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“The Irish pianist Finghin Collins then led his attentive listeners into a totally different sound-world with the three Estampes by Debussy. Extremely senstively and with the most delicate attack, the images were conjured up… a brilliant start by the Dublin pianist, whom we will hear many times again during the week..”

 Paul Krick, Saarbruecker Zeitung, June 25th 2014

 "...But the most unusual offering of the first weekend was a talk by Finghin Collins about developing a career as a concert pianist in Ireland. Collins is by some distance the most successful Irish pianist of his generation, and was one of those players who seemed destined for the top from a very young age. His air of self-possession, and of possessing both the stage and his audience, marked him out from his peers.... A fuller exposition of personal and professional togetherness you couldn’t have asked for." read full article

Michael Dervan, The Irish Times, July 30th 2014

"And yet, something different happened: he played in a way that made you all but forget how these pieces were technical nightmares. His mastery was so assured and complete. He tamed them. Technique departed centre-stage. He didn’t play as though trying to prove something, but rather as though recounting some little story he had uncovered in each one. This was transcendent playing. Collins transcended Chopin’s technical minefield, filtered out all the noise of physical overachievement, and reverted to music-making. It was spellbinding stuff that reached deep." read full review

Michael Dungan, The Irish Times, October 1st 2014

"Collins showed true understanding of the peculiar drama, the attractive nuances, the filigreed ornamentation of the fortepiano in Field's music." 

Rathcol, The Belfast Telegraph, December 1st 2014

"The highlight of the Dutch orchestra’s programme was Finghin Collins’s account of John Field’s First Piano Concerto. It’s a musically naive piece, but full of fanciful decoration, which Collins, playing an 1822 Broadwood instrument, treated with the utmost finesse. Music, instrument and player seemed in perfect concord."

Michael Dervan, The Irish Times, December 3rd 2014

"Irish pianist Finghin Collins is in the middle of a six-date tour with the orchestra, a huge honour, but one that is richly deserved judging from his performance tonight. For these concerts, he plays on an 1822 Broadwood instrument, which is vastly different in sound and mechanism to a modern grand. John Field’s Piano Concerto No. 1 in E flat is a strange piece, not without charm but certainly no masterpiece, but Collins’ interpretation is both technically assured and full of wit. Hopefully, we will have the pleasure of hearing plenty more of Collins on eighteenth century instruments, as Ireland is sorely lacking in the area of fortepiano specialists."

Anthony Brooks, Golden Plec, December 3rd 2014


"..the two Brahms Rhapsodies. These were given wonderfully surging performances which also did full justice to the moments of heart stopping lyricism so integral to both works. The pianist at the end of the concert paid tribute to both acoustic and piano but some of that was down to his touch, which even in the loudest moments, and there are many in this music, was beautifully warm".

Leicester Mercury, December 13th 2014


Past Reviews

2013 2012 2011 2010 2009 2008
2007 2006 2005 2004 2003 2002
2001 2000 1999 1998 1997 1996
1995 1994 1993 1992    

"The performance by the Quatuor Ebène and Finghin Collins gave full rein to the harmonious architecture and richness of inspiration of this music [Fauré's Second Piano Quintet] which combines youthfulness and serenity, two virtues normally opposed. What juvenile freshness in the opening of the first movement and in the impressive scherzo where a mad wind blows. What balance between this communicative joy and the purified depths of the prayer in the Andante!"

Jean-Jacques Scherrer, Dernières Nouvelles d'Alsace, September 14th 2009