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The Guardian
13-06-2025
- Entertainment
- The Guardian
Keys to success: the 2025 Van Cliburn piano competition, the instrument's Olympics
A distinctive line drawing of a grand piano adorns a clock face in Sundance Square. At night, it beams like a Tracey Emin installation, presiding over Fort Worth's downtown district. At the intersection leading to Bass Performance Hall the crosswalk has been replaced with an oversized keyboard, and, inside the cavernous venue, sartorial style favours black and white stripes. A pop-up gift shop in the lobby boasts an array of musical-themed memorabilia; there's the line drawing on a bubble-gum pink T-shirt, an enormous travel mug, a steak-branding fork. The theme-park feel is confirmed by a white Steinway emblazoned with Mickey Mouse – a limited hand-painted Disney edition (price on request). Welcome to piano city, smiles the sign. Every four years, piano lovers from across the world gather in this Texas enclave for the Van Cliburn international piano competition – the instrument's Olympics. It's not just about the financial reward (the gold medallist receives $100,000 (£74,000); silver $50,000; bronze $25,000, plus there's other discretionary awards): participation potentially catapults an early-career pianist into the industry's orbit. In 2022, at the postponed 2021 instalment, a then unknown Yunchan Lim took gold. Earlier this year I witnessed crowds of fans waiting to present the now 21-year-old with stuffed animals after a spectacular concert in Lucerne, where he played alongside Martha Argerich. Lim's Van Cliburn performance of Rachmaninov's third piano concerto is now the most-watched version of that concerto online, with more than 17m views. If Bass Performance Hall's painted skylight and elaborate candelabras recall a European opera house, the dazzling white balconies are all-American. Conductor Marin Alsop pulls the reins on the Fort Worth Symphony Orchestra, the Cliburn's house band. It's finals week: six pianists (from the 28 chosen to compete in the competition) perform over four nights. Every performance is livestreamed – this year's simulcast had 20m views across 145 countries – and, for the first time, is available via Apple Music Classical, along with curated playlists. A new Cliburn Keys View offers the option to watch a hands-only perspective, where disembodied lower arms deploy impeccable technique. While instructive, to do so misses the interplay between soloist and ensemble. Most major international piano competitions require their finalists to perform one concerto. There's usually a standard list of repertoire – inevitably Tchaikovsky 1 – and the concert is make or break. The Cliburn finalists (an all-male group; only four women competed in Fort Worth, two of whom made it as far as the semi-finals) play two concertos, one from a designated selection, the other can be anything. Alsop deserves her own gold medal for her openness to the challenge, which this year included the quirky choice of Bartok 2. After one concerto I stepped into a lift alongside Alsop who looked thoughtful and exhausted. Most orchestral seasons feature Rachmaninov 3, Beethoven 4 and Prokofiev 2 over the course of a few months. Alsop had done them all in one evening. The Cliburn judges heard 55 hours of music over the course of the event, as 28 pianists became 12, and then six. British pianist Paul Lewis, head of the jury, described the process as 'overwhelmingly intense'. From 2015-18 Lewis was chair of the Leeds international piano competition, the UK counterpart that feels positively quaint in comparison. Keir Starmer publicly wished participants luck ahead of last year's Leeds competition; Trump is unlikely to congratulate this year's Cliburn laureates who include competitors from Russia, Hong Kong, the US, Israel and combinations thereof. He's missing a trick: the Cliburn has always had political clout. Founder and Texan native Harvey Lavan 'Van' Cliburn charmed audiences at the 1958 inaugural International Tchaikovsky competition in Moscow, winning gold at the height of the cold war and returning to that most hallowed of US celebrations, a ticker-tape parade. While some of his recordings are historic gems (his 1958 recording with the RCA Victor Symphony Orchestra and Kiril Kondrashin was broadcast with choreographed fireworks at the city's afterparty), Cliburn's main legacy is the quadrennial contest that takes his name. Set up in 1962, its importance for cultural unification was immediately confirmed. There are no public guidelines on judging, what one judge wants from their Brahms 2, say, might vary wildly from another. Aristo Sham's Mendelssohn 1 frothed; Philipp Lynov's Liszt 2 bubbled. 'Why aren't you standing up?' one lady scolded the press line, as each participant received rapturous applause and we struggled to scribble. 'Y'all have a favourite?' one Texan asked me in the loos, where I photographed the doors decorated with a stave. I did, but mine was different to hers. Carter Johnson, the 28-year-old Canadian-American threw a curveball with the Ravel left-hand concerto, a work composed for Paul Wittgenstein, who lost his right arm in the first world war. It's a brooding piece demanding technical wizardry (British left-hand pianist Nicholas McCarthy plays it at this year's Proms opening weekend); Johnson danced and pedalled with elegance. Vitaly Starikov employed some quirky tempi in the Schumann; Evren Ozel's Tchaikovsky 1 was almost as muscular and thrilling as Cliburn's own historic performance. At this level, differentiation is down to matters of taste. Unusually – judging at this level can require UN levels of diplomatic negotiation to reach a consensus, depending on individual rules – the announcement came on time, with all finalists and jury members present. (There are sometimes resignations: in 1980 Argerich left the International Chopin piano competition in protest at the elimination of Ivo Pogorelić in the third round; and there are sometimes huffs: one young pianist refused to participate in the celebratory performance at the conclusion of last year's Hamamatsu international piano competition in Japan.) And, all prizes were awarded (the Tchaikovsky competition regularly withholds gold if a clear hierarchy of winners cannot be agreed, with joint silver given instead). Sham took the top spot, becoming the first pianist from Hong Kong to win in the Cliburn's history. The unassuming polymath – Sham is a former child star (featured on Channel 4's 2009 documentary The World's Greatest Musical Prodigies) who studied economics at Harvard and music at Juilliard – was a surprise choice to the press, but not to Cliburn viewers – he won the Audience award by more than 9,000 votes. Starikov won silver and Ozel placed third, also winning the Mozart Concerto award. I was disappointed not to see Lynov's talents recognised – he was too; it was some time before he appeared at the reception, but crucially, he attended. Talk was all about the verdicts; everyone had a different top three. After the huge success of Lim, the pressure to find the Next Big Pianist was palpable. But Lim is exceptional; competitions spit up dozens of superb musicians and only one in a generation will have his distinctive touch. The latest clutch of piano olympians gathered at a small table, looking as if they wished it was a piano stool. Journalists asked the necessary inane questions and received the necessary inane answers (Q: how does it feel? A: good). At one point Starikov, fatigued or bored, passed on the microphone to Ozel. All three wore shiny medals and consulted unseen bank accounts, blinking into bright futures. Listen to live performances from this year's Cliburn competition on Apple Music Classical: watch all the finals round concerto performances at
What's On
11-06-2025
- Entertainment
- What's On
Final call: Experience Sharjah Biennial 16 before it ends
Sponsored: The region's largest art event… Art lovers, this is your final call — Sharjah Biennial 16 (SB16), the region's biggest and most talked-about contemporary art event, wraps up on June 15, 2025. Titled to carry , the Biennial spans the entire Emirate of Sharjah, from city landmarks to coastal and desert towns, inviting you to explore what we carry as individuals and societies — emotionally, culturally, and historically. With over 650 artworks by nearly 200 global participants, including more than 200 new commissions, this edition is massive in both scale and scope. Five curators – Alia Swastika,Amal Khalaf, Megan Tamati-Quennell, Natasha Ginwala and Zeynep Öz – shape a multi-layered narrative that challenges and expands traditional perspectives on contemporary art, identity, and community. Explore over 650 works across the Emirate Make sure to plan your route as SB16 stretches across multiple venues in Sharjah City, Al Hamriyah, Kalba, Al Dhaid, and beyond. Each site offers a unique curatorial voice, making this Biennial a journey of perspectives as much as places. Finally, let the theme guide you . This year's title — to carry —asks you to reflect: what do you carry in life, culture, memory, or identity? The answer may look different at every venue. Join a free guided tour and discover hidden layers Make the most of your visit by booking a free individual or group tour. These insightful walks not only deepen your understanding of the artworks but also connect you with Sharjah's rich heritage and architectural gems. Make sure to book your spot using the online form here to schedule your tour. And don't miss Sunday specials. Every Sunday at 2pm, hop on one of the free shuttle buses from Al Mureijah Square. Choose between Bus 1 to Al Hamriyah & Kalba or Bus 2 to the Central Region—no reservations needed, just show up. Play Michael Parekōwhai's carved Steinway Grand Piano Pianists, take note – this is your once-in-a-lifetime chance to perform on a carved Steinway grand piano that doubles as a sculpture. Created by Michael Parekōwhai, this Māori-influenced artwork titled He Kōrero Pūrākau mo Te Awanui o Te Motu: Story of a New Zealand river awaits your touch. Book a 30-minute slot through the website to perform on this exquisite piece in Gallery 3, Al Mureijah Square, on Wednesdays, Saturdays, or Sundays, until Sunday, June 15. Stream artist conversations on the go with Biennial Bytes 2 Take the Biennial with you by listening to Biennial Bytes 2, the official SB16 podcast series. Perfect for car rides, coffee breaks, or post-visit reflections. New episodes drop every Monday featuring SB16 artists and curators. You can find it on your favorite platform: Apple, Spotify, Anghami, Google Podcasts – or head to to catch up. Before you go: visit tips and essentials Check out the full programme and plan your experience on the SB16 Visit Page. Venues are open daily, and many installations are located in heritage buildings and public courtyards – wear comfy shoes, bring water, and stay curious. The best part is that entry to all exhibitions, tours, performances, and activations is totally free of charge. Whether you're a seasoned art aficionado or a curious explorer, SB16 is your chance to dive deep into stories that transcend borders. But hurry — it all ends June 15. Sharjah Biennial 16, multiple venues across the Emirate of Sharjah, until June 15, free, Sat to Thu, 9am to 9pm, Fri, 4pm to 9pm, Image caption: From left to right: Cassi Namoda,Kala vanga heti, 2024. From 'Carapau in the deep abyss', by Sharjah Art Foundation. Courtesy of the artist and Xavier Hufkens, Brussels; Alia Farid,Chibayish(still), 2023. Commissioned by The Vega Foundation and Doha Film Institute. Image courtesyof the artist; Michael Parekōwhai,He Kōrero Pūrākau mo te Awanui o Te Motu: Story of a New Zealandriver, 2011. Collection Museum of New Zealand Te Papa Tongarewa;Güneş Terkol, Gori Leso Leso, 2024. Image courtesy of the artist; Akira Ikezoe,Bears on the Diagram of Chernobyl Nuclear Power Plant,2021/2024, Commissioned by Sharjah Art Foundation. Courtesy of the artist.
Time Out Dubai
30-05-2025
- Entertainment
- Time Out Dubai
Time's running out to see Sharjah Biennial 16
One of the biggest contemporary art exhibitions in the UAE is ending soon, so it's time to carve out some time this weekend. Sharjah Biennial 16, under the title to carry will come to a close on Sunday June 15. Until then, you can see the works in multiple venues across the city in everything from heritage buildings to public courtyards at Sharjah City, Al Hamriyah, Al Dhaid, Kalba and more. Image courtesy of Sharjah Art Foundation What is it? With more than 650 works by over 190 artists and over 200 brand-new commissions, it's a rich, multi-voiced conversation, spread across the city in everything from heritage buildings to public courtyards. Curated by five voices from different backgrounds and practices, the experience is all about allowing the art, thoughts and conversations to unfold. Exploring the exhibition There are free guided tours available, whether you're going solo or as part of a group. Sign up for a free tour here: You can even hop on a free Sunday shuttle from Al Mureijah Square at 2pm, with routes heading to both Kalba and Al Hamriyah. That's your transport and your tour sorted. Michael Parekōwhai, He Kōrero Pūrākau mo Te Awanui o Te Motu: Story of a New Zealand river, 2011. Collection of Museum of New Zealand Te Papa Tongarewa. Image courtesy of Sharjah Art Foundation. Photo: Danko Stjepanovic Play Michael Parekōwhai's Steinway grand piano There are also unexpected surprises, like He Kōrero Pūrākau mo Te Awanui o Te Motu: Story of a New Zealand river which features a carved Steinway grand piano by artist Michael Parekōwhai. And it's just for show, trained pianists can actually book a slot to play it, activating the sculpture through their own interpretation. Book your slots on Wednesdays, Saturdays and Sundays until June 15, 2025. Image courtesy of Sharjah Art Foundation Listen to the exhibition For those who prefer a more relaxed kind of art immersion, there's always Biennial Bytes 2, the podcast offering behind-the-scenes chats with participating artists. Episodes drop every Monday on Apple, Spotify, Anghami, Google and other podcast platforms, or you can catch up via And when you're ready for a break, head to Fen Café & Restaurant for a snack or browse the Sharjah Art Shops for souvenirs and books. A little something to carry home with you, perhaps? Entry to Sharjah Biennial 16 is completely free, and doors are open Saturday to Thursday from 9am to 9pm, and on Fridays from 4pm to 9pm. See you there?
The Herald Scotland
26-05-2025
- Entertainment
- The Herald Scotland
How Scotland's top young musicians blew me away
A couple of decades ago, I used to visit to see my girlfriend (now wife) performing as part of her piano degree programme. At the time I was studying English and politics along the road at Strathclyde Uni, and walking into the RSAMD (as it was then known) always felt like entering an entirely different world - one where being absurdly exceptional was just the starting point. Twenty years on, that feeling is very much still there. In the canteen that doubles as a waiting area for families, friends and performers, I watched proud parents take photographs of teenagers in smart shirt-and-ties and formal dresses, their faces an endearing mixture of excitement, anxiety and, for those who had already performed, relief. As I sat in the auditorium waiting for the afternoon session to begin, I was reminded that being a great performer isn't just about musical ability or the hundreds and thousands of hours spent practising. I was only there to watch and make notes, and have spoken at all sorts of events to audiences large and small, but even to me the room felt intimidating, with a huge Steinway grand piano glowing under the purple intermission lights, and the sense of anticipation growing with every seat that was filled. The nerves in the room were unignorable, and I couldn't help but wonder how it felt to be backstage, or in a nearby practice room, knowing that your time is coming – that in a few minutes, you'd have to walk out on that stage, in front of all those people, and pull out what you hope is basically the performance of your life so far. The session began with a video from violinist Nicola Benedetti who told the young musicians to relax, to trust themselves, and to let their performance 'go where it wants.' And then it was time for the music to begin. READ MORE First out was a young man from Shetland with a white shirt, polished shoes, and an alto saxophone. I was writing notes as he brought it to his lips to get started, and as he finished his first piece – Samba Triste – I looked down and realised that my pen had remained suspended in place, just a few millimetres from the page, and I hadn't even noticed. Next up was a singer from South Lanarkshire who combined the scale and emotion of Song to the Seals with the genuinely funny – and still enormously technically impressive – Taylor, the Latte Boy. She was followed by a mesmerising clarsach player whose instrument was almost the same size as her, and whose confidence even allowed for a few glances to the audience as her fingers flicked and fluttered across the strings. A violinist played a piece he had first come across on social media. I was reminded just how bizarre-looking a bassoon is up close, and just how amazing it can be made to sound in the right hands. On and on it went, with stunning performance after stunning performance. And of course there was the odd error – a note missed by a fraction, a vanishingly slight loss of dynamic control, or a finger not quite keeping up with the fireworks going off in a musician's brain. But all they did was reinforce just how magical it feels to sit in the room like that one, in one of the world's leading performing arts centres, and watch a bunch of kids demonstrating just how brilliant they really are.
San Francisco Chronicle
24-05-2025
- Entertainment
- San Francisco Chronicle
Trump canceled his Pride concert, but Michael Feinstein found his spotlight in San Francisco
The Great American Songbook has a unique way of bridging gaps between musicians and listeners from all different backgrounds. Singer, pianist and standards ambassador Michael Feinstein and acclaimed classical soloist Jean-Yves Thibaudet serve as a perfect example. As a duo, they've found common ground in this popular repertoire by the likes of Richard Rodgers, Irving Berlin and especially the Gershwin brothers. An enthusiastic audience at Davies Symphony Hall on Tuesday, May 20, discovered just how well these two superstars in their respective genres can mesh. Feinstein and Thibaudet co-headlined a special one-night-only concert with the San Francisco Symphony under the baton of longtime Boston Pops conductor Keith Lockhart, and the performance was by turns entertaining, educational and moving. Feinstein has recently made headlines for decidedly non-celebratory reasons. His Kennedy Center engagement with the National Symphony Orchestra, 'A Peacock Among Pigeons: Celebrating 50 Years of Pride,' scheduled for this week, was canceled by the Trump administration. So Tuesday's program was triumphant in contrast, commencing with an energetic orchestral overture before Feinstein and Thibaudet walked onto the stage flashing winning smiles and sporting matching sparkly tuxedo jackets with satin shawl collars. Seated at interlocking Steinway grand pianos, the pair faced one another as they started into a rendition of Berlin's 'I Love a Piano,' featuring Feinstein's impassioned singing. Given Feinstein's impeccable credentials, including as host of the onetime public radio series 'Song Travels,' it seemed safe to assume that he'd do all of the talking. But both musicians spoke with welcoming rapport for a show that felt like a natural extension of their 'Gershwin Rhapsody' album, released last year to celebrate the 100th anniversary of 'Rhapsody in Blue.' As founder of the Great American Songbook Foundation, Feinstein shared stories of his musical acquaintances going back decades, from conductor and composer Leonard Bernstein to lyricist Irving Caesar, whose popular song 'Tea for Two' concluded the first set of the evening. Feinstein also spoke about his six years as personal assistant to lyricist Ira Gershwin, older brother and primary songwriting partner of composer George. Thibaudet reflected on his upbringing as a French conservatory student. Sharing an anecdote about George Gershwin and Maurice Ravel, the pianist served as something of an audience surrogate — someone with an appreciation of American Songbook standards if not Feinstein's comprehensive knowledge. In a way, it was not unlike an evening at Feinstein's San Francisco nightclub at Hotel Nikko. But the orchestra, with Lockhart at the helm, really made it an event. Thibaudet performed the third movement from Gershwin's Piano Concerto in F with proper symphonic accompaniment. (He mentioned that he first played the piece at age 14.) And the second-half 'Gershwin Fantasy' was a tour de force, stuffed with favorites like 'Someone to Watch Over Me,' 'I Got Rhythm' and 'Embraceable You' and bookended by the original two-piano arrangement of 'Rhapsody.' An encore of the Gershwins' 'Love Is Here to Stay' ended the program on a poignant note. It was George's last composition, and Ira completed the lyrics posthumously, Feinstein pointed out. He posited that the song is about the brothers' relationship. But when he crooned the opening lines — 'It's very clear / Our love is here to stay / Not for a year / But ever and a day' — it was hard not to think about the power of timeless standards too.
