Review3

Pianist Sheng Cai tackles Ravel, Liszt with Confidence, in Birmingham USA

Pianist Sheng Cai has guts, who else but a self-assured pianist, would program Ravel's famously difficult "Gaspard de la nuit" then offer Liszt's finger-twisting barn burner,the Don Juan Fantasy...,he has racked up some solo engagements with orchestra as well...... he's done it on the strength of romantic-era music, with great confidence, temperamental piano, impressive for its bravura... gave more lucidity, breath, color and power...

---Michael Huebner, Birmingham News of Alabama 2006

Hornby Music Festival, British Columbia April, 24 2017

The Hornby Festival was graced with an outstanding recital by the Canadian pianist, Sheng Cai. A note-perfect artist of infectious vitality, Mr. Cai turned in a Petroushka that was a tour de force in its range of color and imagination, one of the best in living memory.Schumann's effervescent Carnaval concluded a program of masterful virtuosity and lyric distinction.

Sheng Cai's recital was a model of impeccable taste and impressive bravura. This pianist has a penchant for Humoreske of Schumann, displayed in his searching and vivacious reading of the Op. 20 .The concert ended with an extravagantly virtuosic Rudepoema by Villa-Lobos, signaling Sheng Cai as an exuberant young performer to watch.

---William Aide, Inaugural R.E.Edwards
Chair in Piano Performance, University of Toronto

2014-2015 Concert Season in Review of Ontario Philharmoic

Guest pianist Sheng Cai's piano work went from lilting to empathic in a moment. And the piano sections had sounded like a counterpoint relationship with the orchestra, part of a musical conversation between solo piano and the orchestra proper. The second part of the concerto was more melodic, with playful, even coquettish emotion. After the intermission, Sheng Cai rejoined the Ontario Philharmonic for Piano concerto No. 5 Op. 73 in E-flat major, also known as "The Emperor." It got off to a very lively start, evoking a sense of high adventure and strong emotions. A later section was devoted to regal themes, and the result was very pleasing. But the concerto's second part took pride of place. Completely different in tone from what preceded it, it started off soft, lyrical, and romantic. it was well-earned standing ovations all around.

---By Critics John Arkelian 2015