Sound & Fantasy - a piano recital review
Dr. Chang Tou Liang, Straits Times (Life!) Singapore 18 June 2015
...the repertoire she offered was well-chosen and reflected an all-rounded musical personality. Opening with J.S.Bach's Toccata in D major (BWV.912), there was both clarity and fluidity. Various shades and moods followed in Beethoven's Sonata in E flat major (Op.81a), also known as “Les Adieux”. There was excitement in the first movement's farewell and desolation in the slow movement's portrayal of absence, which See brought out particularly well. After the interval, two Scarlatti sonatas, both in D minor, provided many points of contrasts. Here, small was beautiful as these little gems were windows into See's refined touch. Belying See's petite physical stature was a voluminous sound, which carried through the [Schumann Fantasie's] three movements...there was much to marvel at her grasp of the music's architecture and form...she gave two substantial encores which offered more tantalising glimpses to her widening repertoire. Ravel's impressions of dancing fountains in Jeux d'eau was an impressive mix of delicate sprinkles and gushing spouts, and the piece de resistance that was Chopin's Winter Wind Étude was enough to blow all doubters away.
The Tempest - a piano recital review
"...an impressive recital and a promising return for the young pianist".
The first half of the night was a demonstration of Ning Hui’s individualism and maturity as a performer. Ning Hui made a lasting first impression with a heart-stirring arpeggio in the opening bars of Beethoven’s Tempest Sonata, and it is promptly followed by a thrilling adventure with a mischievous mix of wonderment and indignation. The recital was completed with one of Mendelssohn’s most famous piano works, the Rondo Capriccioso. Ning Hui’s playing was filled with so much warmth that it is difficult to imagine that the piece was in fact rather challenging, and it was due to her unwillingness to show off unnecessarily and ability to be inconspicuous about her virtuosity that made this rendition one of the best I’ve ever heard.
...an unshakeable self-belief that translated into polish and poise. Her Mozart movement from Sonata K.311 displayed a firm grasp of symphonic thought, matched by a feather-like touch and delicious rubato for Chopin’s First Impromptu. Under her hands, even Khachaturian’s rather superficial Toccata did not sound like empty motoric rumblings.