<p>LI Ying</p><p>Chopin Nocturne Op.27/1: Very much the right idea – quality of sound is somewhat over-direct and needs far more subtlety of tone quality and imaginative ear for nuances if this is to each real musical heights. There is nothing that is remotely unmusical here, but it is somewhat lacking ambition to explore the particular qualities of this wonderful Nocturne fully.</p><p>Chopin Op.10/2: Able playing of a demanding study. LH a bit over metronomic and routine. RH could be more legato and the whole study more delicious: this was efficient rather than Chopinesque, and the overall dynamic level was simply too loud. </p><p>Liszt: Rigoletto Paraphrase: Again much to admire in her pianism. The real rhetorical and emotional content of the aria eludes her – the pathos and expressive depth. (The aria sounds too “matter of fact” and not an outpouring of grief.)  But again one senses a fundamental musicality here, though there is once again too much of a sense of “efficiency” and not enough sheer enjoyment at the opportunities for subtlety. Perhaps it has not been easy for her to hear the operatic original inspiration for this work - or the orchestral colours possible. (For example the octave leaps are gestures of pain/anxiety like sobbing!</p><p>More focus on the RH passagework. Scope for greater delicacy, but there is some admirable virtuosity. The sobbing leaps are musically missing the point. </p><p>Some promise here from young player, and still certainly she has time to open her mind and ears to things that go far beyond mere “very capable” piano playing.</p>