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    16th Van Cliburn International Piano Competition

    18-year-old South Korean pianist Yunchan Lim wins 2022 Cliburn Competition

    Stephanie Allmon Merry
    Jun 18, 2022 | 8:19 pm
    Gold medalist Yunchan Lim (center), silver medalist Anna Geniushene, and bronze medalist Dmytro Choni.
    Gold medalist Yunchan Lim (center), silver medalist Anna Geniushene, and bronze medalist Dmytro Choni.
    Photo by Ralph Lauer The Cliburn

    Yunchan Lim, an 18-year-old pianist from South Korea, won the Sixteenth Van Cliburn International Piano Competition on June 18 in Fort Worth.

    Second place went to Anna Geniushene, 31, of Russia; and third place went to Dmytro Choni, 28, of Urkraine.

    As the top prize winner, Lim takes home a gold medal, $100,000 cash, international concert bookings and management for three years, and more. Second and third place come with silver and bronze medals, cash prizes ($50,000 and $25,000, respectively), concert bookings, and more.

    Cliburn Competition jury chair Marin Alsop made the announcement June 18 on stage at Bass Performance Hall in downtown Fort Worth. It came at the culmination of a grueling 17-day competition, through four rounds held at the Van Cliburn Concert Hall at TCU and Bass Hall. The preliminary round started June 2 with 30 competitors. The field was cut to 18 quarterfinalists, then 12 semifinalists, and then six finalists who competed for the gold.

    Each finalist performed two concertos with the Fort Worth Symphony Orchestra and Alsop, conductor.

    Powerhouse run
    Lim, who had a powerhouse run through the competition, was the youngest contestant and now becomes the youngest ever Cliburn gold medalist. He was praised for his ambitious programming, technical prowess, and stunning execution. Critics particularly applauded his performance of Liszt’s complete 12 Transcendental Etudes in the semifinal round. (“Give him the gold medal right now,” one fan could be overheard saying in the hall.)

    But it was his performance of Rachmaninov’s Third Piano Concerto on the penultimate night that brought the house down. Cliburn webcast co-host Elizabeth Joy Roe called it a once-in-a-lifetime performance that left her nearly speechless. “It’s like he’s a magician, he can just conjure whatever he wants … He was filled with something divine tonight,” she said on the webcast afterwards.

    Critic Wayne Lee Gay wrote, “We haven’t had a moment this exciting at the Cliburn since Olga Kern played the same work here in 2001.”

    Likewise, the audience granted him the most rousing ovation of the competition, calling him back to the stage three times.

    A native of Siheung, Lim studies at the Korea National University of Arts and has performed with orchestras across South Korea. Coming to Fort Worth, he told the Cliburn he was “looking forward to playing in front of the warmest and most passionate audience in the world.”

    Additional prizes
    Other Cliburn Competition prize winners were:

    • Carla and Kelly Thompson Audience Award ($2,500): Yunchan Lim, South Korea, 18
    • Beverley Taylor Smith Award for Best Performance of a New Work ($5,000): Yunchan Lim, South Korea, 18
    • Best Performance of a Mozart Concerto ($5,000): Ilya Shmukler, Russia, 27
    • John Giordano Jury Chairman Discretionary Award ($5,000): Marcel Tadokoro, France/Japan, 28
    • Raymond E. Buck Jury Discretionary Award ($5,000): Changyong Shin, South Korea, 28
    • Patricia and Neal Steffen Family Jury Discretionary Award ($5,000): Andrew Li, United States, 22

    The three non-medaling finalists were Clayton Stephenson, United States, 23; Ilya Shmukler, Russia, 27; and Uladzislau Khandohi, Belarus, 20.

    The one American candidate who made it to the finals, Stephenson easily won over the Fort Worth audience early in the competition, as many remember him as a prize-winner in the inaugural Cliburn Junior Competition in 2015. His playing was described as joyful and full of charisma.

    Ukrainian pianist Choni received a warm and generous response from the crowds each time he took the stage, and he's naturally attracted worldwide media attention. After his final concerto performance, a woman from the audience hurried to the stage with a bouquet of sunflowers.

    Besides receiving cash prizes, the gold, silver, and bronze medalists all will receive "a comprehensive and personalized career management package, to include three years of concert bookings, artistic planning mentorship, traditional and social media training, logistics support, and tax and financial planning guidance, as well as commercial recording releases and a complete promotional package," the Cliburn says.

    The jury deciding the winners consisted of Alsop, jury chairman (United States); Jean-Efflam Bavouzet (France); Alessio Bax (Italy); Rico Gulda (Austria); Andreas Haefliger (Switzerland); Wu Han (China Taiwan/United States); Stephen Hough (United Kingdom); Anne-Marie McDermott (United States); Orli Shaham (Israel/United States); and Lilya Zilberstein (Germany).

    Of 388 initial applicants for the 2022 competition, 70 were invited to screening auditions in Fort Worth in March, and of those, 30 were selected to compete in June.

    The next Cliburn-sponsored competition will be the 2022 Cliburn Amateur Competition, taking place October 12-18 in Fort Worth.

    Gold medalist Yunchan Lim (center), silver medalist Anna Geniushene, and bronze medalist Dmytro Choni.

    Cliburn Competition winners
    Photo by Ralph Lauer/The Cliburn
    Gold medalist Yunchan Lim (center), silver medalist Anna Geniushene, and bronze medalist Dmytro Choni.
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    A good listen

    Dallas Symphony and Fabio Luisi release landmark Wagner 'Ring Cycle' set

    Associated Press
    Jun 10, 2026 | 2:00 pm
    Fabio Luisi conducting the Dallas Symphony Orchestra
    Photo courtesy of Dallas Symphony Orchestra
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    Fabio Luisi wanted his Ring Cycle to be heard and not seen.

    Wagner’s four-opera epic Der Ring des Nibelungen, approaching the 150th anniversary of its premiere in 1876, has been reinterpreted and deconstructed by directors finding various meanings in the conflicts among gods, humans, giants and dwarfs.

    While most new recordings are on video, Luisi led his Dallas Symphony Orchestra in concert performances that were released on 13 compact discs by Delos on May 22 and are available on streaming services.

    “Wagner conceived this as a total immersion in visual and acoustic, but I could focus really only on the music, and this was the point actually — not to be distracted by staging and not to have to cope with maybe strange ideas of staging,” Luisi said. “I think the music tells everything.”

    Luisi became DSO music director in 2020 and broached the idea while dining two years later with (the now late) Morton H. Meyerson, a longtime board member.

    “Fabio came back from lunch sort of giddy but sort of sheepishly saying: `Do you think that this would ever be possible?” recalled Kim Noltemy, the Dallas CEO at the time. “So, I said, well, let’s give it a try. So, we called around to see if there were people who wanted to support it and did a budget.”

    After securing a waiver from the orchestra allowing for the needed rehearsals and performance length, recordings were made during four concerts from May 1-5 and six more from Oct. 5-20. Each opera was performed two or three times.

    Americans in cast fill big roles
    American singers featured prominently, with Mark Delavan as Wotan, Lise Lindstrom as Brünnhilde and Sara Jakubiak as Sieglinde, part of a cast that included Christopher Ventris (Siegmund), Daniel Johansson (Siegfried), Deniz Uzun (Fricka), Tómas Tómasson (Alberich), Michael Laurenz (Mime) and Stephen Milling (Hagen).

    Delavan sang Wotan at New York’s Metropolitan Opera in 2013 after Luisi took over from an ailing James Levine in Robert Lepage’s much-maligned production staged on a 45-ton set of 24 rotating planks.

    “We’re accessible and they know that we’re hungry and we have a chip on our shoulders,” Delavan said. “What conductors like about American singers is their technique is sound. Even a European conductor would say: Well, I’m going to give up some of the communication skills, only one degree of separation with the language, but I’m going to get a solid technique, and I’m going to get pretty good acting chops.”

    Lindstrom has been in Atlanta to sing in its production of “Götterdämmerung,” the concluding night of the tetralogy, leading to what is being billed as the first complete Ring Cycles in the America South in 2029.

    “The wonderful thing about it is the intimacy between the orchestra and us, because we’re not separated by a chunk of stage or a chunk a scenery or a chunk of concept,” she said of the Dallas performances. “And for people like me, who have had the opportunity to perform the role before, I have all those iterations to rely on for my portrayal that I can sort of filter myself through.”

    A younger Luisi listened to famous renditions
    Luisi, 67, first heard a Ring recording in Georg Solti’s famous studio set with the Vienna Philharmonic from 1958-65. He also admires Karl Böhm’s live recording from the 1967 Bayreuth Festival and Marek Janowski’s 1980-83 studio version with the Staatskapelle Dresden.

    He first conducted Ring when he was music director of Dresden’s Semperoper from 2007-10. Luisi’s Dallas performances include more legato and softer sound than his rendition a decade earlier at the Met. He tries to keep an arc from the first notes of “Das Rheingold” to the final strains of “Götterdämmerung.”

    “I have a deeper understanding about the meaning of this piece,” he said. “I consider the ring to be a big Bruckner symphony. So we have the introduction, then we have the first movement, this is “Walküre,” which happens to be a slow movement, and then we have the scherzo, which is “Siegfried,” of course, and then the long, long, last movement. There is a unity.”

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