About Meet our contributors
Anson Yeung

Born in Hong Kong, Anson graduated from St. Paul’s Co-educational College and is currently a medical student at the University of Hong Kong. A holder of Licentiate of Trinity College London in Piano Performance with Distinction, Anson plays the piano, organ and double bass and has an eclectic range of interests in classical music, ranging from Baroque music to contemporary music. Since 2015, he has been writing reviews and articles for both Interlude and International Association of Theatre Critics. Music has been an inseparable part of his life and a treasure that he would always cherish. Anson is pleased to be a contributor of Interlude, to share his love for music and to explore the endless possibilities of music.

Contributed Posts
May 31, 2023 Haochen Zhang Navigates Rachmaninoff’s Depths, but Long Yu Disappoints
Apr 25, 2023 A Tale of Two Pianists
Lifschitz & Volodin Perform Rachmaninoff’s Complete Preludes
Mar 8, 2023 Musings on Schubert
Feb 22, 2023 Bruce Liu in Hong Kong
Unconvincing Chopin but Stunning Ravel & Liszt
Feb 15, 2023 Schubert Complete Piano Sonatas – An Interview With Paul Lewis
Feb 9, 2023 HKU MUSE Celebrates its 10th Anniversary and Continues to Inspire
Jan 18, 2023 Review: Boris Giltburg in Hong Kong
Nov 13, 2022 Yunchan Lim’s Hong Kong Debut – Imaginative Playing with Volcanic Passion
Sep 3, 2022 Evgeny Kissin: The Salzburg Recital – Eclectic Programme and Emphatic Playing
Aug 11, 2022 Alexandre Kantorow’s Saint-Saëns: Astounding Virtuosity and Conviction