“Part of a crop of exceptional pianists, now in their late 20s and early 30s, George Li, a Boston-born Wunderkind, had to travel a more arduous road than others from mere virtuosity to veritable artistry. Only in recent years has he proven that, beyond grasping the architecture and the ineffableness of different scores, he can make his own interpretative voice heard.”
Bachtrack.com  |  Full REVIEW

“George Li, on brilliant form, carried off Ravel’s Piano Concerto in G major from the very first whip-crack of sound.”
Backtrack.com  |  Full REVIEW

“… pianist George Li, 27, made an auspicious debut with the Cincinnati Symphony in Saint-Saëns’ Piano Concerto No. 2 on barely four days’ notice. … Li possessed everything needed to impress in this glittery showpiece. But best of all was his light touch and his feeling of musicality from beginning to end.”
Cincinnati Business Courier  |  Full REVIEW

“Following a fine traversal of Debussy’s rarely heard Fantaisie for piano and orchestra, soloist George Li and Tilson Thomas rippled delightfully through Schubert’s four-hand Rondo in D Major”
South Florida Classical Review

“The concluding ‘Shrovetide Fair’ was a dramatic and theatrical episode, with Li’s hands sweeping across the keyboard and darting from note to note with impressive accuracy and power.

The audience was enthusiastic, greeting one particularly virtuosic movement of the Schumann with a burst of applause and giving Li repeated standing ovations.”
South Florida Classical Review

“George Li was the star of a thrilling performance of Sergei Rachmaninoff’s ‘Rhapsody on a Theme of Paganini,’ which Rachmaninoff premiered in 1934 taking the solo piano part into his own hands.”
The St. Louis American

“Pianist George Li handled Mozart’s Piano Concerto No. 24 on Saturday, June 19, like the master that he is. A silver medallist at the 2015 International Tchaikovsky Competition, Li has all the chops required to blast his way through any concerto ever written. Yet the mastering of Mozart’s style is just as impressive an accomplishment. Li’s phrasing and touch were exquisite as he delivered Mozart’s music with an air of commanding ease.”
San Diego Reader

“Li made the familiar Fourth Concerto seem a new piece, its contrasts dramatized in tones from velvet padding to diamantine flashes. The score’s scattered directions to play with particular expression became occasions to slow the tempo and savor moments of magic. Rarely has the slow-movement drama seemed so humanly immediate.”
Dallas Morning News

“Saturday’s performance by George Li and Symphony Tacoma was one of the most special and memorable music events in our local arts history.”

“Pianist George Li was absolutely stunning in his performance of Rachmaninoff’s Piano Concerto No. 3. The 24 year-old pianist had command of the keyboard, and showed a complete array of musical expression possibilities.”
South Sound Magazine

“The magic created last night at the Teatro Grande by Bostonian talent George Li, made for one of the most interesting events of the 56th International Piano Festival of Brescia and Bergamo.”
Bresciaoggi, April 2019

“George Li … certainly didn’t lack power or sensitivity. He seemed able to encompass all the mood swings in a remarkably assured manner … Li was very seductive in the slow movement, accompanied by beautiful woodwind playing from the LPO. The central fast section was stunningly light and airy. The unalloyed joy of the Finale was effortlessly virtuosic, with fast tempos enthusiastically maintained by all.”
Bachtrack, March 2019

“Li’s technique is so comprehensive, so agile, so solid, that instead of making our trusty Yamaha U1 quake in fear, he made the instrument sound several sizes larger, producing glorious, full-bodied colors and textures.”
NCPR Tiny Desk, September 2018

“Star turn of the evening, however, was young American pianist George Li, whose account of Gershwin’s Rhapsody in Blue was as soulful as you’d wish as well as technically masterful. His articulation of the Latin figure that precedes the work’s finale was quite astonishing, and his encore of Horovitz’s Carmen Variations the ultimate party-piece.”
Herald Scotland, April 2018

“There are few adjectives that adequately describe Mr. Li’s technical prowess, as seemingly effortless elegance marked every aspect of his interpretation of the concerto.”
Broadway World, January 2018

“The sheer precision of Li’s articulation often enlivened a piece of passagework not usually considered especially significant, but which was also kept in proportion, not overindulged. He seemed to play the lyrical moments.. with a sense of discovery, as if the music was quite new.”
Bachtrack, November 2017

“Li is a stylish pianist with a stunning technique”
Classical Source, November 2017

“however, the high point surely was Liszt’s First Piano Concerto, for George Li showed not only stunning accuracy but also a sensitive approach to the virtuoso score. His beautiful timbre was also heard in the encore.”
Buenos Aires Herald, June 2017

“Li commanded the work from his first chord, coming in strong after the orchestra’s warm, bold introduction, skillfully navigating the shifts from virtuosic passages to lyrical. His sense of phrasing was judicious, with poise and sensitivity in the delicate lines contrasting to a pointed peaking in the more technically demanding runs… Applause erupted on the final cadence, the audience on its feet for a justly impressive display.”
Kansas City Star, January 2017

“To say he attacked the “Variations” with gusto is an understatement. He could float like a butterfly and sting like a bee.. The piece ends in a flurry of percussive jazzy attacks that Li delivered with pugilistic precision.”
Los Angeles Daily News, September 2016

“A bracing, fearless account…Mr. Li’s playing combined youthful abandon with utter command.”
New York Times, February 2016