Press: Press Features

Oct 07, 2011

"Red, White, and True"

Wearing a casual white T-shirt paired with navy blue jeans and trendy sneakers, pianist Li Yundi looks every bit a Mando pop star. The 29-year-old is a star, a huge celebrity, but moves in very different musical circles within the world of classical performance. Last month he launched his new album Red Piano, the first in which he focuses only on Chinese folk music masterpieces.

Read article

Aug 18, 2011

Patriotic Yundi Li looks to the motherland for inspiration

Red Piano is the provisional title for a release worldwide in September by EMI Classics record label, and includes probably the most famous Chinese concerto, The Yellow River Piano Concerto, "Pi Huang," a Peking Opera piece newly arranged for piano and "My Motherland," a propaganda song for a 1950s Korean War movie.

Read article

May 04, 2011

Yundi Li at China's cultural epicentre

The stage is set for a major event in the Chinese capital of Beijing as Chinese pianist Yundi Li, a mega star at home and abroad, gets ready to perform at the National Centre for the Performing Arts.

The distinctive building, designed by French architect Paul Andreu and known as The Egg, demonstrates an ambition to become the epicentre of Chinese culture.

Preparing for the concert, Yundi Li told us: “Beijing’s public is really enthusiastic and many attend my concerts. The audience is made up of professional elites. They know the music very well.

Read article

Jun 15, 2010

Yundi at WNYC

The artist formerly known as Yundi Li is a superstar in his native China. His face shows up on billboards and ads almost as much as that of his colleague and contemporary, Lang Lang, but the young pianist has dropped his family name and now goes by his given name only. As Yundi, he told us that he hopes to offer a friendlier, more accessible profile to his sizable global audience.

Read article

Mar 17, 2010

Piano idol Yundi strikes right chord

He has unquestionably a formidable technique, but never uses it to stun his audience into submission, as some of his Russian contemporaries are prone to do — let’s mention no names. Rather he deploys it to float a perfectly weighted melody against a broken-chord accompaniment as unruffled and beautiful as a blue lagoon. Or perhaps to unfold a glistening ornamental run of such pearl-like translucence as to beggar belief.

Read article

Press: Press Features

Stay in touch

NEW RELEASES

Featured Video