The Making of a Celebrity Pianist

From “Rise in Fame” to “Artistic Decline” – 2000 to 2021

Yundi Li © limelight-arts.com.au

In 2000, an exceptionally gifted but relatively unknown Chinese pianist, Yundi Li, exploded onto the world’s music scene after winning the 14th Chopin International Piano Competition at the age of 18, the youngest in the competition’s history and also the first “1st prize winner” awarded after 15 years. That was when he earned his eminence as a Chopin specialist and, thereafter, featured predominantly Chopin’s works at his concerts. Though his version of the “Andante Spianato Et Grande Polonaise Brillante, Op. 22” has attained critical acclaim, in my opinion, a justified measure of one’s competence should extend beyond a “one-trick pony” recognition. As tempting as it is to enjoy basking in the glamour of fame, it would have been in Yundi’s best interest if he had spent his early career broadening out into a more comprehensive artist, expanding his horizons into the realms of Bach, Mozart, Beethoven, other Romantic composers, and 20th-century composers. Given his innate talent, he could have built and sustained a more solid artistic foundation.

Chopin: Andante Spianato Et Grande Polonaise Brillante, Op. 22

In 2008, Barbara Willis Sweete produced the film “The Young Romantic”, offering a glimpse into Yundi’s family background. It turned out to be very successful in elevating the public’s perception of his potential. In her moving storytelling mode, she traced his development as a homegrown young talent in China all the way into a full-fledged international concert pianist. As the film progressed, it followed the rehearsals and his interaction with the venerable conductor Seiji Ozawa in preparation for their collaboration of Prokofiev’s Concerto No. 2 on stage – Yundi’s debut with the Berlin Philharmonic Orchestra. It highlighted their amicable relationship as budding artist and mentor, and the maestro’s acknowledgment of him as a “poet of the keyboard with amazing facilities”. The concerto performance was a huge virtuosic accomplishment, particularly when he convinced Ozawa to speed up the tempo a notch. The “Finale” movement was the fastest version I ever heard, proof that Yundi’s technical prowess and musical awareness were equally proficient in Prokofiev as in Chopin.

Prokofiev: Piano Concerto No. 2 in G minor, Op. 16, 4. Finale (Allegro tempestoso)

By the age of 25, Yundi’s career culminated at a high point. He was playing over 100 concerts a year, performed with the Berlin Philharmonic and London Symphony Orchestras, and recorded for the prestigious Deutsche Grammophon label. He was praised by The New York Times for his “very real musicality,” and American Record Guide declared that “he belongs with the new pianistic superstars.”

In another genre, Yundi started making appearances in pop concerts with entertainment icons and enjoyed being idolised as a pop star. It was obviously an image that he took pride in. He said:- “I’ve done a lot of concerts on TV and commercials for Mercedes-Benz and other companies. On the one side, I am a pianist; on the other side, is my star career. I think it’s the new way. Why can’t classical musicians be on television or play in different kinds of concerts? That will bring a bigger audience to the music.” Clearly, his focus had shifted gears, and I questioned how such a commercialised mindset affected his stature in the classical music genre, as well as the purity of his artistic values.

In 2015, Yundi was invited to judge at the 17th International Chopin Piano Competition as the youngest judge in the competition’s history. With this competition being one of the most prestigious classical music competitions in the world, which often launches the careers of its winners with concert dates and recording contracts, it was an exceptional honour for Yundi at age 33. Yet, some of his quotes in interviews indicated that he did not take this responsibility too seriously. His attitude was:- “Music is a very intuitive art for human beings…..You don’t need to think too much; you just need to feel it.”

Furthermore, it was widely publicized in mostly Asian media, that in the midst of the competition, Yundi excused himself from the judging for a few days to attend a celebrity wedding in Shanghai. That conduct to me was utterly unprofessional and disrespectful – an insult to his privilege.

Nevertheless, his concert career continued to flourish, but my interest in his music had subsided considerably. In 2016, he delivered an ambitious Chopin program in Carnegie Hall, presenting all 4 Ballades and 24 Preludes. By that time, there were rumblings among critics about Yundi’s “musical decline”, which might have foreseen the imminent downfall of his career.

1. Review from The New York Times by Corinna da Fonseca-Wollheim – March 24th, 2016

“Heavy use of rubato — a deliberate stretching and rushing of the tempo — gave the virtuosic Ballade No. 1 in G minor (Op. 23) an impulsive and jumpy feel……But the Ballade No. 4 in F minor (Op. 52) was dramatically cohesive, suffused with a melancholy elegance heightened by the expressive use of rubato”.

“The extreme brevity of some of these pieces (Preludes) and their unity of character seemed to help Yundi channel his expression into some of the most eloquent playing of the evening…..There was much to enjoy here…..”

2. Review from Rachthree by- tenwaystillsunday – March 26th, 2016

“True, for several years now, there have been rumours–even supposed video evidence–of Mr Li’s musical decline……A shell of his former self is who he is now. There were occasional moments of brilliance–but overall, the pianist seemed to merely be going through the motions. His technique hasn’t regressed terribly, but gone is his very special ability to disarmingly draw out a graduated palette of sounds while expressing starkest emotions in lightest touches. The ballades were vapid and not as clean as they could be, and the preludes were rushed and lacked contrast as a set.”

“In Mr. Li’s defense, his fans are a part of the problem. For this particular recital, the over-enthused but under-informed audience burst into applause at a dramatic point before the final measures of Ballade No. 4, breaking any spell in what was the pianist’s best ballade of the evening. Later in the second half of the program, it was as if Mr. Li rushed through the preludes out of nervousness that if he didn’t, the audience would clap and once more detract from his efforts…..”

“More generally, Mr. Li’s artistic decline has dovetailed with his commercial rebranding….one gets the sense that Mr. Li is struggling with an identity crisis whereby his disciplined style of artistry clashes fundamentally with the kitsch his brand is now built upon.”

Chopin: Ballade no. 4 in F minor, Op.52

Chopin: Prelude no.15 ‘Raindrop’, op.28

Fast-forward to 2021: A humiliating news report surfaced that exposed Yundi’s embarrassing private life. The scandal not only crushed his meteoric rise to stardom but also suspended his concert career. He was expelled from China’s official Musicians’ Association and removed from a reality TV show, which resulted in a two-year silence.

“The Mozart Project”: 2023 -2025

In 2023, Yundi embarked on a comeback tour, starting with Australia, with a catchy headline “The Mozart Project”, concentrating on four popular Mozart works: Piano Sonatas K. 310, K. 331, K. 457, and the Fantasia in C minor K. 475. As of today, he has already toured more than 40 cities in Europe and Asia and concluded in North America in January 2025. In 2024, the European cities he visited included Munich, Vienna, Frankfurt, Cologne and Berlin. Later in the same year, he toured Asia – Japan and Singapore. In January 2025, he completed his tour in Vancouver, Toronto, and New York, but had to cancel Los Angeles because of the wildfires. However, his much-anticipated recital – “Yundi Plays Mozart: The Sonata Project 1”, scheduled for January 1, 2025, at the Hangzhou Grand Theatre in Hangzhou, China, did not materialize.

Reviews of “The Mozart Project” Recitals on Tour

Cover of Mozart: The Sonata Project – Salzburg

1. The Classic Review by Azusa Ueno – April 15th, 2024:

His is a Mozart of laser-cut clarity and exactitude, impeccably sustained melodic lines and clear-cut structures…. There are some subtle inflexions in the slow movements, but only thin rays of Yundi’s romantic pedigree filter through the mesh of over-calculation.

2. Pianomania by ChangTou Liang – October 14th, 2024:

Continuing without break into the sonata caught the noisy audience by surprise, which had robotically applauded without truly listening and appreciating his nuances and cues, thus almost breaking the spell. Yundi persevered nonetheless, delivering what was the finest performance of the evening…….It was gratifying to see the sensitive musical soul of Yundi making an honest and gallant comeback.

Expectations of a “ Meaningful Comeback”

Since this new venture was advertised as “The Mozart Project”, I was under the impression that it would symbolise a fresh start for Yundi after the shameful suspension. The term “project” implied a research-oriented pursuit with intellectual depth. The fact that it was dedicated to “Mozart”, the genius who represented the “pinnacle of the Classical Period”, suggested that Yundi might return to his roots, i.e., mainstream classical music. My naivete also prompted me to think that he was contemplating a dampening of the “Taylor Swift” kind of stardom. When it was announced that he had resumed serious piano studies in Hannover, Germany, with Arie Vardi, a teacher of international acclaim, I was imagining that he had come full circle, or had undergone some sort of a “rebirth” after his bout of celebrity disaster. That was my initial frame of mind prior to attending the Mozart production in Vancouver.

“Mozart Project” Recital in Vancouver on January 14th, 2025

“Mozart Project” Recital in the Orpheum Theatre in Vancouver on January 14th, 2025.

Yundi’s arrival in our city must have generated some buzz amidst the Chinese community. After all, he has been worshipped as a hero, especially among parents who have children taking piano lessons. Excitement was palpable and all the more amplified because of his 2 years absence from the concert stage.

Sadly, I found Yundi’s rendition that evening hugely disappointing, paled by comparison to Mao Fujita, who made his debut in Vancouver with an all-Mozart recital in 2023. The best narrative I could think up, in response to Yundi playing 3 of Mozart’s well-known sonatas – K. 310, K. 331, K. 457, and the dramatic Fantasia in C minor, K. 475 – was “neither here nor there”. I was left with a rather bland and tasteless flavour at the end. My guess was: – In an attempt to abide by an authentic “Classical Period” style, Yundi refrained from his “Chopinesque” romantic instincts, went overboard to repress tonal contrasts and rubato, so underplayed essential expressiveness. His intentions resulted in a notationally perfect, technically proficient, but mediocre performance. Stoicism in his interpretation (with “sameness” in all the repeats) created a continuous “repetition of nothingness”. Hence, the entire recital lacked Mozart’s natural charm as well as Yundi’s usual charisma.

Despite my supposition that he had gone through a transformation of values, reality was that he re-emerged exactly as the same pianist as he always was. There was no growth in his pianism or his persona.

Review from “Classical Voice North America” by David Gordon Duke – January 16th, 2025:

“Li’s program was not brokered by the city’s established piano presenters; the event was targeted at an audience eager to hear a particular performer, not a conventional keyboard recital. The Mozart sonata project is a fine thing for all sorts of reasons, but it may not have been what his Vancouver fans expected.”

“His passage work was precise and clean; though there were many affecting moments, there was absolutely no sentimentality or indulgent playing to the gallery.”

“Anyone anticipating theatrical technical display or emotional heart-on-the-sleeve playing was out of luck: Li’s reading…..was spare, poised and enigmatic.”

Reality of Commercialism

In Vancouver, his presenter apparently marketed “The Mozart Project” primarily to a targeted clientele via the local ethnic media. It was not prominently advertised in the classical music media, nor was it announced in the venue’s list of events. Therefore, it ended up attracting a minimal representation from the classical music community but drew in mainly Yundi’s populist fan base from China. The ambience was rather unfamiliar to me that evening:

1. Prior to the start of the concert, members of the audience were enthusiastically running around taking pictures of themselves, with the premise – its décor, architecture, stage, and concert grand etc. – as a backdrop.

2. Numerous ushers were patrolling the aisles, rigorously banning the usage of cell phones and cameras and issuing firm warnings.

3. Restless young children were all decked out in glamorous party outfits, fussing in their seats, calling out for their mothers during quiet moments.

4. Relentless coughing occurred throughout, more like emanating from boredom rather than necessity.

5. Applause in between movements in every sonata was inappropriate and disruptive. This last behaviour was blamed on the fact that no programs were distributed (nor projected on the screens) but were only available for sale at $50.00 each.

The lone saving grace was the popular encore, Chopin Nocturne Op.9 No. 2 in E-flat major. Luckily, absolute silence prevailed, enabling the music to be fully appreciated. I joked that it would be a very expensive concert if only one piece in the entire 2 hours of performance warranted undivided attention.

Finally, the truth came to light at the conclusion:- The concert hall’s capacity is close to 2,800, and during that evening, about 2,000 were in attendance. With the apathy level towards the music being so conspicuous, I anticipated that the entire crowd would hurry to the exits the moment the encore’s applause ended. However, to my astonishment, hardly anybody left the building. Instead, they all congregated in the lobby, jam-packing the entire space! The reason, I discovered after navigating through a sea of people, was that they were after only one thing – an autograph from Yundi, even if each person had to purchase a CD or a recital program ($50.00) in order to qualify for that prerogative! Furthermore, there was chatter that an astronomical fee would be charged for taking photos with him – which explained why all those children were fancily dolled up.

Reflections on Integrity Deterioration

In view of Yundi’s talent and training, it is inexcusable that he could have produced, in all conscience, a sub-par performance. Evidently, unconditional support has been assured by his regular loyal patrons, regardless of their scope of musical appreciation. However, if there are seasoned and well-informed concertgoers in attendance, wouldn’t any delivery of “shoddy merchandise” eventuated in denting his image?

Since I was curious if this similar uncaring attitude was displayed in the European cities he toured, I decided to explore Yundi’s “Mozart Project” presentations in other geographical locations. Surely enough, the 2024 recording in Salzburg of this identical Mozart program by Warner Classics was superior in every sense, surpassing his live performance here in Vancouver. The style was definitively Mozartian – phrasing flowing and poetic, colour and dynamics dazzling, and tonal control expertly executed. It was appropriately tasteful. If it was not Yundi’s capability that accounted for the uninspiring performance that we witnessed, then it must be his blatant disregard towards our demographics which explained the economy of his efforts. If that was true, my aversion should be directed towards his integrity, or lack thereof!

Nonetheless, this “comeback” tour (his “rise in fame” after his previous “rise and fall”) has already been touted a success so far. Does that mean Yundi Li is once again laughing all the way to the bank?

“The Mozart Project” recording in Salzburg: