New Music Video + Spring Press by Elizabeth Roe

The Anderson & Roe Piano Duo recently released a new music video, featuring their minimalistic cover of Daft Punk's "Lose Yourself to Dance" and filmed last year at the Moonlight Rollerway in Los Angeles (check out the blog here):

The first quarter of 2017 has been filled with exciting concerts, travels, and events, from the opening concert of the PyeongChang Winter Music Festival in South Korea to the duo's UK orchestral debut with the Royal Liverpool Philharmonic. (For regular tour photos/updates, follow Anderson & Roe on Instagram.)

Latest press coverage:

THE KOREA HERALD: Risque four-hands piano fires up winter-weary souls

Partnership does not do justice in describing the electrifying performance by the Anderson & Roe piano duo. Pianists Greg Anderson and Elizabeth Joy Roe showed the magic that can happen when two musicians perform with one soul. 
In a program that included a classical Mozart piece arranged into ragtime and the Beatle’s “Let It Be” arranged to “push” the gospel element of the pop favorite, the duo showed in fully display the explosive power of two pianos played together. Rachmaninoff’s “The Night ... the Love” from Fantaisie-Tableaux was dreamy in its evocative romanticism as the two pianists gazed into each other’s eyes across their pianos.

The highlight of the evening was the performance of Piazzolla’s “Oblivion” and “Libertango” played by four hands on one piano. In a sensually charged performance, the two pianists shared the keys, performing a sultry tango between their hands and arms. Manipulating the piano, fingers reaching into the innards of the grand piano, to produce the effect of pizzicato on the violin, the duo’s performance of the Piazzolla pieces were visually mesmerizing. 

KOREA TIMES: Warm music to go with Winter Games

What followed the intermission was a young, volcanic piano duo ― Greg Anderson and Elizabeth Joy Roe, virtuosi who met at Julliard and who now tour the world presenting a torrent of genres. A rapturous "Ave Maria" by Shubert, a near honky-tonk rendition of "Let It Be" by the Beatles and a driving tango were among the works as the audience kept demanding they play on. The performance (they almost sat in each other's laps) was muscular with Ms. Roe's long dark ponytail and sinuous arms flying around the dueling Steinways. 

CARNEGIE HALL BLOG: Happy Birthday, Ensemble Connect!

NEIU INDEPENDENT: The best of both worlds

AIKEN STANDARD: Piano duo elevates talent at Joye in Aiken master class

GOOD NEWS LIVERPOOL: Review: Anderson & Roe And Christian Lindberg With The Royal Liverpool Philharmonic

SUPERSTAR piano duo Greg Anderson and Elizabeth Joy Roe practically blew the roof off the Liverpool Phil’s Music Room in a recital they gave on Monday. On Thursday they returned to join the orchestra on the main stage in a performance of the Concerto for Two Pianos by Francis Poulenc, along with conductor Christian Lindberg.
Anderson and Roe are tremendously charismatic and insanely talented, and the Poulenc concerto was a great piece to demonstrate some of their stylistic range. Poulenc is noted for injecting a stiff dose of playfulness into his work, and parts of the two-piano concerto at times feel almost like music to a silent comedy film. But even in the same movement the mood changes to something far more languid and thoughtful, and the liquid playing from the pair of pianos nestled in an embrace on the forestage was simply exquisite. After a similarly reflective, shorter centre movement, the finale returns to spikier passages, eventually returning us via a reflection of the opening to a sharp and witty conclusion. Throughout they were accompanied with flair by the RLPO.
Demonstrating their showmanship and obvious love of playing, the duo then treated the audience to not one but two encores. Piazzola’s Libertango and the Beatles’ Let it Be, both in their own arrangements, giving us a glimpse of other aspects of their extensive repertoire of both material and performance methods.

WQXR BLOG: Watch Piano Duo's Roller Disco Cover of Daft Punk's 'Lose Yourself to Dance'

BROADWAY WORLD: 75 Talented Young Artists Set for YoungArts' Week-Long NYC Intensive

Boulder Philharmonic Opening Weekend + latest press by Elizabeth Roe

The 2016-2017 concert season is off to an eventful start, from season-opening orchestral performances (in Chicago and Boulder) to venue-opening recitals (at the Mondavi Center and the University of Iowa). Elizabeth just appeared as concerto soloist in Rachmaninoff's beloved Rhapsody on a Theme by Paganini plus the Poulenc Double Concerto (alongside piano duo partner Greg Anderson) with the Boulder Philharmonic and conductor Michael Butterman for the orchestra's opening weekend (see review and preview articles below). This month is chock-full of concerts across the country, from Santa Barbara to Washington, DC; check the calendar for the latest details.

Anderson & Roe with Maestro Michael Butterman after performing two concerti with the Boulder Philharmonic

Anderson & Roe with Maestro Michael Butterman after performing two concerti with the Boulder Philharmonic

September: Sinfonietta, Stereophile, SFCV by Elizabeth Roe

The Anderson & Roe Piano Duo opened the Chicago Sinfonietta's concert season with "Unhinged": a jam-packed piano-centric extravaganza, featuring the Poulenc Double Concerto, Stravinsky's complete Petrushka, Michael Jackson's "Billie Jean," and a brand new arrangement of Coldplay's "Viva la Vida" for two pianos and orchestra. Check out a preview of the concert on WGN TV as well as the Chicago Tribune review here.

An in-depth profile of Elizabeth is featured in the San Francisco Classical Voice:

"...Onstage I do feel a heightened version of myself, one that is brave and passionate, and that’s really just open. In an odd way, I feel that music leads me to accept and to honor the person I really am."

Read the complete interview with Mark MacNamara here: Elizabeth Roe: The Executor of Risk

In album news, Elizabeth's John Field: Complete Nocturnes received a glowing review in Stereophile; it was granted 5 STARS for both the performance and sonics.

This CD barely needs a review. What Franz Liszt said of the 18 Nocturnes of John Field (1782-1837) will do: “No one has revived...these half-sighs of the breezes, plaintive wailings, ecstatic moanings.” But I have an addendum: These Nocturnes adhere to no specific form, but are, rather, short, exquisitely melodic meditations on, mostly, sadness. They’re not lugubrious—Field was too interested in beauty for that—but neither are they as florid, filled with angst, or harmonically complex as Chopin’s. This is not a criticism—as you’ll realize when you hear this disc, which I recommend you do.

If Field’s Nocturnes have a format, one might say that in most, particularly the early ones, the left hand plays ostinato (a repeated phrase/rhythm) while the right hand tends to the melodic content—sometimes straightforward, more often fascinatingly chromatic. The overall mellowness doesn’t result in boredom: No. 3’s rocking ostinato often includes unexpected dissonances; No. 4 rambles harmonically, and has a quite intense, unexpected period about halfway through. It also requires some amazingly acrobatic right-hand fingerwork. No. 5’s melody sounds oddly like a Schubert song. No. 16 is on a large scale—at 9 1/2 minutes, it’s twice as long and complicated as most. No. 17 could be by Mozart.

Crammed onto this single CD (look at the total timing!) is every Nocturne Field wrote. Perhaps one can take only so much beauty. But play a few at a time and wonder at Roe’s divine lyricism and phrasing. These works deserve to be better known.
— Robert Levine, Stereophile (September 2016)