“He is one of those geniuses that come along once in twenty years. He has immense energy and intensity that is almost supernatural.”

Neue Zuercher Zeitung (Switzerland)


“He plays with the white-hot energy, steel-fingered, power and athletic virtuosity . . . has impetuosity and undeniably impressive technique . . . Chen showed that he can play with delicacy and imagination.”

The Boston Globe (U.S.A.)


“He mesmerized the audience as his fingers traveled the ivories with at times mind-boggling precision and swiftness and a level of emotion which delivered each note, each chord, to the heart of each member of the audience.”

The Times (U.K.)


Headline: “Markings of a master pianist”

“In the Appasionata Sonata, Ruei-Bin demonstrated his Horowitzian finger power. Indeed, it is not Ruei-Bin’s repeated display of virtuoso skills but rather two quiet passages (both in the Chopin works), which their reviewer would want to remember his recital by.”

Sunday Star (Malaysia)


“. . . Ruei-Bin Chen who performed his difficult and extensive program with stupendous technical brilliance, with Stravinsky’s “Trois Mouvements de Petrouschka” proved to be a true wizard of the keys, wielding a thunderous stroke.”

Et B News (Austria)


Concert in the Musikverein:

“The pianist Ruei-Bin Chen gave proof that he merits the many prizes he has already won. He performed Ravel’s “Gaspard de la Nuit,” first delicately, then swelling in mood and very securely throughout, completely engrossed in his act.”

Kurier (Austria)


“Chen performed the pieces with technical brilliance and a surprisingly high degree of emotional penetration for such a young musician . . . “Trois Mouvements de Petrouschka” by Stravinsky, with the rhythmical and technical difficulties, was mastered in sovereign fashion.”
Wiener Zeitung (Austria)


“. . . A pianist’s refinement of touch can be anticipated already from the opening bars of “Ondine” from “Gaspard de la Nuit” by Ravel and Ruei-Bin Chen was successful in his rendering of the triple pianissimo of the introductory chords constantly changing in tone colour, which in the beginning overlie the melody line in the bottom part; he presented the piece, which, in terms of sound language, is evocative of Debussy, with intensity in sustaining and increasing the tension: he painted “Le Gibet” in sombre colours and demonstrated all nuances of a pianist’s art of touch. “Scarbo,” the last part of Ravel’s “Trois Poemes” after the poems by Aloysius Bertrand calls for the pianist’s highest technical skills. Ruei-Bin Chen, however, kept control, lent the work an inner stability and mastered the expressiveness of the piece by constantly changing the dynamics of his performance . . .”
Salzburger Nachrichten (Austria)


“PCAC brings Carnegie Hall to Pleasanton…..Pianist Rueibin Chen is one of the best…..The event sold out. The audience was entranced.”
Arts in Season (USA)


“By performing the Chopin Sonata in B-minor (op. 35) Ruei-Bin Chen from Taiwan made a name for himself as an exceptional talent. Chopin’s mature work had a fresh appeal, not the stale and perfunctory renderings one hears so often. The Taiwanese allowed the music to unfold flourish in a rarely noted fashion. Particularly the rather trite funeral march arrested the audience’s attention in virtually breathless thrill, and at the conclusion of the last movement, it reaped a wave of thundering applause.”
Warsaw Chopin leaves (Poland)


“He is good; that was quite obvious. The audience couldn’t take their ears off him, so to speak. He’s got technique, control, good tone and that elusive quality called “feel”.
DAY&NIGHT (Malaysia)


“Chen performed the Beethoven’s Piano Concerto No.5 ” Emperor ” with the Pacific Symphony ……” It satisfied with its abiding intensity and sensitivity, the outer movements were on the fast and forward side, though flexible as need be, with Chen digging into phrases robustly. To the slow movement he brought a lovely sense of the weight of each note, as if they were fat raindrops falling gently in a pond.”
The Orange County Register ( U.S.A.)


“…that he has worked out a stupendous technique, is beyond doubt.”
Dietrich Fischer-Dieskau (Germany)


“…finds his performance a magnificent one!”
Alicia de Larrocha (Spain)