. . . Mosell is a serious artist with a formidable technique and forthright musical personality . . . In Mosell's performance the music comes across as beguilingly naive, grand and mysterious, all at once . . . she plays the complete 24 Preludes Op 11 with great urgency and heat . . . It's the tumultuous pieces such as the second of the wonderful Etudes Op 8 that come off best.
. . . [Benelli Mosell] plays Klavierstück XII, drawn from "Donnerstag aus Licht", with considerable aplomb (complete with the required shouts, clicks and whistles), but it's her performance of Scriabin's 24 Preludes Op. 11 that stands out. Powerful, emotional, romantic and dramatic, she sweeps us along in a dazzling display of assured technique.
A remarkably musical and fluent young pianist . . . "Lights" is the kind of album you put on, sit back, close your eyes to, and allow to sweep over you, as you allow your brain to shut off, and the dreamscapes to appear thereafter.
Vanessa Benelli Mosell performs the music very well, she clearly has the technique for coping with the music; many of the preludes are taxing indeed. She plays with a finely fluid poetic sense, yet there is classicism too. The overall feel is one of clarity of texture, with a resonant wash kept firmly in the background . . . [Stockhausen / "Klavierstück XII" ]: Benelli Mosell's control and technical skill in the piece is astonishing, and she performs with fearless bravura . . . Vanessa Benelli Mosell is undoubtedly a talented and seriously interesting pianist, with quite a distinctive view of what constitutes a piano recital.
Mosell's set of Scriabin's Op. 11 "Preludes" is very fine indeed, largely because she's so good at nailing the character of each one. The fireworks present no challenges: Nos. 14, 18 and 24 are riveting, each lasting less than a minute. She also understands Scriabin's debt to Chopin; the more overtly romantic numbers are gorgeously coloured. The whole sequence doesn't often sound this youthful and impetuous. As a bonus we get the Op. 2 "Three Pieces" and one of the Op. 8 "Etudes", again played with utter sincerity. Lovely stuff . . . and then Mosell throws in Stockhausen's Klavierstück XII . . . They're irresistible in her hands; each one packed with incident. And enlivened by Mosell's intermittent clicks, kisses and exclamations . . . You can't imagine a more persuasive case being made for this exciting, entertaining music, Mosell's performance provoking both laughter and awe. A fabulous anthology, and beautifully recorded too.
[Scriabin / 24 Preludes op. 11]: Many details grab your attention. The bar-lines virtually disappear throughout her fast, fluid and highly flexible treatment of No 2, but not the narrative core . . . No 11 recovers its long lost animated qualities, and No 14's sudden crescendo surges gain newfound intensity . . . No 16's homage to Chopin's "Funeral March"] achieves a genuine "misterioso" and sotto voce ambience . . . [her playing on Etude Op 2 No 1] features alluringly rolled chords and endless tone . . . [Mosell brings great abandon and sheer physicality to Stockhausen's "Klavierstück XII",] especially in the third section where the pianist has to whistle and play tricky passagework at the same time. This is Mosell's most focused and satisfying solo CD release to date.
. . . it is admirable that Decca have backed Benelli Mosell with a reasonably adventurous programme and an eye-catching and memorable cover . . . [Scriabin / 24 Preludes op. 11]: There is a fine line to be drawn between finding real poetry in Scriabin's earlier, Chopin-infused opus numbers, and making sure that they convey plenty of that dark and pungent Russian "soul". Benelli Mosell succeeds in this very well indeed, throwing out those technical fireworks and delivering harmonies with a firmness of touch which keeps our feet nicely grounded . . . [Stockhausen / Klavierstück XII]: this tour de force has to be considered something of a coup.
. . . [Mosell triumphs in Stockhausen's Klavierstück XII] with a strongly individual and delightfully personal statement . . . Devotion and an occasional jolly taste for the grotesque is audible in this performance, which will warm the heart of any fan of modern piano music. Playing with authority and joy, Mosell is no less passionate, but considerably more lyrical, than her elder compatriot Maurizio Pollini . . . [in the Scriabin Preludes Op 11, Mosell's approach is] pliant, urbane, lyrical . . . In the thrice-familiar Etude Op 8 No 12, Mosell manages equilibrium and restraint, welcome in this piece which other pianists sometimes make a meal of.