Neue Zuercher Zeitung (Switzerland)
“He is one of those geniuses that come along once in twenty years. He has immense energy and intensity that is almost supernatural.”
The Boston Globe (U.S.A.)
Headline: “The Power Piano of Ruei-Bin Chen”
“He plays with the white-hot energy, steel-fingered, power and athletic virtuosity . . . has impetuosity and undeniably impressive technique . . Chen showed that he can play with delicacy and imagination.”
Los Angeles Times Front Page Coverage (U.S.A.)
The pianist, Rueibin Chen, who is a competition champ. His biography in the program book noted 18 international metals, five of them gold. He has very fast fingers……。
Dietrich Fischer-Dieskau (Germany)
“…that he has worked out a stupendous technique, is beyond doubt.”
Alicia de Larrocha (Spain)
“…finds his performance a magnificent one!”
Stanislaw Skrowaczewski (U.S.A.)
“...so many fine achievements and excellent performances.”
Kurier (Austria)
Concert in the Musikverein:
“The pianist Ruei-Bin Chen gave proof that he merits the many prizes he has already won. He performed Ravel's “Gaspard de la Nuit,” first delicately, then swelling in mood and very securely throughout, completely engrossed in his act.”
Wiener Zeitung (Austria)
Headline: “Climax of the Chopin Festival”
“Chen performed the pieces with technical brilliance and a surprisingly high degree of emotional penetration for such a young musician . . . "Trois Mouvements de Petrouschka" by Stravinsky, with the rhythmical and technical difficulties, was mastered in sovereign fashion.”
Salzburger Nachrichten (Austria)
“. . . A pianist's refinement of touch can be anticipated already from the opening bars of “Ondine” from “Gaspard de la Nuit” by Ravel and Ruei-Bin Chen was successful in his rendering of the triple pianissimo of the introductory chords constantly changing in tone colour, which in the beginning overlie the melody line in the bottom part; he presented the piece, which, in terms of sound language, is evocative of Debussy, with intensity in sustaining and increasing the tension: he painted “Le Gibet” in sombre colours and demonstrated all nuances of a pianist's art of touch. “Scarbo,” the last part of Ravel’s “Trois Poemes” after the poems by Aloysius Bertrand calls for the pianist's highest technical skills. Ruei-Bin Chen, however, kept control, lent the work an inner stability and mastered the expressiveness of the piece by constantly changing the dynamics of his performance . . .”
The Times (U.K.)
“He mesmerized the audience as his fingers traveled the ivories with at times mind-boggling precision and swiftness and a level of emotion which delivered each note, each chord, to the heart of each member of the audience.”
Pasadena Star-News/San Gabriel Valley Tribune/Whittier Daily News
Independence (U.S.A)
The combination of Chinese-Austrian pianist Rueibin Chen and Rachmaninoff’s Rhapsody on a Theme of Paganini appeared to provide a box-office boost and Chen did not disappoint in his latest appearance with the orchestra……Both Chen and Outwater offered interesting dynamic shadings throughout the “concerto.”。
South China Morning Post (Hong Kong)
“. . . one could never doubt Mr. Chen's brilliance, and his instinctive feel for the music.”
Et B News (Austria)
“. . . Ruei-Bin Chen who performed his difficult and extensive program with stupendous technical brilliance. With Stravinsky's "Trois Mouvements de Petrouschka" he proved to be a true wizard of the keys, wielding a thunderous stroke.”
Polytika (Poland)
“He succeeded brilliantly in uniting the vigorous themes and the scurrying runs and thrills into a polished whole.”
Min Sheng News (Taiwan)
“In the Third Piano Concerto by Rachmaninoff, Chen brought out his unique talent -- the delicacy and swift precision of his fingers. Even the most complex passages did not unsettle him as the agility of his wrists allowed him facility in playing strong and fast octaves. Towards the end of the piece he put in much force from his upper body and arms to produce the enormous thunder of the music. Rachmaninoff's charm and passionate temper was poignantly expressed through Chen's complete emotional involvement and resolute commitment to his performance and carried the mesmerized audience's fascination to a climax.”
Arts in Season (U.S.A.)
“PCAC brings Carnegie Hall to Pleasanton.....Pianist Rueibin Chen is one of the best.....The event sold out. The audience was entranced.”
Pleasanton Weekly (U.S.A.)
“A rare opportunity to see a world class pianist in a theater setting.”
DAY&NIGHT (Malaysia)
“He is good; that was quite obvious. The audience couldn’t take their ears off him, so to speak. He’s got technique, control, good tone and that elusive quality called “feel”.
Sunday Star (Malaysia)
Headline: “Markings of a master pianist”
“In the Appasionata Sonata, Ruei-Bin demonstrated his Horowitzian finger power. Indeed, it is not Ruei-Bin's repeated display of virtuoso skills but rather two quiet passages (both in the Chopin works), which their reviewer would want to remember his recital by.”
Waschauer Chopin Blaetter (Poland)
“By performing the Chopin Sonata in B-minor (op. 35) the sixteen year old Ruei-Bin Chen from Taiwan made a name for himself as an exceptional talent. Chopin's mature work had a fresh appeal, not the stale and perfunctory renderings one hears so often. The Taiwanese allowed the music to unfold flourish in a rarely noted fashion. Particularly the rather trite funeral march arrested the audience's attention in virtually breathless thrill, and at the conclusion of the last movement, it reaped a wave of thundering applause.”
Wiener Chopin Blaetter (Austria)
“The degree of the young Chinese's mastery of piano technique is exceptional, yet all the more prominently he brought out the young Liszt's capacity for creative, artistic expression.”
