He is a true virtuoso, meaning that he has the pianistic resources to do anything he wants to, not that he advertises his technique.
De Maria’s playing abounds in a quality that seems to be virtually a trademark of the best Italian musicians… : long-lined lyricism. In the Schubert, not one melodic phrase, inner voice or bass line was allowed to be unlyrical. Even passagework was lyrically shaped. Everything sang and breathed.
As explored by Mr. De Maria, "Reminiscences de Don Juan" distills all the ecstasy and nightmare Mozart poured into Don Giovanni.
I remember what a revelation Sviatoslav Richter’s recording [of the Wanderer Fantasy] from the 1960s was. In comparison with De Maria, Richter’s now sounds labored in spots and not as daring.
Pietro De Maria played with such incredible lucidity and technically perfect artistery of touch that one was reminded of the young Pollini.
Listening to De Maria as he plays with a touch so extraordinarily full of nuances and uses the pedal with extreme lightness, without any superfluous movement of the arms, and with highly concentrated precision, we are immediately reminded of Maurizio Pollini as a young man.
A poet of sound and a keyboard-wizard.
… the heavenly sound almost took our breath away.
We were amazed by Pietro De Maria’s unbelievably sensual sound, which, from the very first moment, enchanted the audience.
The magic sound.