Reviews/Critiques

 

“Kerson Leong est de retour. Le Kerson Leong qui nous éblouit et nous étonne parce qu’il semble avoir un temps d’avance.”

-Christophe Huss, Le Devoir (July 2017) – read full review here

 

“…il dégage un charisme fou sur scène. Comme si son archet était ensorcelé. Il s’exécute avec une finesse inouïe, une subtilité incroyable, chaque note qui émane de son instrument étant d’une délicatesse et d’une fluidité à jeter par terre.”

-Gilles Lamontagne, Sors-tu? (July 2017) – read full review here

 

“…un vrai génie de l’archet qui avec ses allures de bad boy  enchanteur, caracole entre assauts vers le ciel, solo sentimental, tangos, bataille héroïque  qui terrasse le dragon, envolées qui semblent improvisées et citations de Vivaldi…”

-Deashelle Nomdeplume, Arts et Lettres (June 2017) – read full review here

 

“If multi-composer discs of short pieces and transcriptions seem to have fallen out of favour, so has the kind of heart-on-sleeve playing such as you encounter here, with its judicious use of portamento and a seductively silky tone that put me in mind of Mischa Elman.”

-Jeremy Nicholas, Gramaphone (June 2016) – read full review here

 

“Today, at 19, Leong is already showing signs of developing into an important artist. His new recital CD (Analekta AN 2 9160)….displays exceptional playing.”

-Paul E. Robinson, Classical Voice North America (June 3, 2016) – read full review here

 

“…from the very first bars of the opening track it’s clear that this is a very special violinist with qualities that lift him from the general crowd and place him in the stratosphere…..the level of musical maturity on display here is simply staggering…..this is magnificent playing by a young violinist who must surely be on the cusp of a stellar international career.”

-Terry Robbins, the Whole Note (May 30, 2016) – read full review here

“…il y a beaucoup de lauriers à tresser à Kerson Leong, dont l’évolution musicale est remarquable. Le jeune spécialiste des pièces de funambulisme violonistique est désormais aussi un magnifique soliste, adepte de longues lignes chantantes et doué d’une sonorité royale…”

-Christophe Huss, Le Devoir (June 27, 2015) – read full review here

Zu wahren Begeisterungsturmen riss der erst 16 Jahre alte kanadische Geiger Kerson Leong das Publikum im Rittersaal der Burg Alzenau hin…”

-Doris Huhn, Main-Echo (November 12, 2013)

 Main Echo Nov 12 2013

“Kerson Leong rende sublimi le “Quattro Stagione”…”

-Assisi (September 8, 2013)

   Kerson Leong rende sublimi le "Quattro Stagioni"

“Right from the beginning, Leong proved that he had more than the average young virtuoso – that is, he had a complete command of style and character. It would perhaps be difficult to explain the more lascivious details of Carmen one so young as he, but Leong seemed to innately understand, in some way, the appropriate style. His vibrato was voluptuous, his double stops immaculate and the sound which came from his small violin was rich, despite standing just a head above the other seated musicians. This is a young man to watch.”

-Andrew Crust, bachtrack (April 26, 2013) – read full review here

“C’est peu dire que « Kerson, the kid » a volé la vedette à tout le monde. Le gamin n’a pas grandi, mais il est toujours un phénomène d’assurance, de décontraction et de sonorité…”

-Christophe Huss, Le Devoir (April 26, 2013) – read full review here

“The big surprise for those of us who missed Oslo 2010 was Kerson Leong, a fifteen-year old with a 45-year old’s stage presence. When I first read in the competition programme that Leong would be holding a workshop on tone production, my first thought was “what can a fifteen-year old teach us about tone does?” Quite a lot, as it turns out. His Introduction and Rondo Capriccioso by Saint Saens was a showstopper, and a perfect example of those mao gu song ren (goosebumps) Pamela Frank was talking about. Leong is still young, but should the musical gods choose to grant him a smooth adolescence and good management, his career seems unstoppable.”

-Nancy Pellegrini, Menuhin Competition Beijing 2012 – read full blog here

“La démarche musicale est sérieuse, mais l’approche décomplexée et le talent impressionnant…”

-Christophe Huss, Le Devoir (November 2011) – read full review here

 

“..je donne 10 sur 10 à ses Zigeunerweisen. Technique, vitesse, précision, phrasé caressant, sons filés : on dirait un violoniste de carrière…”

-Claude Gingras, La Presse (November 2011) – read full review here

“Der knappe 14-jahrige, hochtalentierte Kanadier Kerson Leong….phantastisch gespielt und sehr uberzeugt…”

Anzeiger von Saanen (Aug 16, 2011)

 16.08.AvS2

“There were no doubts about the first prize. I think it was the power of music. When you find someone who plays in a way that catches your heart, then everyone is united.”

-Hu Kun, Member of the jury, Menuhin Competition Oslo 2010

 

Le plus étonnant des quatre lauréats entendus est indiscutablement Kerson Leong, en raison de son très jeune âge et de sa délicate constitution. Ce n’est pas un adolescent qu’on observe: c’est un enfant. On ferme les yeux et on croit entendre un violoniste d’expérience. Le petit a retenu deux mouvements du Concerto op. 22 de Wieniawski. Il joue juste, articule clairement, produit sur son violon une sonorité pleine et s’abandonne même à un envoûtant lyrisme……

-Claude Gingras, La Presse (July 8, 2009) – read full review here