Press

"The pianist has traversed the score with perfect assurance ... and with just the required rubato to make a lively address."

Claude Gingras, La Presse -- 30 juillet 2010

"The inaugural concert program for the 32^e season of the Orchestre symphonique de Trois-Rivières obviously pleased the audience that crammed the Thompson Hall ... " " ... the audience greatly enjoyed the skilled interpretation of the Concerto for piano no2 by Rachmaninov, played by Anne-Marie Dubois, and showed their appreciation with an enthusiastic ovation. The pianist, originally from Drummondville, brought out the nuances and subtleties of Rachmaninov's composition, by demonstrating the necessary agility of her execution. "

OSTR pays tribute to Trois-Rivières, Marie-Josée Montminy, writer, p.38, Monday, September 14, 2009

"In the first part of the program, the Canadian pianist, Anne-Marie Dubois, showed a keen sense of melody and legato (Verbatim: the Canadian pianist Anne-Marie Dubois, very talented for the chant, full and very connected), in the concerto Piccolo Mondo Antico by Nino Rota. Sustained by a concise and warm accompaniment, the soloist went from the first exhausting movement (including a great cadenza) with no time to stop, to a nimble and melodious final that demonstrated her virtuosity, then moved on to a lyrical Andante, rigorously and measured."

Pablo J. Vayón, Scherzo (Classique magazine), June 2008, Madrid, Spain

"In Bajadoz, the Canadian pianist, Anne-Marie Dubois, soloist, performed the Concerto in Mi minor " Piccolo mondo antico " by the Italian composer Nino Rota, authenticating her excellent curriculum with an interpretation full of expression and nuances. As an "encore", Madame Dubois played a study of Liszt " Sigh"."

Emilio González Barroso, HOY, Diario de Extremadura, April 29, 2008, Espana

"Reminder: The striking virtuosity of the pianist Anne-Marie Dubois in the Totentanz by Liszt"

Claude Gingras, La Presse, Montréal, October 30, 2006

"Anne-Marie Dubois works out of Canada, and she has the measure of Liszt. We should hear more from this fine piano-player. The imposing and neglected "King's Standards" march is all opulent commitment and belief, matched by solid technical virtues. I welcome Dubois's warm version of Liszt's histrionics. The 10-minute Cantico is not often attempted in recitals like this. Liszt does reach the summit out of the clouds at the very end: the Almighty, rather than just hammered octaves. I was moved by Dubois's sincerity (not the easiest thing to convey, with this composer), and this is still big-scale playing, faithful to the score. Dubois always keeps head and heart in the right place.

In Dubois's secure hand, Sposalizio has more to do with the joy of love and the marriage of Liszt's title, than with grandiosomania. The preaching to the birds has an uncomplicated, uplifting force, and William Tell's chapel is hallowed in tone. The tone colors, at medium dynamic levels, are carefully distinguished, and beautifully full. Dubois's loud playing is not contained, but she doesn't sacrifice tonal values. Many offer more prodigious articulation when all hell breaks loose, but Dubois refuses to be demonstrative.

The drama is all personal here, as it should be with Liszt, who composed in his own reactions to the world on many levels, in all these works. They then allow one person to project all the dramas (originally Liszt himself), but the projection has to be selfless to convey the meaning rather than just the drama. Here, many of the great keyboard lions fail to control themselves, letting loose a 21-gun salute that skinks the expressive ship. It's a big demand to play Liszt with balance and not lose impact, but Dubois succeeds in conveying the range and power of all this music, and her Eclectra recital should make plenty of converts to Liszt's cause. The very end of the Cantico from Dubois would convince anyone that there just has to be a better world, somewhere."

Paul Ingram, Fanfare Magazine, USA, March 2005

"Dubois's former collection from Liszt's religious pieces -- "Liszt -- homme de foi" (Eclectra ECCD02061, Fanfare 26:6) -- drew warm praise from Peter J. Rabinowitz and myself, my colleague finding her "bright and confident ... drawing us in with her fine sense of Liszt's luminous colors and his long-range dynamic structures ... and reminding us, through her luxurious phrasing, that Liszt's spirituality often had a core of sensuality." The same virtues suffuse the present gathering of works around the theme of "Liszt -- ami de Saint François d'Assise", with Dubois moving easily from the conversationnally confiding tone lavished on Sposalizio and Pater noster to the spirited, if glowingly relaxed, Rossini transcriptions. St. Francis's sermon to the birds -- too often a Big Production -- is taken with affecting but unaffected simplicity, as is the Adeste fidelis vision of the manger from the Christmas Tree Suite.

Dubois possesses a unique magic that is always welcome."

Adrian Corleonis, Fanfare Magazine, USA, March 2005

" I have nothing but praise for the interpretation and recording sound.

Anne-Marie Dubois displays a superb technique, her musical thinking is constant and her piano, reproduces with generosity ..."

Claude Gingras, La Presse, Montreal, Saturday, October 11, 2003

"These seductive and warm interpretations transport us with warm immediacy to the center of Liszt's musical professions as a "man of faith." Anne-Marie Dubois has chosen wisely from his disconcertingly uneven production in this line to offer a compelling hour of the most spellbinding poetry suffused with a constant play of sonority and color, freshness and lyricism, radiance and rapture. For once, St. François de Paule treads the waves with the glowing grandeur of a Delacroix canvas-rather than the lurid virtuosity of a Doré engraving-making one avid to hear Dubois in Bénédiction de Dieu dans la solitude, whose ideal interpreter I'd wager she'd be. For once, St. François de Paule treads the waves with the glowing grandeur of a Delacroix canvas-rather than the lurid virtuosity of a Doré engraving-making one avid to hear Dubois in Bénédiction de Dieu dans la solitude, whose ideal interpreter I'd wager she'd be. A marvelous album from an artist who knows how to spirit up marvels, fluently, effortlessly, enchantingly."

Adrian Corleonis, Fanfare Magazine, USA, July 2003

Peter J. Rabinowitz, Fanfare Magazine, USA, July 2003

" Anne-Marie Dubois phrases Fauré with elegant clarity (Ballade, Thème et variations) and interprets Chopin (Sonata op.35, Andante Spianoto and Grande Polonaise Brillante) with refreshing energy ..."

Claude Gingras, La Presse, Montreal, 27/10/01

"Young Montreal Pianist, Anne-Marie Dubois, is an exceptional artist who is worthy of attention from the city's major musical organizations.

Dubois has developed an astonishing technique - Scarbo was brilliantly conducted as was Opus 10 no. 4, by Chopin.

Her playing was interesting, alive and excellently prepared ..."

Carl Urquhart, The Gazette, Montreal

"Miss Dubois is an excellent young pianist; her playing is clear, light, full of spirit and without affectation."

Tim Page, The New York Times, New York

"Canadian Anne-Marie Dubois was highly acclaimed when she appeared as soloist in the concerto by Mozart K453. She is a musician possessing a real talent for communication. She knows, either by instinct or musical wisdom, that simplicity is deceptive, and probes below the surface to reveal depths that perhaps the composer herself is unsuspecting."

Eric Maclean, The Gazette, Montreal

" ... The artist's immense talent and amazing musical technique ...

Anne-Marie performed with a perfect control of her art ... in front of a packed audience."

Monique Muzarelli, Le Trait d'Union, Mascouche

"As her reputation requires, Ms. Dubois offered a flawless benefit. An advanced hall packed and entirely won over. Excellent pianist! Ms. Dubois interpreted with panache ... "

Sébastien Harbour, La Revue, Terrebonne

"All through the evening, Anne-Marie Dubois did credit to her excellent reputation as a pianist"

La Concorde, St-Eustache

"A Chopin recital, given by the grand talented pianist, Anne-Marie-Dubois, marked the long anticipated return to Matinées Musicales Desjardins on l'Iles-des-Moulins ... she filled the 136 spectators with awe."

Joel Goulet, La Revue, Terrebonne

"A concert devoted to the best. Audacious technique. She gave a personal spirit to these pieces by transcending only the technical aspect."

Gilles Bordonado, Marie-France Despaties

"A great virtuoso ..."

La Revue, Terrebonne

"Recent winner of the Argentine prize, Anne-Marie Dubois showed great expression and piano technique in the Concerto in E Flat by Mozart for piano and string orchestra. 

Mozart, Gershwin and Litto Nibbia reunite on a memorable musical evening..."

Roxana Kreimer, Tiempo Argentino, Buenos Aires