Angela Cheng


Vancouver Symphony


Angela Cheng is quite simply one of the best Mozart concerto players around: her sound is invariably transparent and marked by delicacy of feeling. That it always carries, even in a large hall like the Orpheum, is a bit of inexplicable magic.”




Newfoundland Symphony


I have seldom seen a soloist so well prepared, so integrated into a concerto as Cheng… Moreover, she made the Brahms Piano Concerto No. 1 look easy, as she effortlessly and accurately played chordal passages at high speed… [She] gave great definition to the work, shaping each phrase, lending it color, taking their time with the cadences.

THE TELEGRAM (St. John’s, Canada)



Greenwich Symphony


The star turn of the performance was an elegant, restrained reading of Beethoven’s Piano Concerto No. 1 by soloist Angela Cheng… The famous extended cadenza was given a virtuosic performance by Cheng that held both orchestra and audience riveted… Despite the long-standing fear of the bombast of Beethoven’s symphonies and concertos… Cheng’s performance completely assuaged and allayed all such fears, rendering Beethoven anew in all his compositional mastery, power and nuance.




Louisiana Philharmonic


[Angela Cheng’s] lofty transcendent account of Schumann’s Piano Concerto in A minor deserved some kind of medal … offering a performance that let one forget her virtuosity and hear Schumann’s masterpiece as a brilliant dance between soloist and orchestra.”




Pacific Symphony


Cheng proved a marvelous technician and stylist. [She] fully comprehended the jazz rhythms and accents and put them across with equal parts verve and clarity. She skimmed a gliding legato, jabbed at offbeat entrances, had a bounce in her step." [Gershwin Piano Concerto in F]





Winnipeg Symphony


The opening Allegro maestoso immediately showcased Cheng's sparkling runs and rhythmic vitality. Her projected tone reached the very back of the hall … her fiery solo cadenza provided a real taste of her bravura… Cheng's clearly articulated playing, and strong conviction with every note tidily in place led to a standing ovation with two curtain calls." [Mozart Piano Concerto No. 25]





Toronto recital


More important is the musical evidence that [Cheng] is now speaking not with the voice of generic virtuosity and conventional received wisdom, but with her own voice, about individual works in which she is passionately and artistically involved… It was enthralling.”