Ian Hobson, piano

The Tenri Cultural Institute, New York, NY

November 7, 2025

A finale that was truly grand concluded Ian Hobson’s long-running New York cycle of Schumann’s piano works this weekend, as he played to a full house at the Tenri Institute. The program consisted of Schumann’s Piano Sonata No. 1 in F-sharp minor, Op. 11, and his Davidsbündlertänze, Op. 6. The concert was entitled “Florestan and Eusebius” – after the names of Schumann’s famously contrasting alter egos – the former being a bold adventurer and the latter, a more introspective dreamer. It would not be difficult to include much of Schumann’s oeuvre in a program named for these two spirits, but the title did seem especially apt here, particularly for the Davidsbündlertänze, which in its first edition actually had each of the eighteen pieces ascribed to either Florestan or Eusebius – in a few cases both. The printed program for this evening included these ascriptions, a helpful guide to the unfamiliar listener, along with the excellent program notes (as usual) by Paul Griffiths.

In addition to all the helpful notes, Mr. Hobson spoke at the concert’s opening, to welcome the audience and to introduce the first piece, the Sonata, Op. 11. Especially illuminating were his mentions of the third movement sections – from scherzo to waltz, pompous polonaise, Bachian interlude, and back – and on to the last movement, which he rightly described as “discursive” with all its twists and turns.

Mr. Hobson’s playing showed the same overview, and he was a sure guide through all of Schumann’s wide-ranging explorations. He seemed quite comfortable through the sonata’s most unwieldy challenges. Naturally, he has always been a pianist of all-encompassing technique and repertoire, so his mastery is never a surprise, but it seemed that there was some increased comfort this time, compared to prior recitals at Tenri, possibly attributable to raising the piano lid by only an inch or two, as opposed to full-stick or half-stick. Mr. Hobson announced that, in response to the condition of the instrument and the acoustics, the lid would be raised only by a book – and at that, a volume of Schumann, much to the audience’s enjoyment. All seemed much more manageable with this setup. Incidentally, that volume of Schumann was not needed for actual reading, as all was played from memory.

A word is in order on memory. Too much may sometimes be made of memory, and many pianists feel exasperated after pouring heart and soul into a performance, only to hear from listeners, “how did you memorize all that?” – as if that were the focus, and of course it is not. That being said, having heard Mr. Hobson play from memory most of this cycle, including around 1,600 pages of solo music (not even counting the chamber music), this reviewer has to say that for such an achievement alone, our admiration is warranted.

The sheer act of memorizing the lifetime output of a composer is also bound to affect the performer’s – and audience’s – perspective, sometimes altering the balance between a work’s idiosyncrasies and the general architecture and momentum. Though this listener has not always been an advocate of complete cycles in concert, it became clear through this one that Mr. Hobson, whom one thinks of as a supremely organized player, had found a certain order to the world of a composer who sometimes seems to defy organization. Though his interpretations were different from many performances I’ve loved dearly, in which the performer has seemed actually to inhabit Schumann’s world, living (and suffering) through each mercurial moment, there was a wise overview here, as if one of Schumann’s stabler friends were relaying the composer’s thoughts and feelings. Clearly Mr. Hobson is “friends” with all of Schumann’s quirks and dreams, and he presented them with spirit, directness, and a superb control of line and texture. The Sonata in F-sharp minor held together more surely than it often does, and where the very rare but inevitable glitches or smudges arose, they were swept easily into the flow of the music.

The Davidsbündlertänze, Schumann in some of his most ebullient writing, came after intermission. The sequence of short pieces felt utterly natural – holding together just as Paul Griffiths so artfully framed Schumann’s goal, “as much by contrast as coherence.” They gleamed like the tesserae of a large mosaic. Most memorable ones included the seventh, which on the first repeat felt not at all like a mere reiteration, but a deepening. The ending of the eleventh, Einfach, was particularly poignant, and the twelfth, Mit Humor, had just the right rambunctiousness complete with whimsical – almost perfunctory – ending. The thirteenth, Wild und lustig (with both Florestan and Eusebius alternating) had the perfect feistiness alternating with a quiet nobility, and the seventeenth was sheer heaven (apart from a slightly rough ending).

There were a few surprising interpretive decisions, such as in the fourteenth (Zart und singend), where one usually encounters a slower tempo along with its feeling of intimacy, but here it moved right along. As is often the case with seasoned artists, one simply had to wait for the reasoning to become clear in retrospect. In this case, more time was taken in its second section, and it thus made sense not to pile lingering upon lingering.

If there were spots that one might want to redo for an immaculate recording, those would probably include moments in the eighth (which actually had exceptional humor), the ninth, and the thirteenth. The third, fifteenth, and sixteenth seemed at times to lack Mr. Hobson’s characteristic ease, but any extra effort seemed to be geared towards spotlighting certain accents and patterns.

All in all, this concert brought many new thoughts on the piano works of Schumann – as did the entire cycle – tying together various “loose ends” of Schumann’s musical life for this listener. It was an education, and that comes from a reviewer with decades of hearing and playing Schumann’s music. Bravo!

On the subject of education, one can only imagine what good fortune it would be to study with Mr. Hobson, who, if asked “what Schumann have you performed?” could honestly now respond, “all of it.”

by Rorianne Schrade  for New York Concert Review; New York, NY

Internationally renowned violinist Zoltán Mága took the time recently to chat with New York Concert Review about his recent American tour. Mr. Mága has given concerts in nearly one hundred countries on five continents, playing for kings, heads of state, and church dignitaries. His materials state that he has played for President Donald Trump, Pope Benedict XVI, Prince (now King) Charles, Mohammed VI, the king of Morocco, and Konstantin II, the former king of Greece, as well as famous actors such as Robert de Niro and Salma Hayek, among other celebrities. He has performed with world-renowned musicians, including Didier Lockwood, Stéphane Grappelli, and Richard Clayderman, and has had countless television appearances, notably one from the Hungarian National Opera House that was enjoyed by viewers in 22 countries.

Rorianne Schrade (RS): Welcome Mr. Mága . We’ve read much about your illustrious career. Please tell us a bit more about yourself, how it all began, and what inspires you.

Zoltán Magá (ZM): I come from a dynasty of musicians — my father, my grandfather, and if we look back several centuries, every generation of my family has carried a deep love and respect for music. For us, music is not only a profession but also a heritage, a way of life, a spiritual calling.

I grew up in humble circumstances, but my parents did everything they could to ensure I lacked nothing essential for my musical development. We didn’t have money, but we had faith, love, and determination. My father was a musician, but he also took on physical labor to buy instruments, pay tuition, and provide me with opportunities he himself never had. My mother, quietly and selflessly, held our family together behind the scenes.

I began my journey in the Rajkó Orchestra, living in a dormitory, and as a child, I already understood that dreams must be fought for. While other children played, I practiced — until dawn, again and again. I knew I had to work twice as hard to get even halfway there. But I never saw it as a sacrifice, because for me, music was not just a vocation, but a refuge and a path.

I had no influential family behind me, no connections, no easy road — only my instrument, my diligence, and my faith. Yet I made it to the world’s most beautiful concert halls, royal palaces, and churches.

I believe that talent alone is not enough — it must be brought to life through hard work, humility, and perseverance. One’s origin, skin color, or social background should never be a barrier: the language of music speaks to everyone and connects us, no matter where we come from.

If my story gives strength to even one young person who is struggling today but still believes in themselves, then all the sweat, exhaustion, and sacrifice will have been worth it. Because for me, music has always been about this — the triumph of the human soul.

RS: We read that you’ve recently been in the United States on concert tour. We’d love to hear a summary of where you played, and anything you can share about what comes next on your concert schedule.

ZM: We embarked on a grand American tour with my orchestra, bringing the beauty of Hungarian music, the message of national unity, and the power of charity overseas. Our journey began in Washington, leading us through New York, Philadelphia, and Los Angeles, and concluding at the world-famous Carnegie Hall.

Our opening concert at the Kennedy Center in Washington was held in the spirit of Hungarian freedom, Christian values, and national pride, and was met with great international success. It was moving to see the audience rise to their feet in applause and to feel how music truly unites us Hungarians wherever we live in the world.

On October 23, the anniversary of the 1956 Revolution, we paid tribute to the heroes with our music at the Embassy of Hungary in Washington in the presence of Minister of Foreign Affairs Péter Szijjártó and numerous diplomats. We believe that the courage of the heroes of ’56 still teaches us today to preserve our faith, freedom, and national independence.

In New York, at the commemoration held at the United Nations in collaboration with the Consulate General of Hungary, we addressed the nations of the world through the voice of Hungarian music. It was deeply moving to see diplomats from nearly one hundred countries bow their heads together before the Hungarian heroes while our music carried the message of courage, gratitude, and freedom.

In Philadelphia, we performed at the historic Union League building, where Hungarian music reached representatives of American political, cultural, and diplomatic life. It was a special honor to receive an invitation to the celebration of the 250th anniversary of the United States, where we will once again represent Hungary and Hungarian art.

In Los Angeles, we gave a concert at the legendary Bel-Air Country Club to benefit victims of the wildfires. There we met our friends David Foster and Katharine McPhee, and new outlines of American-Hungarian cultural collaborations began to take shape. I also performed one of my dearest pieces, the hauntingly beautiful theme from Schindler’s List by the legendary John Williams. Wherever I perform around the world, I play it to remember – and to remind others – of the lessons of our shared history.

The highlight of our tour was Carnegie Hall in New York, where the audience gave us a standing ovation even before we stepped on stage. The proceeds from this charity concert were donated to St. Jude Children’s Research Hospital, and we decided to contribute an equal amount to support Hungarian children’s hospitals as well, because we believe that help should begin at home.

The funds raised at the charity concert will be complemented by contributions from the Hungarian government and additional supporters, making the final donation substantial. I will return to New York on December 13 to personally present the total amount to St. Jude Children’s Research Hospital.

At Carnegie Hall we performed a completely acoustic concert—without amplification—so that every nuance of the music could be heard purely, naturally, and full of soul. Pianist Brent Morden, the Budapest Gypsy Virtuosi, and my son Zoltán Mága Jr. also performed, and his playing received tremendous ovation.

During our stay in New York, we also held diplomatic meetings, including with the leaders of the Young Republicans of America, to discuss the future of Hungarian-American cultural relations. We were invited to the organization’s Christmas Gala, to which President Donald Trump is also invited. Overall, our American tour was not only an artistic success but also a profound human and cultural mission. We brought the message of Hungarian music, charity, and bridge-building between nations to the world’s greatest stages. For us, music is not merely a profession but a calling—to carry Hungary’s good name around the world and to show that the power of faith, love, and togetherness knows no boundaries.

RS: You are also the featured performer of Hungary’s largest annual New Year’s Concert. Could you share more about this?

ZM: On January 1, we will hold the Budapest New Year’s Concert for the eighteenth time. Over the years, it has become one of Hungary’s and indeed Europe’s most significant cultural events. During nearly two decades, this concert has provided not only an exceptional musical experience but has also grown into a true national tradition and a moral message. The motto of this jubilee year—“Together for 18 Years!”—perfectly expresses what we aim to convey each year: the importance of peace, unity, shared values, and national cohesion.

Throughout the years, we have performed alongside world-famous artists and multiple Grammy Award–winning musicians who are at home in the greatest concert halls around the world. Our guests have included David Foster, the sixteen-time Grammy Award–winning producer and composer, and Katharine McPhee, the American singer and actress with whom we have performed several times. We are proud to have shared the stage with Ramón Vargas, the world-renowned Mexican tenor; Aida Garifullina, one of the brightest stars of Russian opera; and Sheila, the American pop icon—all of whom have contributed to making our concert a truly international event.

Of course, the greatest figures of Hungary’s artistic world also celebrate with us every year—Kossuth Prize-winning singers, musicians, and actors—without whom the concert would not be complete, either musically or emotionally. They are the ones who represent Hungary’s cultural values with dignity, and whose talent and dedication elevate the splendor of the evening time and again.

For us, the New Year’s Concert is not merely a grand musical event but a mission: to convey, through the power of music, the beauty, spirit, and message of peace of Hungary to the entire world. Each year, we strive for our audiences—both Hungarian and international—to feel through music what faith, love, and togetherness mean to us.

RS:  And to return to your American tour, let’s hear some more recollections about that.

ZM: One of the most defining experiences of my life was this year’s American tour, which led from Washington through New York to Los Angeles, carrying with it the message of Hungarian music, love, unity, and charity to some of the world’s most prestigious stages. I am deeply grateful that, as a Hungarian artist, we could once again conquer America — and even more grateful that through the power of music, we were able to build bridges between nations and between people.

RS: And can you share some more specific recollections, as you played in Washington, Philadelphia, Los Angeles, and New York?

ZM: Washington:There was a message of freedom and national unity in Washington. The first stop of the tour was the Kennedy Center in Washington, where we performed before a fantastic audience. It was a deeply moving experience to represent Hungary, the Hungarian spirit, and the message of freedom and Christian values at one of the world’s greatest cultural institutions. Ambassador Szabolcs Takács welcomed the audience, praising not only the international stature of Hungarian art but also the cultural and human mission that my music represents. After the concert, the audience expressed their appreciation with a long standing ovation – I felt that with every note, we carried the heart of Hungary to Washington.

As I said then, “At the Kennedy Center, music once again united us. Every note carried the message of the Hungarian soul — the power of faith, love, and patriotism.”

On October 23, it was a great honor to perform at the Embassy of Hungary in Washington in memory of the heroes of the 1956 Revolution and War of Independence. Among the attendees were Minister of Foreign Affairs and Trade Péter Szijjártó, American secretaries, ambassadors, and diplomats — representatives of numerous nations from around the world. As I said that evening: “The courage of the heroes of 1956 continues to teach us that we must always preserve our freedom, our faith, and our national independence — peacefully, yet resolutely.”

New York: The highlight of the tour was Carnegie Hall, where it was once again an honor to perform on one of the world’s most iconic stages. The audience rose to their feet as I stepped on stage — a moment I will never forget. It was also a great joy that the concert was entirely acoustic, without amplification — the music resonated sincerely, purely, and with soul. Sharing the stage with me were pianist Brent Morden, the Budapest Gypsy Virtuosos, and my son, Zoltán Mága Jr., whose virtuosic performance received a standing ovation.

Also, in cooperation with the United Nations and the Consulate General of Hungary, I had the privilege of performing a commemorative concert marking the 69th anniversary of the 1956 Revolution. Ambassadors and diplomats from nearly one hundred countries’ permanent missions to the UN were present – it was the first time such a wide international community paid tribute to the Hungarian heroes. There, at the UN, while I played, I felt that Hungary’s voice was speaking to the world – through the language of music, the voice of freedom, faith, and gratitude. As I said then: “Music is the language of the soul that transcends all borders. Today, Hungary’s voice was a message of gratitude, respect, and freedom to the nations of the world.”

During my stay in New York, I also met with Stefano Loudarus Forte, President of the New York Young Republicans, and Vice President Brent Morden. Our discussion centered on strengthening Hungarian–American cultural relations and on the nation-building and value-preserving role of art. I was invited to the Young Republicans’ Christmas Gala, to which President Donald Trump himself is also invited.Az űrlap teteje

Editor’s note: The New York Carnegie Hall Concert of Mr. Zoltán Mága was organized by the Liszt Institute New York.

Philadelphia: We brought Hungarian music to the heart of American history – Philadelphia. Philadelphia, the historical capital of the United States, was a particularly special venue for me. We performed in the elegant building of the Union League, America’s first Republican club, where we presented Hungarian music to the American political, diplomatic, and cultural elite. I vividly remember how uplifting it was to stand in the place where America’s freedom was born and to serve the ideal of unity through the sound of the Hungarian violin. Earlier, I had the privilege to play personally for President Donald Trump, who spoke with great appreciation of Hungary, the Hungarian people, and Prime Minister Viktor Orbán. He said: “Your Prime Minister is a leader who bravely stands up for his country, for peace, and for Christian values — setting an example for all of Europe.” In Philadelphia, I felt once again that music builds bridges between our nations.

Los Angeles: In Los Angeles, at the legendary Bel-Air Country Club, I performed before world-renowned producers, artists, politicians, and diplomats. The evening was held to support the victims of the wildfires, once again showing the power of unity through music. It was a joy to reunite with my friend, sixteen-time Grammy Award-winning producer David Foster, and singer Katharine McPhee.

During our conversations, new opportunities for American-Hungarian cultural collaboration began to take shape, and I received an invitation from Lance O’Connor, the owner of Minted Content, to take part in next year’s even more extensive American tour. I am grateful to be able to present the beauty of Hungarian music in a world-class setting. I firmly believe that music is the most beautiful bridge between nations.

RS: And clearly charity is an important part of your activities. Please share anything else you’d like to about your extensive charitable work.

ZM: About my charitable work, looking back over the past decades, I can proudly recall that I have given nearly one thousand charity concerts, through which we have been able to provide assistance worth several million dollars to those in need—both in Hungary and beyond its borders.

As I mentioned, all the proceeds of my concert at Carnegie Hall were donated to St. Jude Children’s Research Hospital, and as I announced: “Whatever amount of donations was raised here in America, I will match with an equal contribution to support Hungarian children’s hospitals, from the proceeds of the Budapest New Year’s Concert. Because we must first help at home, in Hungary — and from there, wherever we can around the world.”

RS: Thank you so much for sharing your time, experience, and feelings with us today – and with our readers.

by Rorianne Schrade  for New York Concert Review; New York, NY

Artistic director: Yiming Wu; Music Director: Yu-ting Cheng; 3rd MusicON Competition Judges: Wang Lu and Felipe Lara; Tech Director Haibei Wang

Performers & composers from the MusicON International Composition Competition:
KaiChen Cheng (flute), Yu-Ting Cheng (clarinet), Clara Cho (cello), Yoon Sang Timothy Cho (conductor), Eva Ding (flute), Sunmi Han (piano), Daniel Lamas (viola), Yeji Pyun (violin), Makana Medeiros (percussion), Sara Salomon (violin), Tsung-Yu Tsai (cello), Tyler Vittoroia (double bass), Taige Wang (piano), Foo Jeng Wong (piano),Jin Yang (pipa)

Opera America National Opera Center, Marc A. Scorca Hall, New York, NY
October 26, 2025

Sunday’s performance marked the third evening of the MusicOn International Composition Competition showcase of Aspiring Young Composers. A varied program of ten unknown works was presented, all by participants and finalists in this unique competition – one that celebrates the craft of composition from an early age, an admirable endeavor to continue a tradition with centuries of history.

First on the program was Exhalation by composer Lucy Chen – this piece was a duo for piano and cello performed by Foo Jeng Wong (piano) and Clara Cho (cello). This piece, commissioned by the 2025 MusicOn Festival was inspired by Ted Chiang’s Exhalation, a story about a futuristic world where air powers life and thought. The work was performed with sensitivity by the duo and many of the extended techniques for cello were handled with care by Cho, communicating the character of these “exhales” with clarity. The work as a whole could have had a bit more direction, but its moodiness kept this reviewer attentive until the very captivating ending.

A contrasting work, Periphery for small ensemble and conductor by Emily Bai followed the program. The performers were Sara Salomon (violin), Tsung-Yu Tsai (cello), KaiChen Cheng (flute), Yu-Ting Cheng (clarinet) and led by Yoon Sang Timothy Cho. The fragmented opening was angular and Webern-like. The ensemble was tight a with the quiet and subdued moments – this was when it was most effective. Although the ensemble handled the work well, the promise of the opening figures didn’t completely materialize with no obvious or clear climax but it was still a great effort from Bai.

Reverie for piano and violin by Andy Yiheng Li was next, performed by Sumi Han (piano) and Sara Salomon (violin). This Debussyesque work (even in its title) was also a commission by the 2025 MusicOn Festival. Han conveyed the piano’s delicate textures with sensitivity and color, creating a supple harmonic fabric over which the violin could sing. The work unfolded with clear structural intention and sustained the audience’s attention throughout. While moments of greater intimacy from the violin might have enhanced the overall effect, the duo captured the work’s lyrical and dramatic essence with poise and expressivity.

In the next small ensemble piece, Echoes of Silver Rain by Xinyuan Deng, the marimba part played by Makana Medeiros was a standout. The other members of the ensemble were Yeji Pyun (violin), Tsung-Yu Tsai (cello), Eva Ding (flute), and conductor Yoon Sang Timothy Cho. This piece began with seductive figures between the instruments in the ensemble. This cohesive group was able to communicate a clear concept, and all the important musical gestures were beautifully crafted. Choosing this instrumentation was a great decision by Deng and his adept use of the strength of each one was skillfully done. The ending was particularly effective.

Zihan Wu’s Memoir of the Bamboo Sea, a finalist work in the 2025 MusicON Composition Competition, was performed by Eva Ding (flute) and Makana Madeiros (marimba). This evocative piece stood out as a highlight of the program to this reviewer. The opening flute solo was haunting, with bending tones that seemed to wail from a distance, immediately setting an introspective tone. Wu’s writing demonstrates a thoughtful understanding of both instruments, achieving a remarkable balance and clarity in their interaction.

Rather than depicting a physical landscape, Memoir of the Bamboo Sea captures the emotional resonance of remembering a place, in this case, the composer’s hometown. Ding delivered a commanding performance, conveying the work’s deep emotional layers with expressive nuance, while Madeiros brought sensitivity, precision, and a subtle allure to the marimba part. Their collaboration was deeply engaging, leaving this reviewer hopeful that the duo will continue performing together. Bravo to both performers and to the imaginative young composer!

Unfolding Memory by Angela Jin was performed by Foo Jeng Wong (piano), Sara Salomon (violin), Daniel Lamas (viola), Clara Cho (cello), KaiChen Cheng (flute) and led by Yoon Sang Timothy Cho. According to the composer this work “explores how memories resurface – sometimes vivid, sometimes blurred.” This sense of gradual revelation was apparent from the opening, suggesting a journey toward transformation or resolution. However, the work ultimately felt somewhat disjunct and lacking in direction. While moments of intriguing texture and color emerged, the piece struggled to maintain a coherent throughline, even within its intended dialogue between clarity and obscurity.

The next work, Fluctuations on a bed of blue by Emily Cheng was written for string quintet. The ensemble was comprised of Yeji Pyun and Sara Salomon (violins), Daniel Lamas (viola), Clara Cho (cello) and Tyler Vittoria (double bass). Cheng’s writing explored rhythm with a playful sensitivity, allowing the music to sway and breathe with each syncopation. The inclusion of the double bass lent the texture a satisfying depth, while the ensemble’s cohesive interplay brought out the work’s colorful sonorities. The result was a piece imbued with a mellow character that unfolded with charm and fluidity.

A duo for piano and clarinet by composer Tony Li titled The Mystical followed. This work was commissioned by the 2025 MusicON festival. It was performed by Foo Jeng Wong (piano) and Yu-Ting Cheng (clarinet). The work opened with colorful, impressionistic motifs from both instruments, evoking the harmonic language of early twentieth-century French composers. As the second section unfolded, however, the piano writing at times lacked the harmonic support needed to fully complement the clarinet line. Despite this, the piece maintained an appealing sense of mystery, and the performers conveyed its atmospheric qualities with sensitivity. With further refinement, The Mystical could more clearly articulate its expressive intent and structural cohesion.

The work with the most intriguing instrumentation was Variations on a Theme from Bizet’s Carmen by Taige Wang with the composer at the piano and Jin Yang on pipa, a Chinese traditional instrument. This instrument, not known for playing works in a Western harmonic language was beautifully colorful and expertly played by Yang. The piece opened with a bold flourish before introducing the familiar Habanera theme, famously sung by Bizet’s protagonist. Wang’s imaginative treatment of the melody created moments of lively dialogue between the two instruments, blending Eastern and Western idioms with flair. Although the balance occasionally favored the piano, at times overshadowing the pipa, the performance overall was engaging and full of spirited energy. The work stood out for its inventive approach and playful reimagining of a well-known classic.

Congratulations to all of those involved in creating this three-day festival of presenting new works to the public. The event was well organized and thoughtfully curated, showcasing an impressive range of creative performances. However, the noticeably sparse audience was disappointing. With greater outreach and engagement, the festival could draw a larger and more involved community presence, matching the high quality of the performances themselves.

by Walter Aparicio  for New York Concert Review; New York, NY

Artistic director: Yiming Wu; Music Director: Yu-ting Cheng; 3rd MusicON Competition Judges: Wang Lu and Felipe Lara;  Tech Director Haibei Wang

Performers & composers from the MusicON International Composition Competition: KaiChen Cheng (flute), Yu-Ting Cheng (clarinet), Yoon Sang Timothy Cho  (conductor), Clara Cho (cello), Eva Ding (flute), Shirley Guo (harp), Joanne Kang (piano), Yeji Pyun (violin), Sara Salomon (violin), Tsung-Yu Tsai (cello)

Opera America National Opera Center, Marc A. Scorca Hall, New York, NY

October 24, 2025

This evening’s concert presented at the Opera America National Opera Center, Marc A. Scorca Hall, featured compositions by young and aspiring composers who are all participants and finalists in the 2025 MusicON International Composition Competition. The programming included a variety of chamber works as well as solo piano. Tonight’s concert highlighted the very youngest category of composers in this event – as young as 9-years-old.

Tiger Liu’s composition Kaua’i ‘Ō’Ō, a solo piano piece inspired by Olivier Messiaen, is a portrait of the extinct bird and the Hawaiian landscape. The opening chords arrested the listener’s attention with its rich palate of French sonorities – they were immediately contrasted by an opposing character and sound. The Messiaen-like rhythms were handled well by pianist Joanne Kang, but the chordal passages could have had a wider range of color throughout. Following this opening section, a convincing and captivating second section displayed the emblematic “water music” of the French impressionists – this was handled expertly by Kang. The piece ends with one final bird call, “a haunting echo of loss and hope.”

Second Impression by Brendan Li, a 16-year-old composer from Vancouver, BC, Canada followed. This piece, in the composer’s words, “aims to capture the feeling of exploring the mysterious other side of things.” This piece was performed by Joanne Kang (piano) and Sara Salomon (violin), each in command of every aspect of this work. The piano intro was flowing but the character seemed undefined, and an obtuse melody emerged from the violin. Although the performers were able to execute the score organically, it was unclear what each instrument’s role really was. At points, the violin had some technical passages that didn’t contribute to the storytelling of the work. In general, this piece could have had a clearer point of view.

The piece Beaver by the Water by Edmond Zhuo began somewhat dissonantly. This piece for string quartet was performed by Sara Salomon and Yeji Pyun (violin), Daniel Lamas (viola), and Clara Cho (cello). This reviewer found this programmatic piece to have some charming ideas but wouldn’t have understood the story if it hadn’t been written in the program. A stronger sense of interaction between the instruments could have also cleared up some of the incongruous sounds – for example, violin 1 seemed disconnected from the rest of the group activity at times. It is a lovely piece but could use some refining in its part writing.

Cultivation of a Spirit is said to celebrate “growth & harmony.” This piece by Lucy Fang is for a small ensemble that included Joanne Kang (piano), Yeji Pyun (violin), Tsung-Yu Tsai (cello), KaiChen Cheng (flute) and conductor Yoon Sang Timothy Cho. This piece was quite successful from the opening flute motif, its violin answer/imitation and the entry of the piano. It sets the stage for the narrative of the work. Fang was able to produce an organic blend of the instruments including some extended techniques on the flute. As the piece continued, it was clear that it was being held together well by the ensemble and, particularly, the conductor which resulted in an exciting climax with all the instruments in the group. An interesting work by Lucy Fang!

Duet No. 1 by 11-year-old composer Charles Zhuo was performed by pianist Joanne Kang and violinist Sara Salomon. This serene and reflective work offered a pleasant listening experience, with piano writing that conveyed a gentle, meditative character. However, the violin part at times felt less idiomatic, and the dialogue between the two instruments could have been developed further to enhance the sense of interaction. The conclusion, too, might have benefited from a more vivid or decisive gesture. According to the program note, the piece is inspired by a lively and imaginative narrative, a quality that could be explored more boldly in the writing itself. Nevertheless, it is an impressive accomplishment for such a young composer, and Zhuo’s work shows great promise for future development.

Next on the program were Two Miniatures by 9-year-old Annie Wu. The first piece, The Joy of Summer, opened with a Lisztian passage, lush and shapely. This could communicate the image of the water to the listener. This piece, performed by Joanne Kang, had the listener captivated and the form was clear. It was colorful and scenic. The second piece, The Mysterious Sound of an Insect, began with colorful rolled chords and trills. The melodic material was beautiful, and it eventually transformed into a murky and rumbling piece – the ending was bombastic and strong. A vivid piece!

Twilight Reverie byJohn Liu concluded the program with a sense of tranquility and dreamlike lyricism. Scored for a small ensemble—Yeji Pyun (violin), Daniel Lamas (viola), Eva Ding (flute), Yu-Ting Cheng (clarinet), Tsung-Yu Tsai (cello), and Shirley Guo (harp). The work displayed a strong sense of unity and continuity throughout. Opening with a jaunty, cinematic theme, the piece immediately established a vivid sense of character and motion. Liu demonstrated an impressive command of instrumental color, blending the ensemble’s diverse timbres with sensitivity and skill. The group’s performance was well-balanced and communicative, with particularly noteworthy solo passages from the clarinet and viola. Shifts in mood were handled with clarity and effectiveness, maintaining the listener’s engagement throughout. Overall, Liu’s craftsmanship and refined sense of ensemble writing made Twilight Reverie a compelling and satisfying conclusion to the concert.

It is impressive to hear the work of these young composers – I admire the work of this organization and look forward to the other nights of the festival this weekend.

by Walter Aparicio  for New York Concert Review; New York, NY

James (Zijian) Wei, piano

Zankel Hall at Carnegie Hall, New York, NY

October 26, 2025

One of the joys of reviewing in New York is seeing a rising talent from another country blow into town with boundless enthusiasm and gifts galore, and such was the case this weekend with the Zankel Hall (Carnegie) recital of Chinese pianist James (Zijian) Wei. Mr. Wei is the 2024 Mixon First Prize winner of the Cleveland International Piano Competition (CIPC), and the presentation of this important concert by Piano Cleveland was among his generous prizes. 

As anyone witnessing the proliferation of competitions can attest, few performers win an award without vying for a dozen, but to succeed in multiple competitions says something about a performer’s drive, broad appeal, and the stamina needed for a career. Mr. Wei’s distinctions have been many, including the First Prize in the 2017 Changjiang Cup National University Piano Competition, the Grand Prize in the Professional Category of the 2018 Huanglong Music Season Piano Competition, First Prize in the 2018 Jianfa Gulangyu International Piano Competition, and Third Prize in the 76th Geneva International Music Competition, as well as the receipt of the Rose-Marie Huguenin Award in 2022. In addition to being the 2024 Mixon First Prize winner in the CIPC, he won CIPC’s Best Chamber Music Performance Award, Henle Verlag Urtext Special Prize, Audience Choice Prize, and Young Judge Prize. Mr. Wei has also played with quite a few orchestras, particularly in China, where his teachers have been Jay Pengjie Sun, Liu Xi, Galina Popova, and, since 2016, Danwen Wei at the Central Conservatory of Music. Based on the snippets of Rachmaninoff’s Piano Concerto No. 3 and others that this reviewer has heard from young Mr. Wei (just 26 years old), he excels as a passionate concerto soloist, which is a good thing, as he is apt to have a full plate of those. Sunday, though, he was a recitalist, and he impressed as a performer with much to say.

Mr. Wei burst onto the stage of Zankel Sunday with enormous energy, and his excitement was infectious. Though his first half was solidly from the classical era –  pairing Mozart’s Piano Sonata in A major, K. 331 (yes, the one with the Rondo alla Turca last movement) with Beethoven’s Sonata Op. 101 (also in A major) – the second half would offer contrast with Scriabin’s Sonata No. 5, Op. 53, Barber’s Excursions, Grainger’s Ramble on the Love Duet from Der Rosenkavalier of Richard Strauss, and Ravel’s La Valse. It was apparent from the start that Mr. Wei is a pianist who enjoys adventures and extremes. 

Mr. Wei took a quiet moment of meditation before his Mozart, as if for something sacred (which, after all, music is), and he began with an ethereal tone one rarely hears in this first movement. He lavished each phrase with affection, flexibility of tempo and the occasional left-preceding-right luxuriance. Some call such a style over-Romanticized, self-indulgent, or precious – and this reviewer too generally prefers a bit more restraint – but it was hard to resist Mr. Wei’s emotional responses. 

Mr. Wei’s Mozart also reflected a sense of liberty that was striking in this oft-played work. Surprises abounded, from the first movement’s elaboration added in the repeat of the fifth variation, taking us at one point up to the modern piano’s highest D (which of course did not exist on Mozart’s instrument) to his quiet end to the movement – the opposite of the robustness one expects. It was clear that Mr. Wei is a performer who goes his own way. The Menuetto was memorable for its spirited operatic contrast, and the Rondo alla Turca enjoyed delightful articulations and nuanced dynamics from one iteration to the next. In fact, one wished he had observed all the repeats later in the movement, but he seemed focused on driving the momentum to the boisterous finish (for which he took the left hand chords an octave down). The audience seemed enthralled. 

There was a slightly more reverent approach to Beethoven’s Op. 101, and it was welcome in this shining masterpiece. Mr. Wei projected all the warmth of its opening movement and all the energy of the subsequent march. Much of the Adagio was simply sublime, and the mastery shown in the last movement’s challenging fugato was admirable. 

The program after intermission was a dream for such an extroverted pianist, starting with Scriabin’s Piano Sonata No. 5. Your reviewer has actually never heard this piece’s opening attacked with more savagery. The ride that followed was wild, with Scriabin’s own eccentricities magnified by the pianist’s own uniqueness. The languido moments were like perfume, and the volando sections seemed to take literal flight. It was brilliant, and all seemed improvised from the pianist’s own spirit and prodigious technique. 

The Barber Excursions that followed were excellent overall, though this reviewer, having some strong attachment to these pieces, found some unsettling surprises, one arising rather conspicuously in the third piece. The lay reader may want to skip to the next paragraph, but suffice it to say that the groups of seven at mm. 49-55 were played with the second quarters of each measure becoming eighths in what then resembled an ordinary 6/8 meter. Unless there is some edition out there unknown to me, that interpretation strays beyond “liberty” into the category of a misreading. It may sound picayune, but much of the heraldic joy of the piece stems from this section’s first two quarters being equal in each measure – which can be achieved simply by counting to seven eighths. The final rustic movement was charming.

Every recital is enhanced by the inclusion of a rare gem, and that gem here was Percy Grainger’s marvelous Ramble On The Last Love-Duet, arranged from Richard Strauss’s Der Rosenkavalier. Its lush harmonic language was magical, and it made a perfect transition to Ravel’s La Valse, which closed the program. In La Valse, as if all were not virtuosic enough already, Mr. Wei added octaves where many pianists struggle for just single notes. Despite the occasional glitch (and for this musician an occasional longing for a bit more waltz continuity), it was a tour de force, greeted with a long and excited standing ovation. 

Two encores followed, first Wencheng’s Autumn Moon on a Calm Lake popularized notably by Lang Lang some years ago) and then the beloved Schumann-Liszt Widmung. Both were lovely additions to an exciting afternoon. Kudos go to Zijian Wei and to Piano Cleveland!

by Rorianne Schrade  for New York Concert Review; New York, NY

Rachel Youngberg Payne, Mezzo-Soprano, Jack Tyndale-Biscoe, Piano

Weill Hall at Carnegie Hall, New York, NY

October 26, 2025

A completely delightful concert took place this Sunday, the New York Debut at Weill Hall of Duo Atlantis, a collaboration between mezzo-soprano Rachel Payne and pianist Jack Tyndale-Biscoe. The program, entitled “Echoes Across the Atlantic” blended British and American art song, including music of Edward Elgar, Ralph Vaughan Williams, Benjamin Britten, Muriel Herbert, and Bear McCreary (b. 1979) from the UK, plus selections by Samuel Barber and Aaron Copland representing the US. This duo connected much more than the two already-related cultures. Drawing inspiration from the ocean between the two, plus the shared human experiences of  “travel, love, memory, and humanitarian stories” (as their Carnegie summary states), they communicated with each note, connecting with their audience and reminding us how deeply we all are connected. It was a thoughtfully conceived program to make us laugh, cry, dream, and wish. All of that would mean little, though, if they had not performed it superbly as musicians – and they did indeed.

Opening with two selections from Elgar’s Sea Pictures, Op. 37, the duo set a haunting tone first in Sea Slumber Song, starting with Mr. Tyndale-Biscoe’s atmospheric piano introduction. It is usually a matter of just a minute or less before this reviewer finds a nit to pick with singers, but Ms. Payne started off beautifully and continued so, with a pure and rich tone, true and focused intonation, and thoughtful and communicative phrasing. Any vocal imperfections were transmuted by the alchemy of her expressiveness. She clearly shared in the intensity of the piano part as well, “living” each entire piece, not just her part – which ought to be the norm, but one sees the opposite all too often! Mr. Tyndale-Biscoe, showing consistent mastery, drew no attention to himself, simply serving the music and realizing it expertly. His piano introduction to the next Elgar selection, Where Corals Lie, picked up the pace and captured just the right restlessness.

The next pieces were a wonderful surprise, which this reviewer can’t recall ever hearing in concert: selections from Children’s Songs by Muriel Herbert (1897-1984). Ms. Payne announced them as “charming and disarming” – and they were just that. Mr. Tyndale-Biscoe didn’t miss a trick in setting the tone for – and punctuating – these miniatures, each one finishing in a wink. We enjoyed the whimsy of Merry-go-Round,the acrobatics in the growing of The Tadpole, the happy affirmation of differences in Jack Spratt and finally The Bunny, which was simply adorable. At one point in the concert Ms. Payne mentioned from the stage that she has children to whom she sings, and it does seem that such basic musical directness is an integral part of her magic onstage.

Mr. Tyndale-Biscoe spoke eloquently to introduce the next works and he more than lived up to his tantalizing descriptions with his playing. The duo gave a dreamy reading of Samuel Barber’s Nocturne from Four Songs for Voice and Piano, Op. 13, and then crossed the musical ocean to perform two selections by Ralph Vaughan Williams, his Let Beauty Awake from Songs of Travel and Silent Noon from The House of Life. The “poetry and philosophy” that Mr. Tyndale-Biscoe had spoken about in these songs were both evident to a poignant degree, with both musicians savoring the warm and wistful creations.

Not a duo to avoid humor, they delighted next in Benjamin Britten’s Calypso from Cabaret Songs, a musical “race” to get to a train station, appropriately here, Grand Central. It was all that Mr. Tyndale-Biscoe had described it to be- “playful, ironic, and theatrical.”  Lest we grow too lighthearted, two of Copland’s Old American Songs followed to bring us to tears, The Little Horses and At the River, closing the first half with further reminders of children and community – both themes at the center of the premiere after intermission.

The second half of the program was devoted to the world premiere of Dragon’s Blood:  A Four-Part Song Cycle for Voice, Piano, Harp, Cello, and Percussion composed by Emmy-winning (and, in the UK, BAFTA-winning) composer Bear McCreary. Set to a heartbreaking text by screenwriter J.D. Payne, the song cycle spotlights the impact on children of cobalt mining in Congo, using a “dragon” in a cave as a metaphor for the harm that can come to children from such work. Incidentally, the concert was co-sponsored by Floodlight, an organization involved in promoting ethical industry practices, and the performance of this song cycle certainly made a powerful statement towards that end.

It was not as radical a shift as one might think from the first half’s music to this troubling story, as thoughts of children were already in the air. In fact, for an audience immersed just moments before in Herbert’s carousels and Copland’s “little horses” lullaby, the descriptions of an innocent young Congolese boy with dreams of sunlight and warm bread were simply devastating. Mr. McCreary’s score, an immediately accessible and colorful one, was conveyed with all the agony of the situation, but also with some hope in the final rallying cry to the community. The Atlantis Duo was as powerfully communicative as ever, responding to the text and music with just the right sensitivity and drama.

Credit to the cellist, harpist, and percussionist should not be omitted. The harpist Karen Tay helped evoke the beauty of childhood, while the cellist Wangshu Xiang created the ferocious growls of the titular dragon. Grace Goss on percussion added intensity throughout. If any of these names are incorrect, that is from a hasty search to find out who they were, as they were not listed on the program (with surely some administrative glitch responsible). Anyway, the overall effect was potent, and undoubtedly the audience was moved to learn more and to do more. An encore of Mahler’s Urlicht capped off the recital, with a panel discussion on the Dragon cycle to follow, to delve into it all further. Sadly this reviewer could not attend, but it did seem that no further words were needed after such a moving afternoon of music.

by Rorianne Schrade  for New York Concert Review; New York, NY

Performers and composers presented by the Mayflower Art Center:

Joanne Kang, Foo Jeng Wong, and Maxwell Lu, piano;

Yeji Pyun and Sara Salomon, violin; Clara Cho, cello; Daniel Lamas, viola;

KaiChen Cheng, flute; David Valbuena, clarinet

Youngwoo Jeon and Yoon Sang Timothy Cho, conductors;

Marc A. Scorca Hall, The National Opera Center, New York, NY

October 25, 2025

An evening of music by twelve promising – and in several cases much-lauded – young composers took place this weekend at the National Opera Center as part of the 2025 MusicON Festival under the auspices of the Mayflower Art Center, an organization offering education and support to young aspiring musicians. As the three-day festival was held from October 24th to October 26th, and this reviewer only attended the October 25th concert, a reader wanting to grasp the full scope of the festival will be able to find more about the other evenings by other reviewers at this site.

Meanwhile, as co-hosts Tianzhe Chen and Emily Bai announced at the concert, MusicON is in its fourth year, having worked with musicians of twenty countries and regions, featuring more than fifty performers and presenting 141 musical works. This year’s offerings featured thirty-eight composers, including six finalists in this year’s MusicON International Composition Competition, eleven works by invited composers, and twenty-one compositions by students of the Mayflower Art Center. Though Saturday’s concert included “only” twelve works, there was a dizzying amount of information to process, including which works were composed by those designated as Guest Composers, Honored Graduates, Emerging Composers, or Finalists of this year’s competition. Sadly there were no biographical notes on anyone, nor any program notes on the music, but more on that later.

Starting with highlights, one work will linger in this reviewer’s mind, and that is a piece called Syriac Fugato 2 by young Lebanese composer Sami Seif (Finalist in this year’s competition), as performed by Yeji Pyun on violin and Daniel Lamas on viola, both of whom performed standing up for the first time in the evening. The piece resembled a vocal improvisation passed between the two instruments, sometimes with strained hoarse sounds suggesting moans or crying out, but conjuring an overall sense of desolation throughout. There was effective use of  a wide range of techniques – from bouncing bows and tremolos to microtones and slides – but it was the focus on a single tone, departure from it, and return (with humming at its close from the violist) that helped give the piece its compelling unity and humanness.

Another piece memorable for its sheer sense of adventure was Jetlag  by Yiming Jia (Honored Graduate), performed by violinist Yeji Pyun, cellist Clara Cho, and pianist Foo Jeng Wong. Synchronized sweeping string slides against the rather jazz-infused piano part – along with several rapid tempo changes – gave the piece a disorienting effect one can only assume was meant to evoke the title condition. The overall impact was dreamy and humorous at once.

Among pieces one may need to hear twice to fully fathom was the closer of the program, Two Islands, by Fabian Leung (Honored Graduate). It overflowed with lush harmonies, interesting ideas, and contrasting styles, perhaps a few too many for this listener to assimilate in one hearing, but it was certainly brimming with energy and potential. As with all the works on the program, it was given a dedicated performance by skilled musicians – here, pianist Joanne Kang, violinist Yeji Pyun, cellist Clara Cho, flutist KaiChen Cheng, and clarinetist David Valbuena, with Yoon Sang Timothy Cho conducting (yes, due to the rhythmic challenges in much of the music on the program there were conductors listed even for some trios and quartets).

One comment on the overall concert was applicable here, that though it seemed there was much happening in the music, the listeners were left in the dark, figuratively speaking. It would not be too much “spoon-feeding” to illuminate the performances with some ideas of what each composer intended in each work (as audiences still benefit from program notes for music in very well-known styles, after all). Several composers were in attendance, and a few words from them (or printed notes) about their inspiration could have guided the listeners’ ears through some of the unknown territory.

Moving to the many other works on the program, there was as the opener, Silence Of Lost Songs in Extinction by Xinze Shi (Emerging Composer), played by pianist Joanne Kang, violinist Yeji Pyun, and cellist Clara Cho, with conductor Youngwoo Jeon (the latter whom at that point I could not see, before moving from the back of the hall). The performers navigated its mercurial shifts well, from the acerbic opening dissonance to more tonal glimmers from the piano, and on to quasi-Baroque sections, presumably among the “lost songs” to which the title refers.

A Short Conversation Without Words by Winston Schneider (Guest Composer) found pianist Foo Jeng Wong, violinist Yeji Pyun, cellist Clara Cho, and clarinetist David Valbuena wending their way persuasively through the piece as it developed from an expressive opening clarinet solo to more ominous and searching interchange.

Water Makes Many Beds I by Olex Li (Emerging Composer) was also rather cryptic, but the title seemed appropriate for some of the flowing, quasi-impressionistic sections. Pianist Joanne Kang and violist Daniel Lamas captured a floating feeling at times. Showing still more aquatic inspiration was Cerulean Cascade by Albert Lu (Emerging Composer). Though the music did not overtly convey a sense of the work’s title throughout, it explored numerous appealing effects from slides in the strings to flutter-tonguing in the flute part. The players – pianist Foo Jeng Wong, violinist Sara Salomon, cellist Clara Cho, flutist KaiChen Cheng, and clarinetist David Valbuena, seemed to handle their parts well, and conductor Yoon Sang Timothy Cho kept the flow with a solid beat in what seemed to be some metrically nebulous writing.

The Tree Has Seen Nothing by Cyrano Jett Rosentrater (Guest Composer) set up an interesting mystery of pleasant and contrasting sounds, though, as with other selections, one could only guess at the composer’s intent. Flutist KaiChen Cheng, violist Daniel Lamas, and guitarist Luis McDougal built it from its placid opening to a shrieking peak, before it receded into a gentle ambling guitar part and fadeout to the flute’s final quavering.

Fi by Maxwell Lu (Honored Graduate) found the composer serving as pianist himself, along with clarinet Jefferson Sheng. The word “Fi” means quite a few things, so again it would have been great to have some guidance via program notes. The innumerable repeated treble notes in the piano found the able clarinetist adding his lines to the texture and joining in exploration before the return to the high treble repeated notes. Crack by Sofia Jen Ouyang (Guest Composer) possessed yet another title with many meanings. Pianist Foo Jeng Wong joined cellist Clara Cho and David Valbuena on bass clarinet. The piece was filled will interesting effects from its explosive opening through to the end.  More furious repeated notes were heard in Torque by Asher Lurie (Finalist), performed by pianist Foo Jeng Wong, violinist Yeji Pyun, and cellist Clara Cho. The exploration of subtly changing rhythms along with gradually expanding intervals was intriguing. One could almost imagine the rotational tension suggested by the title.

Tangle by Jingya Huang (Finalist) was then performed by a string quartet. Violinist Yeji Pyun, violist Daniel Lamas, cellist Clara Cho were listed – though there was another violinist not listed, who appeared to be Sara Solomon (though it is hard to say based on one’s view of the stage). Conductor Youngwoo Jeon kept the group on course from its measured beginning and ostinato-like sections right up to its dramatic final chords, played with ferocity.

Undoubtedly, we will be hearing more from many of these performers and composers, and one looks forward to following their development.

by Rorianne Schrade  for New York Concert Review; New York, NY

Vocal Artists Management Services

James Greening-Valenzuela, manager; Gretchen Greenfield, artistic consultant

Opera America National Opera Center, Marc A. Scorca Hall, New York, NY

October 16, 2025

Vocal Artists Management Services (VAMS) presented their Seventeenth Season Artist Showcase on October 16, 2025, in the Marc A. Scorca Hall at the Opera America National Opera Center. Sacred music from Bach (St. Matthew Passion and Mass in B minor) and Mozart (Mass in C minor), and arias from Gounod, Puccini, Donizetti, Weill, Lehar, and Verdi were the thirteen selections performed by eight artists. A brief synopsis of each selection was included in the program notes. The eight artists in order of appearance were Sarah Benzinger, Michael González, Andrew Egbuchiem, Tom Sitzler, Ann Folger, Stacey Stofferahn, Alexandria Crichlow, and Nelson Ebo. Eric Malson once again was the pianist tasked with accompanying these singers, which he did with his customary excellence as one has come to expect. VAMS founder and manager James Greening-Valenzuela greeted the audience and also lent his talents as a violinist in the Bach selections.

Six artists had multiple selections, while the remaining two had a single selection as a duet. In the interest of fairness, I will select a highlight for each artist. This is not to say that all selections were not worthy of attention, as they of course were.

Let’s start with the duet first, “O terra addio” from Aida, with tenor Nelson Ebo and soprano Alexandria Crichlow singing the tomb scene. As I have written previously about Mr. Ebo, he is a passionate performer who offers the maximum in both his singing and acting. Tonight was no exception. While it might have been a bit too much for the small confines of the hall, it brought much needed energy to the evening. Ms. Crichlow was much less animated, but still brought forth the emotions of Aida with a dignified expressiveness.

Soprano Sarah Benzinger is listed as an “Emerging Artist” on the VAMS roster. Her offering of “Regnava nel silenzio” from Lucia di Lammermoor convincingly captured the spooked/unsettled quality of Lucia. Ms. Benzinger particularly excelled in the extreme high register, with exquisite control and pure tone without a hint of strain. She is a fine addition to the VAMS roster and has great potential. Soprano Stacy Stofferahn’s “Meine Lippen, sie küssen so heiß,” from Lehár’s operetta Giuditta, had the right amount of saucy naughtiness, dancing on the edges of burlesque without ever truly crossing over. It was delightful fun. Mezzo-soprano Ann Folger was playfully taunting in both voice and acting, in “Que fais-tu, blanche tourterelle?” in Gounod’s Romeo et Juliette.

 I have been witness in past performances to the vocal gymnastics of countertenor Andrew Egbuchiem, but tonight he offered  J.S. Bach’s “Erbarme dich” from the St. Matthew Passion with a child-like purity of tone that was simply angelic.

Tenor Michael González’s selection of  “Where is the One Who Will Mourn Me When I’m Gone?” from Kurt Weill’s Down in the Valley was – surprisingly to me – my favorite of the evening. I’m not always fond of what I find to be the cynical underpinnings of Weill’s music, but this was something different! With the bluesy accompaniment and the heartbreaking despair projected by Mr. González, the emotional impact was undeniable. Last, but not least, baritone Tom Sitzler “brought the power” as the enraged Ford in “È sogno? O realtà?” from Falstaff. His is a strong voice, perfect for the fury this aria demands.

Congratulations to all the artists.

by Jeffrey Williams  for New York Concert Review; New York, NY

Modus Operandi Orchestra

Justin Bischof, conductor

Chloé Kiffer, violin

Merkin Hall, Kaufman Music Center, New York, NY

October 15, 2025

The Modus Operandi Orchestra (MOO), under the direction of Justin Bischof, presented a concert entitled “Modus plays Mozart @ Merkin”- an all-Mozart program at Merkin Hall on October 15, 2025. Violinist Chloé Kiffer was the featured soloist in the Violin Concerto No. 5 in  A major (“Turkish”), K. 219. Opening the program was the Symphony No. 40 in G minor, K. 550, and closing it was the Symphony No. 41 in C major (“Jupiter”), K. 551.

The program included extensive biographies of the conductor, soloist, concertmaster, guest conductor (not even appearing on this program), and the orchestra itself. As for the music itself, not a single word. Why is the 41^st symphony called “Jupiter”? Why is the violin concerto called “Turkish”? What cadenza(s) did Ms. Kiffer play? Joachim? Her own? Yes, Mr. Bischof does talk about the works in a light, accessible manner, and this is always a nice touch, but by necessity it is always short. This is not the first time I have said this – not everyone is an expert, nor do they wish to do post-concert research, so some written notes about the program would enrich the concert experience.

Even though the Symphonies were not played consecutively, for this review I will pair them together, but will start with the Violin Concerto. Violin soloist Chloé Kiffer took the stage with Maestro Bischof. This was not their first collaboration, as Ms. Kiffer had previously played the Coleridge-Taylor Violin Concerto, as reviewed in these pages. The first thing that caught my attention was that Ms. Kiffer was using an iPad, with a foot pedal for page turns. This seems to be a growing trend.

This concerto is not a demonic display of pyrotechnics a la Paganini, but that does not mean it is without virtuosic demands. One must “sing” but also dance around the intricacies with an almost off-handed elegance. Failure to meet these requirements results in what could be described as lumbering or heavy. The orchestra must join in kind. Ms. Kiffer played with a rich, singing tone that she projected with a natural ease – there was nothing forced or contrived about it. The small confines of Merkin Hall make any tonal imperfections manifest, but when an artist of Ms. Kiffer’s caliber plays, the listener is rewarded with a true sense of immediacy that would not be possible in a larger concert hall. Her stage manner is notable – engaging without any excesses or histrionics, etc. The passagework was crisp, light, and accurate, making it look simple when it is anything but (the occupational hazard of a highly skilled player)! The cadenzas had the right amount of “fire” that showcased her virtuosity while keeping in character of the work. Incidentally, to answer one earlier question, her cadenzas were by Joseph Joachim. (As for the other question, the “Turkish” name comes from the use of so-called Turkish music, and the same A major-minor shift that appears in the “Rondo alla Turca” in K. 331.)

The rapport with the orchestra was excellent, and both MOO and Maestro Bischof were as deserving of praise for their outstanding work as Ms. Kiffer. The audience gave them a well-deserved standing ovation.

As Maestro Bischof related, the last three Mozart Symphonies were written in 1788 in the space of three months (!). To just get the notes on the paper for three symphonies in that time would be challenging enough, but to complete three fully-formed masterpieces is simply mind-blowing. Maestro Bischof also related that Nikolaus Harnoncourt was of the opinion that these three symphonies were conceived as one grand work (I disagree). There Is also debate on whether or not Mozart heard these symphonies performed in his lifetime. (Answer to earlier question: According to Mozart’s son Franz Xaver, the impresario Salomon gave the 41^st symphony the nickname “Jupiter.”)

The 40^th symphony exists in two versions (the second has the addition of clarinets). The autograph scores of both versions were acquired by Johannes Brahms (who later donated the manuscripts to the Gesellschaft der Musikfreunde in Vienna). The version sans clarinets was played.

The 40^th symphony is one of the most frequently performed and recorded works of Mozart. With its tragic underpinnings and passionate nature, it foreshadows the Romantic era by several decades. From the reading of Maestro Bischof and MOO, it was clear that they understood that Mozart provided everything and a successful performance is one that honors the score. One might have wished for a bit more simmering mystery in the opening movement, but it was still very effective. The lyrical second movement was played with grace. The angular, defiant minuet of the third movement had the right amount of “growl” that gave way to a gentle and elegant trio, played with suitable charm. The finale, launched with a Mannheim rocket, was played with vigor. Other than a few isolated instances of imbalance between the strings and the winds, this was a fine performance.

The 41^st Symphony was the final work on the program, and the dictum “save the best for the last” was certainly in play here. One might wonder if Mozart was aware this would be his final symphony, as he unleashed the full power of his unmatched genius (complete with a quintuple fugue in the final movement!). It could be argued not only is this work the greatest “classical” symphony, but the greatest symphony of any era. Maestro Bischof and MOO came fully prepared. There were no half-measures – the playing was polished, involved, and highly energetic, almost at times to the point of overexuberance. This latter point is only a minor criticism, as seeing and hearing passionate playing is always preferable to the workaday playing one often sees. If this was the first time for an audience member hearing this work, then they were given an outstanding “introduction.” To this listener, it more than held its own with any number of performances and recordings he has enjoyed. The audience reacted with an enthusiastic standing ovation. Bravo Maestro Bischof and MOO!

by Jeffrey Williams  for New York Concert Review; New York, NY

Hyunjung Choi, Heesoo Shin, sopranos; Boosung Park, tenor; Seoyong Lee, bass/baritone

Dohyun Lee, piano

Opera America National Opera Center, Marc A. Scorca Hall, New York, NY

October 4, 2025

On October 4^th, JH Arts & IC Artists presented Whispers of Fall, the third in their 2025 series of concerts, in the Marc A. Scorca Hall at the Opera America National Opera Center. Arias and songs from Poulenc, Verdi, Clara Schumann, Rachmaninoff, Puccini, Tosti, and Rossini were performed by the four vocalists: Sopranos Hyunjung Choi and Heesoo Shin, tenor Boosung Park, and bass/baritone Seoyong Lee.  Each half concluded with a selection featuring all four singers. In addition to these vocal selections, two solo piano works, Mélancolie, FP 105, by Poulenc, and two of the four Skazki (Fairy Tales), Op. 26, by Medtner, played by Dohyun Lee, rounded out the program. Dohyun Lee was also the accompanist for the evening.  The hall was filled with friends and supporters of these artists, which is always a pleasure to see.

As I have noted in previous reviews at this venue, the Marc A. Scorca Hall has the intimacy of a salon, with very live acoustics that give the listener a sense of immediacy not felt in larger (or less acoustically live) venues. Texts for the selections were provided, with English translations – which is always appreciated. I would advise the presenter in the future not to use a microscopic font on the program flyer – it was impossible to read without resorting to a magnifying glass.

Instead of commenting on the program in a strictly linear fashion, I will comment on each artist separately. As pianist Dohyun Lee opened the program, I will start with him. His performance of Poulenc’s  Mélancolie (written in 1940) conveyed much of the emotional impact without becoming overwrought. There were opportunities to project the obvious allusions Poulenc was making to war-torn France more deeply, but the overall effect was excellent. The Medtner Skazki were well-played, and not without charm, if somewhat undifferentiated. Dohyun Lee does deserve major kudos for his superb work as an accompanist – he was rock-solid all evening.

Let’s move now to the sopranos, Heesoo Shin and Hyunjung Choi. Ms. Shin’s offerings were a Poulenc song set  and a Puccini aria. “Tu, che di gel sei cinta” (Turandot), issung by Liù as she is being tortured, just prior to her suicide. Puccini himself wrote the words for this aria, and the librettists decided they could not improve on his text. Ms. Shin’s projection of Liù’s resolve to maintain the secrecy of the Prince’s identity and her defiance even while being tortured was heartbreakingly poignant. Of the three of Poulenc’s Métamorphoses, FP 121, “Paganini,” stood out – Ms. Shin has a sense of play, and she brought to the quirky text an almost whimsical approach that this listener found irresistible.

Hyunjung Choi’s selections were three of the Sechs Lieder, Op. 13,  by Clara Schumann (with texts by Heinrich Heine), and “Caro nome che il mio cor” from Verdi’s Rigoletto. The second of the lieder, Sie leibten sich beide, was the most compelling to this listener. The tragedy of lost love and missed opportunities that are simultaneously heartbreaking and infuriating in this song are challenging to capture, yet Ms. Choi did so in impressive fashion. It would be easy to overdo either the sadness or the frustration, which would completely spoil the effect. The singing was compelling, but the artistry was what made it exceptional. In the Verdi, her vocal agility, clarity of diction, and range (especially in the extreme upper register) without strain, stridency or loss of intonation, were notable. It all seemed easy, which of course, it is not. This went beyond what one might expect, and it made a strong impression on this listener.

Tenor Boosung Park performed “Quando le sere al placido”  from Luisa Miller (Verdi) and two Tosti songs, L’ultima canzone and Ideale.  The overriding theme in Mr. Park’s selections was sorrow, and that can present its own complications. In the Verdi, the dramatic impact is everything. Emotions abound, and one must be nearly overwrought without being a caricature. Thankfully, Mr. Park showed mastery in pushing the emotional limits to the edges while maintaining a body language of complete composure. If anything, he could have “loosened” up a touch, which would have only enhanced the effect of his strong, confident voice. The Tosti songs were light fare after the emotional wallop of the Verdi. Well done!

Bass-baritone Seoyong Lee gave us arias from Rachmaninoff’s Aleko and Rossini’s Il barbiere di Siviglia. He has a powerful voice that would easily fill any hall, but he also was sensitive enough to make the adjustment to the acoustics of this venue. “La Calumnia” was a delight, as he dealt with the rapid-fire parts with a smile. He is certainly not lacking in charisma, which he projects with a natural ease. All the charisma in the world means nothing without vocal ability, which he has in spades.  The “Aleko cavatina” proved that he is not just about acting – this cavatina is formidable music that requires a formidable singer. The Verdi was great fun, but the Rachmaninoff showed Seoyong Lee is the “real deal” as an artist.

Finally, the  entire group numbers – “Dunque e propio finite” from La Bohéme ended the first half. Without wishing to take anything away from “Mimi” (Ms. Choi) or “Rodolfo” (Mr. Park), the sassy “Musette” (Ms. Shin) and the vexed “Marcello” (Seoyong Lee) stole the show with their antics. “Libiamo ne’ lieti calici”  from La Traviata, one of the most popular and well-known opera melodies, was the final selection of the evening. Seoyong Lee offered a champagne flute to each audience member as he made his way to the stage to join the others, who all had their own glasses. Several audience members happily waved their glasses to the music – some even quietly singing along, in what was a delightful end to the evening. All four performers took a bow together to the applause of the appreciative audience.

by Jeffrey Williams  for New York Concert Review; New York, NY