught really shone. Partnered by Ware’s dazzling playing, she truly relaxed into the music, and a great deal of fun was had by all.'
Nonpiudifiori, Sonoma State University, California with Erraught, April 2013
'It would also be wrong not to acknowledge the superb pianist Jonathan Ware in his first collaboration with Ms. Erraught. She shared from the stage, ‘We’ve had a ball in rehearsals, so I hope that’s coming through this afternoon.’ It did indeed.'
Classical Sonoma, Sonoma State University, California with Erraught, April 2013
'Ware...stood out for his clear sense of dramatic purpose, unrivaled keyboard finesse, and ability to create a vivid drama.'
Musical America Worldwide, Das Lied with Rebecca Schmid, March 2013
'In "Wonne der Wehmut" Mr. Ware alternatively conveyed movement and suspense.... His pianism was even more expressive in the lengthy ballad "Der Tod Oscars", D.375, a sad tale composed by James Macpherson...'
Voce di Meche, NYC Schubert & Co. Series, November 2012
'During the fourth song, “Versunken,” pianist Jonathan Ware shone with his crystal-clear rapid scales. His subtle accompaniments were equally impressive during the other songs.'
New York Concert Review, Merkin Hall NYC, October 2011
Jonathan studied at the Eastman School of Music, The Juilliard School and the Hochschule für Musik ‘Hanns Eisler’ in Berlin. He won 1st Prize at the 2014 Stuttgart Song Competition with baritone Ludwig Mittelhammer.
Born in Texas, Jonathan Ware studied at the Eastman School of Music, The Juilliard School and with Wolfram Rieger at the Hochschule für Musik ‘Hanns Eisler Berlin’, where he now teaches.
He won the Pianist’s Prize at Wigmore Hall/Kohn Foundation International Song and Das Lied Competitions, and 1st Prize in the International Hugo Wolf Competition. In 2014 he was selected for representation by Young Classical Artists Trust. He now divides his time between Europe and the USA.
Sought after as a song accompanist and chamber musician, highlights during 2015/16 recitals in the Festival Dialogues at the Mozarteum Salzburg with Mojca Erdmann, the Hugo Wolf Akademie in Stuttgart, Munich Philharmonie and Kölner Philharmonie with Ludwig Mittelhammer, and at Wigmore Hall and Barbican with Dame Ann Murray, Robin Tritschler, Michael Collins, Peter Moore, Benjamin Appl and Morgan Pearse. He recorded for BBC Radio 3 with Peter Moore, was resident at the Verbier Festival Academy and Meistersinger Akademie in Neumarkt, and a mentor at the Heidelberger Frühling Festival Academy.
Future engagements include recitals with Golda Schulz at the Heidelberger Frühling Festival, Elsa Dreisig at the Konzerthaus Berlin and Anna Huntley at Wiltshire Music Centre and Leeds University. He returns to Wigmore Hall, Samling Opera and the Heidelberger Frühling Academy.
Further afield Jonathan has given recitals at the Alice Tully Hall, Carnegie’s Weill Hall as part of Marilyn Horne’s The Song Continues programme, Lincoln Center with cellist Michael Katz, Ravinia Festival and The Phillips Collection Washington DC. He also undertook a North American tour with mezzo-soprano Tara Erraught, and gave performances of Die Schöne Mullerin with baritone Benjamin Appl at the Französischer Dom Berlin and Wolf’s Italienesches Liederbuch at the Rheingau Festival. In the UK he has collaborated with Michael Collins, Benjamin Baker, Peter Moore and Amy Harman at venues including the Bath International Festival, Saffron Hall, Barbican, the Sage Gateshead, Wiltshire Music Centre and Bridgewater Hall.
Passionate about the song repertory, during the 2012/13 season Jonathan was co-artistic director of a year-long festival devoted to the performance of the complete Schubert Lieder in New York. He has been a member of the accompanying staff of the Steans Institute at Chicago’s Ravinia Festival and the coaching staff of the Internationale Meistersinger Akademie in Neumarkt Germany, and is a Samling Artist. He has also worked as a répétiteur with Juilliard Opera, New York City Opera and Frankfurt Opera.
As a soloist Jonathan has given concerts in Dallas, New York, Washington DC, Miami and Hammamatsu in Japan. He won the Grand Prize at the 2005 Kingsville International Competition and was a medalist in the 2002 Missouri Southern, and New York International Piano Competitions. His performances have been broadcast on WQXR (New York), WFMT (Chicago), WRR (Dallas), Bavarian Radio, and on US public television.