The Chopin Preludes are certainly a conventional choice for a debut release, and Chelsea Guo's are strong if not distinguished; she is a player of great technical facility, which she applies to rather dry readings of the Preludes. Sometimes she develops them in unexpected ways as they proceed; listen to the Prelude No. 4 in E minor, where Guo breaks out of the usual fixed tempo for a dramatic gesture. Her flowing runs and arpeggios are, without a doubt, satisfying to hear, but that's not the main attraction here. Rather, ...
Read More
The Chopin Preludes are certainly a conventional choice for a debut release, and Chelsea Guo's are strong if not distinguished; she is a player of great technical facility, which she applies to rather dry readings of the Preludes. Sometimes she develops them in unexpected ways as they proceed; listen to the Prelude No. 4 in E minor, where Guo breaks out of the usual fixed tempo for a dramatic gesture. Her flowing runs and arpeggios are, without a doubt, satisfying to hear, but that's not the main attraction here. Rather, Guo does things that are almost unprecedented, things that may have made headlines of their own but are still striking to hear for the first time. First of all, she sings, an unusual subspecialty for a pianist. Second, she has a distinctive light soprano, perhaps more distinctive than her piano playing. Lastly, she accompanies herself on the piano, unremarkable in the pop world but well-nigh unheard of in 19th century song. Here, there are just three vocal numbers in three different...
Read Less
