Hong Kong-American pianist Tiffany Poon is a technical master of the piano; and she knows how to engage with an audience, too, with a warmth that’s nothing short of humbling and genuine. Her choice of excerpts from Bach, Chopin, Schumann and Ravel is broad but well-balanced, showcasing the full capacity of the piano.  With absolute immersion into the character of every piece, music flows effortlessly from the synergy created between her elegant gestures, her repertoire and her instrument.

Poon masterfully captures the varied lyricism, breadth of dynamics, virtuosity, colours and character of each movement of Schumann’s piano suite Kinderszenen (“Scenes from Childhood”, 1838). Similarly with piano suite Papillons (“Butterflies”, 1831), the singing melodies, perfectly calculated harmonies, gestural sensitivity and superlative technique make for a mesmeric and invigorating performance. A smooth transition from the stirring poignancy of Schumann to the visually evocative style of Ravel’s La Valse (“The Waltz”, 1920), Poon’s flawless technical execution of this piece presents a dazzling kaleidoscope of sonorities, lush harmonies, soaring glissandos and melodies interwoven like dancing ribbons. Each individual note culminates into a cathartic explosion of musical colour, leaving the audience in an unadulterated state of awe.

After the interval, the audience is very keen for more. Two iconic works from Bach’s The Well Tempered Clavier (1722) starts the second half: the ubiquitous Prelude and Fugue in C major, followed by the Prelude and Fugue in C minor. Poon’s physical movement and accents make these performances refreshing and invigorating, as if hearing them for the first time. With attentive and considered voicing, particularly in the fugues, this iconic baroque repertoire offers a refreshing moment of contrast within a largely romantic-era repertoire. The poetry of Chopin’s 24 Preludes (1839) shines through Poon’s command of the instrument. The impressive spectacle of Poon’s chromatic runs, legato octaves and arpeggios are as engaging as the soulful delicacy of her cantabile.

After a number of well-justified standing ovations, Poon treated her debut London audience to two encores. The first was Schubert’s “Ständchen” (“Serenade”, as transcribed by Liszt, 1838), and the second was Kreisler’s Liebesleid (“Love’s Sorrow” as transcribed by Rachmaninoff, 1905): captivating, ethereal and hypnotic. We are very lucky to see this extraordinary pianist finally live in London: let’s hope she won’t stay away too long.

Part of the Keyboard Music programme May – June 2024 at the Southbank Centre.