Seung-Un Ha Press

Kennedy Center Recital Debut: “Ha provided something to feast on in every measure. This musician is ready for the greatest challenges and the toughest scrutiny. Her exceptional technique, capable of immense power in strings of octaves or of the sheerest delicacy in pianissimo passages, transformed these concert hall staples into fresh gems. For the subtleties of expression, sumptuous sound produced and spotless finger work, this was truly captivating playing.”
Washington Post

Rachmaninoff #2 at “Midsummer Mozart”:“Ha brought authority as well as maturity to her hair-trigger interaction with the composer, conductor and orchestra. One sensed that she arrived onstage with the whole of the long concerto coiled inside her and simply, elegantly released it. This was play at the highest level. Her strong technique afforded fiery address without a trace of harshness in the tone.”

-The San Francisco Examiner

Beethoven #3 with Lawrence Foster and the Los Angeles Philharmonic at the Hollywood Bowl: “Ha achieved firm and untroubled collaboration with pianist Seung-Un Ha, the Korean American soloist in the C-minor Concerto.  Ha’s authoritative way with the work included an impassioned delivery of the first-movement cadenza, a tight and concentrated performance of the slow movement and both technical glitter and good humor in the finale.  She showed happy signs of a true individuality and all the musical polish one might ask.”
The Los Angeles Times

Rachmaninoff #2 with the Royal Scottish National Orchestra:“On her European debut, Seung-Un Ha played as if under no influence stronger than that of the composer himself, articulating the sweeping lines with delicate precision and the fresh, uncluttered tone that has made her a respected interpreter of Mozart.”
                                                                                                                                                                         -Scotland on Sunday

Bartók #3 with the Pasadena Symphony under Jorge Mester:“…restraint and cool makes its central mysteries more poignant than does angst and heat.  That was the tack taken by Mester and his soloist Seung-Un Ha.  The pianist brought clarity and light to her assignment, and no small measure of poise and affection.”
                                                                                                                                                                       -The Los Angeles Times

Prokofiev #3 with the Reading Symphony:“Unleashing a tightly coiled energy, the physically diminutive pianist devoured the keyboard in passages of rhythmic fury, inspiring the orchestra and music director to their best collaboration in the last twelve years.  Ha, with phenomenal artistry and sheer strength, brought this piece to vivid life.  Blessed with a gift for drama equal to her musical talent, she spit out the machine-like rhythmic passages as though she were a woman possessed, attacking the mad glissandi in the third movement with abandon.  But in the softer, sweeter sections, she made every note sparkle.”

 -The Reading Eagle/Reading Times

With the Maryland Symphony under Elizabeth Schulze:“The Piano Concerto No. 4 in C minor, written in 1874 by Camille Saint-Saëns, featured a superb pianist Seung-Un Ha.  The concerto features continuous technical difficulties for the pianist, and Ha handled them all with assurance.  The audience responded with a standing ovation.”  

-The Morning Herald, Hagerstown MD

Mozart #25 with the Los Angeles Chamber Orchestra under Jeff Kahane:

“I had missed the Hollywood Bowl debut of the young Korean pianist Seung-Un Ha; her performance of K. 503 with Jeffrey Kahane and his Los Angeles Chamber Orchestra at Royce Hall last Friday bore eloquence and promise.  Tall in stature and long of arm, with hair nearly as long as Kahane is tall, she writhed her way prettily through the work’s majestic measures, reacting beautifully to the expressive high points, seconded by Kahane’s properly large-scale shaping of this extraordinary—if still too little-known—masterwork from Mozart’s maturity.”

-L.A. Weekly

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