Steinway Artist and critically acclaimed pianist, LORRAINE MIN has dazzled audiences internationally with her poetic artistry and dynamic virtuosity. Cited by the New York Times for her “impeccable phrase-shaping (and) crystalline sound,” and by the Washington Post for her “admirable playing,” Min has performed extensively throughout Canada and USA, in Germany, France, the UK, Italy, Switzerland, Australia, India, and in South America. She has performed solo recitals and has made concerto appearances in some of the world’s most important concert halls such as New York’s Avery Fisher Hall, Alice Tully Hall, Town Hall, Carnegie Hall, Merkin Hall, the Kennedy Center’s Concert Hall, Vancouver’s Orpheum Theatre, and the Chan Centre.
An avid chamber musician, Min has performed throughout North America including at the Ravinia and Tanglewood Festivals, the Eine Kleine Summer Music, Victoria Summer Music, Fredericton and Orford Festivals, in Europe, Asia, and Australia. She can be heard on CBC and ABC (Australian) radio.
Min’s success in prestigious international competitions include top prizes and special awards of distinction in the Washington International, D’Angelo, Frina Awerbuch, and the William Kapell Competitions. She was the top ranking Canadian pianist at nineteen years old in the Harveys Leeds and Busoni International Competitions, and laureate in the Van Cliburn Competition.
Born in Victoria and raised in Vancouver, Canada, Min studied on full scholarship at the Peabody Institute of Johns Hopkins University and earned her Bachelor degree, Pi Kappa Lambda. On generous scholarships and numerous grants from the Canada Council for the Arts, Min received her Masters and Doctoral degrees from the Juilliard School.
“...impeccable phrase-shaping, a crystalline sound...”
“Admirable technique...Min brought out the improvisatory spirit in Bartok’s monumental project.”
“She showed a nice bluesy romantic touch, temperament, a sense of colour, and when that swoony melody finally came in out of nowhere, she made the most of it. She also wrote her own cadenza, made up of other Gershwin tunes, and the surprise was enough to snap your head back.”
“With grace and refinement, Lorraine Min unveiled a thoughtfully conceived program...a potent package of richly inventive inspiration.”
“...the phrases rose and fell impulsively...The technical and musical skill required to bring these works off with the kind of finesse, bravura and brilliance Min displayed, boggles the mind and amazes the ear...she sorted the complex cross rhythms into elegant, elaborate, richly accoutered songs and breathless vistas of tone-painting...Min creates the kind of musical experience which transcends instrument and player both...this performance was unforgettable.”
“Her program reveals her strengths not only as an accomplished technician but as a poet of the highest caliber. Emotional depth and intuitive brilliance inform every note of her playing, giving these pieces an immediacy that is missing from many performances.”
“Lorraine Min not only delivered an astounding rendition of Mozart’s work (Piano Concerto in C Major K. 503), but also played with her own stylistic edge which complimented the work nicely. Her precision and purity of sound were matched only by the grace with which she played.” -Dalhousie Gazette
“Her performance was nothing less than brilliant.”
“It was a sterling evening of music-making that began with a remarkable performance by Canadian pianist Lorraine Min of the Beethoven Third Concerto. In appearance, Min is slender and elegant. But in performance she was aggressive in the forte parts and highly expressive in the piano. Each arpeggio had shape and precision. Her playing is dynamic, but never lacks emotion. While she was riveting in the fast movements, it was the second movement Largo where Min played her best. At the end, the audience responded with a standing ovation.”
“They gave a prolonged standing ovation to pianist Lorraine Min for her performance of Saint-Saens’ Concerto no. 4 in C Minor…I was caught up in watching Min’s hands flying on the keyboard and “virtuosic moves” in the final movement that I didn’t notice anything derogatory about the composition – I just enjoyed the beauty of the music…Min had a very commanding presence on the stage, and even in one small portion where she played with just one hand, her music was very powerful.”