“At the first of Melbourne Symphony Orchestra’s Prom concerts for 2008, Amir Farid centred a limpid, controlled version of Mozart’s Piano Concerto No. 21 in C, continuing a chain of performances begun last year with Australia Pro Arte.  Farid gave few indications of the work’s difficulty, bringing a concise articulation to the long opening movement and providing popular satisfaction with his reading of the Elvira Madigan central Andante.”
Clive O’Connell - The Age, 20/5/2008

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“In Mozart’s not-so-Bohemian Piano Concerto No 21 (used in the film Elvira Madigan), Melbourne pianist Amir Farid once again proved himself master of the playful musical corner.  Always attentive Farid’s performance was refined, fresh and energetic with good-humoured personality.”
Anna McAlister - Herald Sun, 20/5/2008

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“The afternoon’s emphasis fell heavily on the one post-interval work, Mozart’s Piano Concerto in C minor, with Amir Farid as soloist (with the Australia Pro Arte orchestra, conducted by Benjamin Northey).  This more-than-gifted young musician appeared in last year’s series with the earlier A Major Concerto, making a persuasive case for its rarely heard pleasures; the later K. 491 asks a good deal more of its executants, not least in balancing the large wind group.  From the initial keyboard statement on, Farid displayed an enviable control, both in handling the restless passage work of the first movement and the composer’s taxing fondness for repeated notes in this section’s startling melodic content.  One of the more notable aspects of this interpretation emerged in Farid’s self-control, especially in the muffled drive in operation across his opening pages.  Later, the E flat Larghetto came over as the intended benign relief between two grave constructs, the meltingly simple lyric arch informed by a simplicity of address from the pianist that found elegant balance from the mirroring wind ensemble.  But if you were looking for indications of Farid’s rapidly developing mastery, it would be hard to go past his gripping reading of the finale’s variations.  In these opulently dour pages, you heard immaculate instances of insightful flair: evenness of touch, firmness without insistence, a responsive engagement with the movement’s phrasing contours.  In a well-populated field, this artist distinguishes himself for all the right reasons.”
Clive O’Connell - The Age, 1/4/2008

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“Pianist Amir Farid performed (Haydn’s Piano Trio in E flat) with a restrained aggression that revealed Haydn’s mastery of deft virtuosity, the performer acting as a tightly wound fulcrum for his colleagues…”
Clive O’Connell - The Age, 22/11/2007

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“Farid took to the (Mozart) A Major Concerto (K.414) with exceptional insight for a young player. The performance as an entity spoke a persuasive voice - even in delivery, ensemble between soloist and orchestra close to ideal, and a muted virtuosity from the soloist that showed more than anything else his reliable responsiveness to this intelligent, refined music.”
Clive O’Connell - The Age, 25/9/2007

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“Pianist Amir Farid began Mozart’s Piano Concerto in A, K.414 with a carefree, confident air. There was a delightfully playful character in his first movement phrasing which the orchestra picked up on.”
Anna McAlister - Herald Sun, 25/9/2007

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“The Benaud Trio’s first concert this year opened with Mozart’s Piano Trio in C major K.548…pianist Amir Farid stood out for his passionate yet mature expressiveness. His opening solos were classically elegant but full of detail and life. His face showed immersion and conviction without being introspective: he was intimately attuned to the group.”
Anna McAlister - Herald Sun, 18/4/2007

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“…Pianist Amir Farid had immense stage presence. His opening solo (of Kenji Bunch’s Swing Shift for piano trio) was spacious, warm in tone and satisfyingly unrushed. Farid can phrase with all the expressiveness and detail of a voice telling a story. Though his solos were strong, he never overpowered the strings, which can be a danger for piano trios.”
Anna McAlister - Herald Sun, 22/12/06

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“…pianist of the moment…”
Clive O’Connell - The Age, 16/10/06

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“Amir Farid is a highly creative musician - a pianist of great intelligence and integrity. He brings strong musical substance to all that he does, imbuing it with his own particular experience and understanding.”
David Lockett - Chair of the Adjudicators at the 2006 Australian National Piano Award, 9/9/06

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“…Taking on the Beethoven Ghost and Tchaikovsky in A minor, Amir Farid dominated much of the evening’s play, driving away with considerable style right from the opening strokes of the first work…the evening’s honours falling to Farid for sheer persistence and consistent reliability of response.”
Clive O’Connell - The Age, 21/7/06

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“My advice to pianist Amir Farid is to savour the moment. At the annual National Academy of Music Concerto Concert, Farid received a standing ovation for his performance of Beethoven’s Piano Concerto No.4. In Melbourne’s classical music circles, standing ovations are rare. But Farid hit the button. His account of the concerto favoured the rhythmic qualities of the work. He delineated the syncopated chords and revealed his most accurate playing in the runs.”
Xenia Hanusiak - Herald Sun, 22/6/05

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“Beethoven’s Sonata in D major (for Piano and Cello) was the most demanding work of the program, but with Amir Farid at the piano this partnership (with cellist Alexander Baillie) was possibly the most evenly matched in temperament. Of the four players, Farid had the greatest power in sound.”
Xenia Hanusiak - Herald Sun, 1/3/05

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“Amir Farid performed the Beethoven Waldstein Sonata with considerable facility, gave an account of the Five Bagatelles by Carl Vine that would have pleased the composer, and wound up with the Chopin B Flat minor Scherzo.”
Clive O’Connell - The Age, 22/9/04

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“Pianist Amir Farid, another scholarship holder (at ANAM), had a much more prominent role to fill in the evening’s second half thanks to Dvorak, who puts the piano in his quintet to work in both supporting and limelight roles…Farid of necessity had to take a dynamic role, as the piano enjoys considerable solos as well as passages of partnership with each of the strings. Indeed, each of the quartet members had good reason to shake the Farid’s hand at the conclusion because his realisation of the numerous accompaniment passages - in particular for (violist Caroline) Henbest and (cellist Nathan) Waks - came across as quietly assertive but always yielding the foreground to the string player.”
Clive O’Connell - The Age, 11/2/04

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Click here for more reviews at the Benaud Trio website.