Dan Deutsch
Acclaimed pianist Dan Deutsch is a frequent recital soloist and sought-after vocal
accompanist, performing in prestigious concert halls around the globe. His appearances
have included the Tel Aviv Culture Hall, the Berlin Philharmonic, the Ruhr Piano Festival in Essen, and the Espoo Music Festival.
Deutsch regularly collaborates with leading singers from Germany, Austria, Switzerland, Finland, and Israel, earning recognition for his sensitive musicianship and refined
interpretive style.
In addition to his active concert career, Deutsch teaches the Art Song Course at the Buchmann–Mehta School of Music at Tel Aviv University, where he works with students from both the Vocal and Piano Departments. His teaching focuses on musical interpretation, vocal technique, and the interplay between text and music, with a strong emphasis on emotional expression and performance artistry.
Deutsch’s collaboration with countertenor Yaniv d’Or resulted in a highly acclaimed Naxos album, which received outstanding reviews from the international press.
The Israeli Cameri Project
Now in its second decade, the Israeli Chamber Project is a dynamic ensemble comprising strings, winds, harp, and piano, that brings together some of today's most distinguished musicians for chamber music concerts and educational and outreach programs both in Israel and abroad. It was named the winner of the 2011 Israeli Ministry of Culture Outstanding Ensemble Award and 2017 Partos Prize in recognition of its passionate musicianship, creative programming, and commitment to educational outreach.
Based both in Israel and in New York, the ensemble was created as a means for its members to give something back to the community where they began their musical education and to showcase Israeli culture, through its music and musicians to concert goers overseas. Among its members are prize-winners at the Tchaikovsky International Competition in Russia, the Borletti-Buitoni Trust Award, Avery Fisher Career Grant, and the Gaspar Cassado Cello Competition.
The Israeli Chamber Project’s tours have garnered rave reviews (“These players have to be heard to be believed.” –American Record Guide; “A band of world-class soloists…in which egos dissolve and players think, breathe and play as one.” -Time Out New York) and established the ensemble as a major artistic force on both sides of the Atlantic. These tours include appearances on some of the premier chamber music series, whether in Jerusalem, Tel Aviv, New York or Beijing, as well as in remote towns where access to live chamber music is extremely rare. Guest artists on ICP tours have included Tabea Zimmermann, the Guarneri String Quartet’s Michael Tree and Peter Wiley, the Cleveland Orchestra’s Principal Flutist, Joshua Smith as well as international soloists Antje Weithaas and Liza Ferschtman.
A strong advocate for music education, the ICP has partnered with several conservatories and educational institutions in order to offer lessons and masterclasses to students of all cultural and economic backgrounds, many of whom have little or no opportunity to work with internationally recognized musicians.
An important part of the Israeli Chamber Project’s mission is to support emerging Israeli composers by commissioning works specifically for the ensemble. Composers commissioned so far have included Matan Porat, Jonathan Keren, Gilad Cohen, Yohanan Chendler, Amit Gilutz, Zohar Sharon, as well as American composers Lowell Liebermann and Gity Razaz.
The Israeli Chamber Project has appeared at venues including London's Wigmore Hall, The Kennedy Center, Stanford's Bing Concert Hall, Weill Recital Hall at Carnegie Hall, the Morgan Library & Museum, Town Hall and Merkin Concert Hall in New York City, Philadelphia's Kimmel Center, Herbst Theatre in San Francisco, The Clark Memorial Library at UCLA, Ottawa’s Chamberfest, on tour in China and Hong Kong, and has been featured on NPR’s Performance Today and WQXR radio’s Young Artist Showcase.
The ensemble’s debut CD, Opus 1, received great critical acclaim. Writing for American Record Guide, Gil French noted “These players have to be heard to be believed”, and “These musicians…make music both as soloists and as an ensemble with the technical perfection of a Heifetz and the musicality of the most mature players.”