Yeol Eum Son… played with a dazzling range of dynamics, patiently giving each musical idea a semi-improvisatory spontaneity… With the first piece [Ravel’s Valses Nobles et Sentimentales] she took the listener by the collar and never let go, ranging from wispy and mysterious to a murky haze of sound in the smoky final waltz… Her showmanship came to the fore in the final work, Liszt’s “Mephisto Waltz No. 1, played with booming power and devilish ferocity in the cackling multi-trills and gossamer right-hand runs.

Washington Post, 30 April 2018

From her delectation of the elaborate, quasi-improvisational ornamental writing in the Haydn Sonata to her teasingly understand final note of Godowsky’s Fledermaus transcription. Son not only plays with incisive tone but gives the impression of being a spontaneous communicator.

BBC Music Magazine

To my ears she gave the more exciting interpretation of the mandatory Tchaikovsky First Piano Concerto: a blistering reading that left me gasping. I would have given her gold, not silver.

The Times

Shrouded by the orchestra’s romantic swooshing and whispering, [Yeol Eum Son] devotes herself to her dreaming, and Kitajenko follows her in absorbing the emotional impulses of the piano with seismographic sensitivity, to transmit the joint pulse, the joint breath to the entire orchestra . A musical experience of the deepest mutual understanding is portrayed, a truly magical moment.

Der Tagesspiegel

But the big surprise was mainly the pianist Son who gave an explosive rendition of Ravel’s Concerto for the left hand, in a dress that exposes only the active arm …… We have to thank again Gergiev who discovered her a few years ago at the Tchaikovsky Competition.

de Volkskrant

Son’s poise and lyricism were evident in her reading of the Rachmaninov Piano Concerto no. 1, a work that is musically less substantial and certainly less famous than than the second. She nonetheless made a powerful impression, displaying both an impressive, sparkling technique and a restrained, silky touch in the more lyrical passages. Son literally let her hair down, shaking out a chignon, in the second-movement Andante, playing as if it were an eloquent private reverie.

The Seattle Times

A kind of superhuman eclat that can easily remind you of Hoffmann or Lhevinne in its supremely clear, neat and even brilliance.

New York Concert Review Inc.

Son should have no trouble building a career. She’s got the fingers and the personality – and, the haut-est couture.

The Dallas Morning News

Blessed with a natural, unaffected musicality, this young artist plays with a fluid technique and a guileless approach.

The Columbus Dispatch