”…Chinese-born Ran Jia played Franz Schubert’s Sonata in c minor, Opus Posthumous, perhaps the most compact of the composer’s last three extended piano works. Her elegant touch brought out Schubert’s lyrical lines and elucidated his more complicated textures. Well-voiced pianissimos and fortes distinguished the slow movement, and confident, steady rhythms underlined the tricky cross-hand gestures in the concluding tarantella. Exuding poise at the keyboard, Ran Jia looked as though she were completely enjoying herself, frequently smiling at Schubert’s more engaging nuances…” by Daniel Hathaway. October 5, 2015
”… If we admit that her Ravel conquered the listeners with a pure aesthetics and a powerful skill, then, her interpretation for Debussy’s Images and L’isle Joyeuse exposed a freedom and liberty of selfless and nature, that made the atmosphere of the concert hall magic and intoxicated.”
– Sun Yue, musicologist and critic from <Music Lover> 9.2015
I have kept an observation to this pianist for many years. Her playing of Shubert has got a recognized reputation and her Mozart, after my opinion, is more sophisticated. She always gives us these impressions: poetic interpretation, discovering of the inner content of works, delicate and emotional techniques, the elegant and noble bearing and, of cause, her outstanding beauty. In 17th April, Her recital in Shanghai Concert hall told us the inner seeking of this beautiful young lady: the pieces of this concert are almost French Impressionism, Sonatine and Gaspar de la Nuit of Ravel, the first part of Images and L’isle joyeuse of Debussy, with the Poem of fire by Tandun. The repertory manifests her unique taste and artistic pursuit. Her interpretation was unruffled and well balanced, with a perfect technique, created a charming scene and extraordinary imagination.
– Ren Haijie, critic, Music Weekly, 4.22.2015
“Ms. Ran Jia had no any action needless during the process of interpretation, which she wants to explore for the audience, are not only the techniques and power, but also the music and poesie, and the sublimity just like her name implies.”
(The Chinese word of ‘Ran’ means ‘Natural’)
Li Pengcheng, critic, in People’s Music, 2015
What a beautiful sound! Ran Jia can play whatever in a profound softness from her universe which always involves me, but this time she plays Schubert again!
The trill which opens the Sonata in B flat in effect trembles more than one: it’s no doubt a beginning with an element of key syntax of triumphant Viennese classicism. Beethoven signs his piano with a trill just like Schubert himself here wants to do in his last sonata. However, his trill is totally different with Beethoven’s. The pianists always have no idea about how to accomplish it, Kempff resolves the problem with creating a light secret, Lazar Berman or Stephen Bishop Kovacevich dig it to make it a threat, Jia Ran ties it into a line- she plays it more rigor later, music with an idea of silence before the silence-and she don’t expatiate, Schubert flows with the source.
“Ran Jia is one of the finest pianists of her generation. She has qualities that are as rare as precious on the music scene today: poetry and and artistry. She is a phenomenal pianist!
Just listen to her!
William Grant Nabore
Director, Lake Como Piano Academy
… Second climax was the performance of Ran Jia. The 23-year-old pianist drew on unlimited resources while playing César Franck. The young musician from China presented herself as a real figure in art who knows what she wants – an individual, authentic entry to the great tradition of playing piano in the 19th century. Her touch is full of nuances and she consequently phrased and designed tempo. Ran Jia interpreted the lyrical passages of Franck’s “Variations symphoniques” as persuasive as she revelled in the luscious tutti with the orchestra. —Main Post
…she takes Schubert literally, by the note, motive, sequence. She refines each moment, each development, each transition of a melody to the next. This evolves organically, compelling and yet with high poetic impulse. As an opener: Impromptu Nr.2- closely perceived to Chopin.
Then the 2 great sonatas, first No. 20 in D- Major, after intermission No. 19 in c-minor, two monuments, precious, intellectually, powerfully and boldly interpreted.
With marvelous impressive elegance in touch she feels her way into Schubert’s language- sometimes with dolorous sweetness, sometimes with thunderous rage, then again with a sparkling style, to then go back to a Beethovian energy. There are no fractures, no stutters, no technical hurdles- with this pianist the structures and sounds flow naturally on its own. Here she narrates anecdoticly (menuetto sonata No. 19), and in the rondo (No. 20) she dreams of melodic blessedness. Tremendous.
Equally she interpreted the three encores after enthusiastic applause: once more Schubert, then Chopin and Rachmaninow. An evening to forget the humanly earthly problems at least for a moment.—-Der Westen