Recent News
12.12.18
Keith Lockhart
KEITH LOCKHART JOINS THE ROSTER
12.10.18
Vienna Boys Choir
Classical Album of the Week: Vienna Boys Choir Sings Strauss
WRTI
12.07.18
JoAnn Falletta, Mariss Jansons, David Alan Miller, Peter Oundjian, Patrick Summers, Alexandre Tharaud, Magos Herrera & Brooklyn Rider , Mason Bates, Symphonieorchester des Bayerischen Rundfunks, Munich , Academy of St Martin in the Fields , Les Violons du Roy , Anthony Roth Costanzo, Nathan Gunn
2019 Grammy Nominees
Grammy Awards
12.07.18
New York Philharmonic String Quartet , Yefim Bronfman
Bronfman, NY Philharmonic Quartet impress at Linton Series
Cincinnati Business Courier
12.06.18
Aaron Diehl
Pianist Diehl in jazz trio plays varied concert in Palm Beach
Palm Beach Daily News
12.06.18
Julian Wachner
This Is the Best ‘Messiah’ in New York
The New York Times
12.04.18
Sir Andrew Davis
ELGAR The Music Makers. The Spirit of England (Davis)
Gramophone
12.03.18
Chanticleer
Chanticleer Christmas concert, 11/30/18
Divamensch
12.01.18
Ward Stare
Twin pianists deliver impeccable style in ‘Perfect Pairs’ concert
Sarasota Herald Tribune
11.27.18
Richard Kaufman
PHANTOM OF THE OPERA HAUNTS THE SOROYA IN REAL TIME
Broadway World

News archive »

George Li: Live at the Mariinsky REVIEW

10.22.17
George Li
Gramophone

A photograph of the 2015 International Tchaikovsky Competition silver medallist on the disc cover shows a young man looking into the camera with an open, winning smile. It makes a change from the normal haughty or glum poses that normally greet the paying customer. And it’s a smile that might well find itself transferred to that customer’s face when they hear the Haydn sonata which begins George Li’s recital at the Mariinsky Concert Hall, St Petersburg, in October 2016. It’s the kind of dextrous, bubbling, life-affirming performance that cannot help but lift the spirits and make one eager to hear what follows.

The opening of the first movement of the ‘Funeral March’ Sonata does not quite match expectations. Neither the ambiguous pulse of the first subject nor the leading voice is sufficiently defined but the performance blossoms and flourishes as it continues (he takes the repeat from the doppio movimento bar, not da capo); the Scherzo is crisp and punchy; the eponymous third movement is unusually doleful and heartfelt, with the Trio providing a genuine sense of consolation; and the finale is superbly coloured and phrased.
 
Read the rest of the review here