“You need to add something personal into your playing. You can only do that if you experience life.” Rae Pung.
Recently, I had the incredible opportunity to interview an award-winning, Singaporean pianist, Rae Pung. She has personally participated in at least 30 competitions with numerous international successes.
She has shared an exciting opportunity developing for young pianists in Singapore. Welcoming the musical youth from around the world to celebrate the world of classical music, Rae Pung has graduated to Artistic Director with the inauguration of her festival and competition: Virtù d’Arte International Piano Competition, proudly supported by Steinway Gallery Singapore. The competition and festival will be taking place between the 28th and 29th of November 2026.
Rae Pung has kindly agreed to sit down with me and answer some questions about herself, as well as the competition to give insight into what makes this event unique. With the recent piano competitions around the world, such as the XIXth International Fryderyk Chopin Piano Competition in Warsaw, I was curious to find out what Rae’s extensive experience and inspiring knowledge had to bring to the table in providing younger generations with fresh and stimulating opportunities.
Aside from Rae Pung’s assets of having competed and performed in competitions, various orchestras, as well as having released Piano Sonatas performed by her, her cooperation with the Steinway Gallery in Singapore is a one of a kind collaboration, providing professional and positive paths for the growth of the competitors.
Rae Pung has shown to be a very encouraging young pianist who aspires to create the best experiences for the youth of classical music. Although I have asked Rae about herself to gain an understanding of her ambitions, this interview feels like a huge source of learning and influence that any pianist reading could draw from. With some beautiful, insightful remarks, Rae has portrayed just how much connection there is between her story and the story of the Virtù d’Arte Singapore competition.
Find out what Rae Pung has to offer through her Virtù d’Arte Singapore competition and festival here:
RL: You’ve grown up in a home where music was taught to other students by your mother. In what ways would you say your family was an inspiration for you to pursue a musical career?
RP: I’ve extensively mentioned my parents in many interviews and the support system they have built for me, now turning into a collaborative process between me and my mom as teachers.
My grandfather, Pung Pek Song, deserves the honours. He was a silent but steady source of support for me. He was a man of few words, but always showed his pride for my career throughout my childhood, whether it be by hanging up newspaper cutouts of my competition successes, framing up my recital programs, and even promising to buy 100 copies of my next album. His love and sense of responsibility to his family were enough to support my decision to pursue music.
RL: Do you feel pressure to live up to the ‘child prodigy’ reputation that the media has labelled you as? How do you cope with the anxiety to keep up that reputation?
RP: I used to be far more nervous about these kinds of expectations. My friends and relatives know me as ‘the kid who plays piano’, especially because they see pictures and stuff. I think I used to feel more pressure especially in competitions and festivals because these are direct results that you can show people, to tell them that I’m not just wasting my time, but actually doing something. I grew up knowing that my musical talent was the biggest part of my identity and how others viewed me, which made me want to live up to that.
I think now I’m less stressed about it because I’ve had very interesting projects. This year and the one before, I’ve been recording and performing, teaching as well, and now this competition. I feel like I don’t just have to be a so-called child prodigy who plays but I can also have my own thoughts and ideas about what I want to do in music, which is more fulfilling. In a way, it’s like I can offer a greater value beyond just playing well.
RL: You’ve played in orchestras before. How does working in an orchestra compare to working solo for you?
RP: I quite enjoy the feeling of playing with an orchestra, because it’s less pressure. If you go on stage you’re on your own to a 100%; the more people you have the better. When I was younger, it was a little bit more difficult to have that chemistry with the orchestra. It’s something that takes practice. I think that in the past few years I’ve been able to perform with more orchestras, usually in Europe, since that’s where I’ve always performed around. It’s very important to have a relationship with the conductor, to understand how they feel about the music and what they want from the deeper meaning behind what you’re going to play.
Actually, because it’s difficult for young pianists to have these opportunities, the one thing I’m very excited about is that next year we’ll be bringing some local students to a concerto festival in France! It’s very exciting, since it’s a difficult opportunity to have. Some of them might not want to be concert pianists but I think it’s a very memorable, once in a lifetime experience.
RL: You have released your own album on Spotify, Piano Sonatas. Would you ever consider composing your own work and releasing it?
RP: Being a performer and composer are considered two different fields. I have composed a little bit, I wrote a piece for a video game in Singapore. I didn’t do it because I want to be a composer, I just thought it was a new challenge, and I wanted to prove to myself that I can do it if I want to. That’s how I approach a lot of my projects. Right now, when it comes to recording, I’m more interested in being a very traditional classical pianist, playing pre-established compositions.
My next album, Wisteria Lights, is actually coming out in January, with pieces by Chopin, Beethoven, Prokofiev. All of the greats in composing.
RL: In the Luxe Magazine that you’ve been interviewed for, it’s been mentioned that you are studying in Italy and preparing to meet with Arie Vardi. As someone part of the audience rather than performers, when listening to these pianists perform, like the Chopin competition recently in Warsaw, I can pick up on the emotions of music, but it’s near impossible to pick up on technical errors. To me, the performance will sound perfect. What subtle errors do you pick up on during performances? Do you think there’s ever a moment when someone has perfected playing an instrument?
RP: I actually only took masterclasses with Arie Vardi, but I’m studying with Ingrid Fliter and Boris Petrushansky, whom I’ve known since I was 14 and also met at a masterclass. With classical music, competitions and festivals is how you meet a lot of long-term mentors.
I think my teachers would say that there is no way to perfect an instrument. There’s always room for improvement, and I personally feel that too. I do agree though that as someone who has played the same pieces as many other competitors, there is a personal approach that everyone brings. But, there is an interpretation that is accurate to the style and time of the composer. For example, different composers have different ways of writing so you can understand their personality, based on how he wrote the score beyond just the notes. Beethoven – this might be technical – in his Sonata, there is a dynamic marking ‘sf’ that he places multiple times. You understand this means that the music gets louder as a whole, but this is something that someone has to teach you. If you just look at it, it’s a bunch of letters. I think it’s kind of subtle elements like that, that the jury looks out for more. As an audience if you’re just enjoying the music, you wouldn’t think of those details and simply admire the beautiful playing.
RL: A lot of pianists treat practice like a 9 to 5 job; how do you balance everyday life with work, practice and organising the competition?
RP: It’s less 9 to 5, it’s more like 24/7. I’m very fortunate in that my neighbours haven’t complained about my practising yet, because my friends, they’ve had police called and neighbours knocking on their door to stop.
For me, growing up and even now, I practice until 1 or 2am. Having that flexibility lets me balance my own personal musical ambitions with the goals that I have towards this competition. It’s been taking up more time than I was expecting originally, but I still have performances coming up next year, both at home and in Europe. So, I still need to prioritise that part of my career.
RL: You’re also a teacher, have any of your students applied for this competition? Does that feel like success for you?
RP: I am the organiser, so you want your students to do well, but you have to be objective. I have had times when people I know joined the competitions, but it’s important to be logical. Competitions should be based on merit.
RL: You’ve studied with so many great piano intellects yourself. What has been the one most important thing they’ve taught you that you maybe pass onto your students?
RP: We were talking about practising a lot, and there is actually a piece of advice that one of my teachers told me. She said that, whilst talking about how I can improve my performances, that I should enjoy life, go out, and experience more, to bring more variety, colour, and life experience into my playing. The technique is important, but you need to add something personal into your playing. You can only do that if you experience life.
RL: What’s the experience like, being a creative director for this great project?
RP: The reason why we started this is because I think that I’m able to give a good experience to the younger generations of pianists. I want to create a competition that can benefit them. I don’t want it to be a strictly competitive experience, more nurturing as well. Steinway Gallery Singapore supports us, they have always been very concerned with the growth of the classical piano scene in Singapore. They’re working with me to make sure that we’re able to provide good opportunities for these young pianists.
RL: When searching for talent for the competition, what is the one thing you always look for in your candidates? Is there any specific quality in their music that strikes a chord for you?
RP: One thing that’s very important for me, not just as the organiser, but as someone who has joined a lot of competitions, is courage. It’s very important to be courageous when being a musician and performing, because they can be rewarding but, I mean, it’s tough. When I was at my busiest I was doing 6-7 competitions per year all around the world – Europe, Asia, everywhere. You can have good days and bad days. The results are one thing, but going into a competition, you should be clear that what you want is to improve your craft and learn from the other contestants, as well as the jury. Have a positive mindset going in, that won’t be affected by what happens after the competition.
RL: And when working with a jury in a competition, what’s the key element to balancing your opinions and finding an agreement in a musical space that can be so subjective?
RP: I mean, in a jury, you can never expect a unanimous decision or even a general consensus. Sometimes there’s heated discussions that come out. But, for this jury, I picked them specifically and they are all juries I know and have worked with before. I can say with confidence that we’re all united in wanting to encourage artistic expression and creativity. One contestant can make more mistakes than another, it’s just what happens on stage, but it’s important to see what they really think about the music. You can tell the difference between someone who did this because the teacher asked them to do so, or they’re doing a particular musical phrase because they believe in it. The conviction and genuine musicality is what drives this jury in particular when we make our decision.
Actually, one juror in particular, I first met him when he was on the jury of my music festival when I was very young. I can say with first-hand experience that he’s a very good juror. We will give written feedback to every contestant, so I think there is a logic behind our decisions. If you don’t get that feedback, you might not understand the jury’s decision.
RL: Some people might think that the more complicated the piece, the more impressive it is. Have there been any instances in which you’ve found the simplest pieces the most emotionally impactful?
PR: There is a difference for me. In competitions, you want to balance showing your musicality with showing your own musical ambition. You do have to pick a piece that has a certain level of difficulty appropriate for your age group. If you’re joining a competition at 16 and you play Debussy’s Claire de Lune, then you’ll play it beautifully but you also need to show the jury that there is a certain challenge that you’re overcoming.
In a performance, the technical difficulty isn’t really as important. Outside of a competition, what the audience wants is to be touched by the music. I’ve found that most audiences feel a bigger impact when it comes to simpler pieces. They’re not trying to write feedback or give scores, they just want to enjoy the music and understand the emotions of the composer, which is easier to convey when it comes to maybe less technically complicated pieces.
RL: What was the inspiration behind opening a competition in Singapore?
RP: We were trying to brainstorm more venues and opportunities for the kids to perform in Singapore. Singapore is kind of small, making it difficult to find opportunities to play in a performance setting. We were thinking and discussing that it’s important for young kids to get into competitions early so they know what it’s like and get less nervous through exposure. I’ve been to like 30 competitions already, so I think I understand very well what it means to be a competitor and a juror, so I would be able to make a very good competition for young pianists. Then I met with Steinway Gallery Singapore, who has always been very supportive of me, even as a kid, so things just grew from there.
RL: You’ve said that you hope for this “new competition and festival will bring a different perspective to Singapore’s piano competitions, aiming to offer a valuable musical experience to students of all ages”. There are so many piano and classical competitions around the world. What makes it unique from other competitions?
RP: There are a number of reasons. Of course, there are very big competitions in the world already, but this is one aimed towards younger pianists. It’s not for mature artists who have a career and opportunities. We want to give opportunities to kids who aren’t at that stage where they have these things. We are already preparing post-competition experiences.
Another reason is that there are some very good children’s competitions overseas, but what we’re trying to do here, since it’s a competition and a festival, we want to give performance benefits. Not just to the winners in the competition but in the festival as well, and there is something for everybody. I know students who love music and are very talented, but their personality makes them more afraid due to the high pressure environment. That’s why we have this festival segment. A lot of competitions don’t offer that. That way, we want to encourage all the contestants’ love for music. It’s very fortunate for me because I know competitors, and I myself have experienced this, where we go to competitions and have a difficult experience, or have the jury say something cutting, which leaves you doubting yourself, if you’re right for this life or cut out for competitions. I hope the competitors of this event don’t experience it. From the jury to the support of Steinway, the awards that we have lined up, I hope we can make this a positive experience for everyone.
RL: You’ve mentioned Steinway’s involvement in this competition? How have they indeed shaped the vision and helped with progressing the prestige of this competition?
RP: The most valuable thing that they offered was the opportunity for all contestants to play on a concert-level Steinway piano. Especially for a lot of younger kids, 14 and under, it’s difficult to have access to these performance bases. Aside from the venue, Steinway Gallery Singapore has also offered me a lot of advice on how to structure the competition. The more organisational aspect, which is very important.
RL: What goals are envisioned for this competition? What do you hope to achieve and where do you see this competition in 10 years time?
RP: I don’t know about 10 years, but for now, after the competition I do plan on continuing to promote and prioritise the winners. I think with the youth and children competitions, it’s not common to promote the winners in the same way that mature competitions might. I do want to try and give these winners performance opportunities in any way that I can, publicise them, and promote their career. It’s so important to have a sort of diverse portfolio in music.
In 10 years, we will continue to do this. I want to expand, and I mean, it is already bigger than I expected. It would be better to offer more prizes as well, especially since our goal is to provide a positive and nurturing experience. It would be better for the contestants as well. Maybe bringing more juries as well, so that contestants have more people to learn from.
RL: If you could give one piece of advice to the competitors in your piano competition, what would you say?
RP: They should treat this like a performance. That everyone here at this competition, from the jury to the staff, everyone really, is rooting for all of the contestants. We’re all very friendly and nurturing musicians. We want the best for them, we want to help them, connect with them, and see them grow.
Afterword
Once again, Rae’s extensive knowledge and experience as a performer, teacher and juror shows that she had many unique aspects to bring into this initiative for even the youngest piano players. She draws inspiration from all corners of life – her own ambition to challenge herself being a positive reminder for all upcoming talented youth to prove themselves capable of success.
The competitions will be taking place in November 2026, however, early bird registration will be open from November 2025 until March 2026. If you’re a talented young pianist reading this, I’m sure Rae Pung would encourage you to seize this opportunity and sign up, and I know I definitely am rooting for all those who do take part! The full application fees for registering with the competition will be charged from March 2026 until applications close on 15 July 2026. For all other details, such as categories, prizes, jurors of the competition and other information, please see the provided links below:
HOME | Virtù d’Arte Int. Piano Competition
A huge thank you to Rae Pung for this interview. Additional huge thank yous to Rae and the Steinway Gallery Singapore for looking after the youth of classical music and providing them with endless advancement opportunities. Make sure to check out Rae’s website and socials, look out for her album Wisteria Lights coming up in January, and let’s celebrate the Virtù d’Arte Singapore together in the upcoming year!
Home | Rae Pung-Pianist and Piano Academy
Article by Rozalia Lewandowska
