Competition News
Mizuki Ono wins the 2026 International Piano Competition of Orléans
The Japanese pianist took first prize at the 17th edition of the French competition, ahead of Carter Muller and Shan-Chi Hsu.
News
- NewsStephen Kovacevich, American pianist, dies at 86
- NewsThis Week in Piano: October 17 to 23, 2026
- NewsŞahan Arzruni, pianist and champion of Armenian music, dies at 83
- Competition NewsSydney International Piano Competition doubles first prize to $100,000 for 2027
- Competition NewsCurtis Phill Hsu wins the 2026 Viotti International Piano Competition
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Expert Advice
All adviceKonstantin Soukhovetski on narrative musicianship, and why rests are your gift to musicEric Lu on playing the pieces everyone playsMagdalena Stern-Baczewska on why Bach’s inventions are floss for your brainLeann Osterkamp on why practicing hands separately turns one piece into threeYoheved Kaplinsky on why excitement isn’t about volumeAbdiel Vázquez on why the piano is a jealous instrument, and why Baroque music lets you misbehaveNicolas Namoradze on why pianists turn their ears offAntonio Pompa-Baldi on why no one should hear the hammersSoyeon Kate Lee on playing an unfamiliar piece like it’s BeethovenSvetlana Belsky on Bach’s Little Preludes, and why you should stop looking for the melodyRachel Naomi Kudo on why your scales should singAlan Chow on why rubato isn’t the only way to be expressiveSondra Tammam on the Taubman approach and why you can’t fight natureAndrew Tyson on the old-school pianists, and why the score is only a starting pointAlvin Zhu on why you should learn a new piece before you play a noteJarred Dunn on fast octaves, and why the piano can open your hand for youLo-An Lin on teaching piano online, and why some beginners should waitBenjamin Steinhardt on why your fourth finger isn’t really weakSean Chen on why your ears, not your feet, play the pedalMichael Lewin on why the audition panel wants to like youJiayan Sun on score reading, and why a quarter note isn’t as long as you thinkRobert McDonald on playing on the front side of the beatJocelyn Lai on finding time to practice, and why even professionals sound dreadful at firstIgor Lipinski on creative recitals, and why you never play the same chord the same way
