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
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
Jun 24, 2022 Whom Would You Have Chosen if You Had Been on the Jury of Cliburn 2022?
Apr 14, 2022 Mitsuko Uchida’s Beethoven Diabelli Variations – From Frolics To Transcendence
Apr 8, 2022 Grigory Sokolov at Esterházy Palace – A Journey to the Sublime
Apr 5, 2022 Recommended Recordings of Chopin Piano Concerto No. 1 in E minor, Op. 11
Dec 14, 2021 What Should We Be Looking for in Chopin Competition?
A Promising Pianist or a Chopinist?
Oct 8, 2021 Daniil Trifonov’s Bach: The Art of Life
Oct 6, 2021 Forgotten Pianists: Vladimir Krainev