Alex Ross at The New Yorker writes about French keyboardist Jean Rondeau and Mahan Esfahani in his recent May 2018 article "The Rebel Harpsichordists":
The Iranian-American harpsichordist Mahan Esfahani has started beefs with early-music eminences and adopted such provocative repertory as Steve Reich’s "Piano Phase." The young French keyboardist Jean Rondeau plays jazz on the side. These performers have room to mature, but their recent concerts and recordings—both with an emphasis on [Bach's] Goldbergs—suggest that the venerable harpsichord, which Landowska called “the roi-soleil of instruments,” will have a long future.
"Praised as his instrument's leading champion," Esfahani has performed in concert halls across Asia, Europe and North America, among them London's Wigmore Hall and the Barbaric Centre, the Frick Collection and Carnegie Hall in New York, the Sheldonian Theatre in Oxford, Petronas Hall in Kuala Lumpur, Berlin Konzerthaus, Sumida Hall in Tokyo and the Library of Congress in Washington D.C., and the BRQ in Helsinki.
Esfahani's discography includes two successful albums for Hyperion Records -garnering a 2014 Gramophone Award and a Diapason d'Or and being named in the New York TIme's "Critic" List of Top Recordings of 2014. In 2015 Esfahani was honored with the BBC Music Magazine's "Newcomer of the Year. Award." Currently, Esfahani is a professor of harpsichord at the Guildhall School of Music and Drama in London.
Visit Mahan Esfahani to learn more about Esfahani's works and performances. Additional articles of interest include Backtrack's "Mahan Esfahan: Carrying the harpsichord into the next generation" and the New York Times "The Pugnacious Performer Who Wants to Take the Harpsichord Mainstream."