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" The all-Russian program with the Bordeaux-Aquitaine National Orchestra conducted by Paul Daniel has as soloist Jean-Baptiste Fonlupt, whom we were pleased to hear in Tchaikovsky's Concerto No. 1. There's nothing like a score that's so often heard to capture the imagination of an interpreter. No virtuoso tank or flashy effect here: this Opus 23 does contains electricity (what octaves!), but the soloist prefers to dig the discourse and develop a deeply narrative approach, with the complicity a leader of exemplary vigilance and flexibility. This Tchaikovsky tells, astonishes and mixes poetry, fire and dreams. "

Alain Cochard, ConcertClassic

" Another duo of shock, Nicolas Angelich and Jean-Baptiste Fonlupt are closing the Festival with the Visions of Amen preceded by the Symphonic Dances Sergei Rachmaninov, transcribed for two pianos by the composer, whose two performers restore the charm of colors and melodic invention. From the first measures of the Amen de la Creation, delicate among all, it is the homogeneity of the play and the balance of the sound plans, in a atmosphere as mysterious as deep, which hold us in breath. Without thunderous sound and in an exemplary clarity of polyphony, the two outstanding artists confer at the same time sound opulence and hieraticism to the seven paintings, up to the "Carillon of Light" of the Amen de la Consommation, tackled by the two pianists with the power and scale desired, but still under control: beautiful sound and grand piano to close this Festival. "

Michèle Tosi, Resmusica

" Jean-Baptiste Fonlupt dominates his colleagues. One feels, including in the Geistervariationen, a remarkable pianist. He insufflates them life, brings them out of their torpor, their immobility. With this refined way to make the instrument sound, which is his trademark. The playing of the former student of Rigutto, Pludermacher and Endres combines brightness (Abegg), intimacy (Arabesque), light weight and power (Novellette no.8), extraversion and purity of the singing (rare Novellette no.7). Under his fingers as modest as precise the desolate paths of The Songs of Dawn illuminate a small light that touches the heart. "

Bertrand Boissard, Diapason

" Jean-Baptiste Fonlupt tends to take the Schumann’s Ghost Variations at a faster pace, giving them a winning coherence. In the Gesänge der Frühe, too, he’s alive to the pent-up emotionalism of the music. Fonlupt imbues each piece in his mixed recital with a very distinct personality. His Abegg Variations have a winningly relaxed virtuosity, while the second of the Op.21 Novelletten has a great sens of play. "

Harriet Smith, Gramophone

" Jean-Baptiste Fonlupt imposes his voice in an ambitious Chopin program. He’s sensitivity and modesty are wonderful in the four Ballades, where he does not neglect the epic appearance. The flowing Polonaise-Fantaisie, ultimate test of the great interpreters of Chopin, is impressive: perfect sense of proportions, intimate and profound song, dashing final, truly heroic. Bravo! A Chopin disc that would reserve many surprises in a blind test and would have every chance to win in front of the most famous competitors. "

Bertrand Boissard, Diapason

" This CPE Bach recording is just fantastic. Sound, phrasing, delicacy, tact, elegance, everything is there. "

Philippe Cassard

" With authority and style, pianist Jean-Baptiste Fonlupt offers a poetic and heroic Chopin. His manly game, built, knows how to tell a story (4 Ballades) rigor while releasing the clamp (Polonaise-Fantaisie) and household subtly the most scintillating colors. A exemplary conduct phrasing and lack of pathos (Nocturnes), he joined a reading of these parts in turn committed, firm and uncompromising. "

Michel Le Naour, Cadences

" The Bénédiction de Dieu dans la Solitude suits perfectly the warm and inspired playing of young French pianist Jean-Baptiste Fonlupt. His performance is enchanting, refined and luminous, and his breathtaking phrasing holds all of the attention of the constantly captivated listener. The three Apparitions are served by a delicate and precise touch, against a backdrop of virtuosity. For that matter, a Liszt recording can not be without true pianistic achievement and impressive technical skills. Such grandeur in Jean-Baptiste Fonlupt’s playing! His Liszt is powerful, effective and interpreted with conviction. This is an exciting recording, marked by great maturity, and no doubt the revelation of a true talent ... "

Arnaud Drillon, Classica

" Jean-Baptiste Fonlupt has chosen to play CPE Bach on a modern piano with all its own resources, without wanting to imitate the pianoforte, as some do to interpret Scarlatti and JS Bach. And he's right. The modern piano has so many possibilities that it would be a shame to miss, if not to betray the spirit of this music - and it is this balance that the pianist has found. To those familiar with the music of Beethoven and Chopin, Liszt and Schubert, Jean-Baptiste Fonlupt gives to hear all that the music from Carl Philipp Emanuel has as prophetic and innovative, yet in its originality, deeply personal and imaginative. I admire the quality of his touch and his articulation, the richness and diversity of its colors. "

Gilles Cantagrel, musicologist

" Jean-Baptiste Fonlupt’s Liszt gives us a very true vision, attentive to render the composer’s passions and dreams. Without concealing the great depth of the music through his talented virtuosity, he takes the listener from the great Hungarian Rhapsody No.12 to the second Polonaise, elaborated and brought to light by the other works. With Liszt, faith is not disembodied and Jean-Baptiste Fonlupt, whose technique is fabulous, adds a hint of madness to this ecstatic music … "

Michèle Fizaine, Midi Libre

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