LEGACY: THE NEXT PIANO GENERATION / Soloists with Thailand Philharmonic Orchestra / Review

LEGACY: THE NEXT PIANO GENERATION

David Chen & Roman Blagojevic

Thailand Philharmonic Orchestra

Victoria Concert Hall

Wednesday (17 March 2026)

This review was first published on Bachtrack.com on 19 March 2026 with the title "Argerich grandsons make a splash with the Thailand Philharmonic in Singapore".

Music runs in families. There were the Bachs, Mozarts and Mendelssohns, and more recently, the Tcherepnins, Sanderlings and Järvis. Two grandsons of great Argentine pianist Martha Argerich, 19-year-old Roman Blagojevic and 17-year-old David Chen, have now joined the worldwide concert circuit. Their 2026 Legacy Tour with the Thailand Philharmonic Orchestra led by Argentine conductor Dario Ntaca, presented by Altenburg Arts and 54 Entertainment, included concerts in Bangkok and Singapore.

Blagojevic is the son of Argerich’s third daughter Stéphanie, director of the Argerich family docu-movie Bloody Daughter, and grandson of American pianist Stephen Kovacevich. He appeared tense and ill-at-ease in J.S.Bach’s Keyboard Concerto in F minor (BWV.1056) but was able to project and articulate with clarity, with accompanying strings kept as discreet as possible. Entering one bar late in the Largo could have derailed the movement, but its aria’s elegance partnered by string pizzicatos was sustained through its short duration. The brisk and business-like run-through in the finale suggested he was more comfortable away from the stage.

Photo: Ung Ruey Loon

David Chen is the son of Martha’s eldest daughter violist Lyda Chen-Argerich and pianist-composer Vladimir Sverdlov-Ashkenazy (nephew of Vladimir Ashkenazy). He was by far the more confident of the two, possessing nerve and chutzpah to take up the challenge of Tchaikovsky’s First Piano Concerto in B flat minor (Op.23). The striding chords of its famous opening were resonant and well-projected, and the cadenza showed he clearly had the fingers for the well-worn warhorse.

He channelled his grandmother’s fiery temperament but also the tendency to rush fences, as if on a whim. When Martha transgresses, it is through authority and instinct but for someone this young, impetuosity and indiscipline are more likely reasons. The slow movement was somnolent until sparks flew in the Prestissimo episode, and the finale was a race of the fastest thoroughbreds, the stampeding octaves culminating with that rolled Horowitzian chord. Undeniably brilliant in the final pages, the audience was duly thrilled, but he is still scaling a steep learning curve.

Photo: Ung Ruey Loon

Both pianists had each an encore playing four-hands piano with Ntaca, in movements from Ravel’s Mother Goose Suite - Pavane of the Sleeping Beauty (Roman) and The Fairy Garden (David). The latter, who received longer and louder applause, also offered Chopin’s Mazurka in C major (Op.24 No.2), displaying more liberties and a free spirit.

The Thailand Philharmonic was more an accompanist than partner in the concert’s first half, and thankfully had its own show for the balance of the evening. Founded as recently as 2005, it has since made rapid progress. This reviewer has been fortunate to have witnessed very commendable performances of Mahler, Sibelius, Schoenberg and Shostakovich at its 2000-seater Prince Mahidol Hall in the outskirts of Bangkok. Its touring programme was, however, to be lighter and more popular.

Directed from memory by Ntaca, Brahms’ Academic Festival Overture received a suitably rousing performance. The orchestra, peopled by mostly young Thai nationals with a handful of expatriate musicians, generated the impetus and momentum for its succession of popular drinking songs. By the time when the valedictory Gaudeamus igitur rang out, brass and percussion were at full throttle for one final carouse.

More substantial was Tchaikovsky’s Romeo and Juliet Fantasy-Overture, which revealed more of the young orchestra’s qualities, including proficient woodwinds and a sonorous bass of low strings. There was no shortage of passion for the Montague and Capulet feud, later rising for the memorable love theme which swept the board. From the encouraging audience response, TPO’s first visit to Singapore may be judged a success.

Photo: Altenburg Arts

Star Rating: ***

The original review on Bachtrack.com:

Argerich grandsons make a splash with the Thailand Philharmonic | Bachtrack

A PIANO CONCERTO EVENING NOT TO MISS: LEGACY - THE NEXT PIANO GENERATION on 17 March 2026

Here is an evening of piano concertos not to miss. The pianists are DAVID CHEN and ROMAN BLAGOJEVIC, both grandsons of the great pianist Martha Argerich, who will be performing piano concertos with the Thailand Philharmonic Orchestra conducted by Dario Ntaca.

DAVID CHEN is the son of Argerich's eldest daughter Lida Chen-Argerich. His father is Vladimir Sverdlov-Ashkenazy, the nephew of Vladimir Ashkenazy. He will be performing Tchaikovsky's Piano Concerto No.1.

ROMAN BLAGOJEVIC is the son of Argerich's third daughter Stephanie, director of the documentary movie Bloody Daughter. Her maternal grandfather is the American pianist Stephen Kovacevich. He will be performing J.S.Bach's Piano Concerto in F minor, BWV.1056.

Both pianists are partnered with the excellent Thailand Philharmonic Orchestra, making its Singapore debut, conducted by the Argentine Dario Ntaca. Besides the concertos, TPO will also be performing Brahms' Academic Festival Overture and Tchaikovsky's Romeo and Juliet Overture.

Music runs in families.

Full programme:

BRAHMS Academic Festival Overture

TCHAIKOVSKY Romeo and Juliet Overture

J.S.BACH Piano Concerto in F minor, BWV.1056

TCHAIKOVSKY Piano Concerto No.1 

   in B flat minor, Op.23

Victoria Concert Hall

Tuesday 17 March 2026 at 8 pm

Get your tickets here:

Legacy: The Next Piano Generation • Thailand Philharmonic Orchestra

This concert is presented by Altenburg Arts

BANGKOK'S BEST KEPT SECRET: THE THAILAND PHILHARMONIC ORCHESTRA

 

BANGKOK’S BEST KEPT SECRET: 

THE THAILAND 

PHILHARMONIC ORCHESTRA 

It is no secret that I have been visiting Bangkok regularly over the past few years. No, its not for the shopping, culinary or carnal delights, but for music. Since 2016, Bangkok has been a destination of mine for classical music. Should that even be a surprise? 

It was my friend Howard “Buzz” Singer, retired American attorney, who first planted the idea of visiting Thailand for musical reasons. August 2016 was my first time, and it was to see brilliant young Thai pianist Poom Prommachart perform Brahms’ Second Piano Concerto with the Thailand Philharmonic Orchestra (TPO). It was an eye and ear-opening experience, not to mention the 35 kilometers one has to travel from Sukhumvit to Salaya, almost an hour by car and even longer via public transport. These days one can easily get to Bang Wa via MRT and then catch the Salaya Express bus (30 bahts one way) to Mahidol University where TPO is based. 

TPO performs at the magnificent Prince Mahidol Hall, which seats 2000 (bigger than Esplanade!) and has near-perfect acoustics and sightlines. Over the years, I have caught the London Symphony and BBC Symphony at this venue (with ticket prices far less than in Singapore) besides the TPO’s excellent programmes. From the TPO under its Music Director Alfonso Scarano and various guest conductors, I have heard Mahler’s Third Symphony, Schoenberg’s Pelleas und Melisande, Shostakovich’s Tenth Symphony, Rachmaninov’s Third Symphony and Sibelius Second Symphony, all displaying the orchestra’s considerable prowess. Formed in 2005, TPO is not at the level of the Singapore Symphony yet, but its progress and ambition over the years has been most impressive. 

The foyer of Prince Mahidol Hall
simply glitters.

This latest concert on 10 August 2024 had me scrambling to make flight and hotel bookings for the National Day long weekend as TPO’s programme was not one readily available at home. One will not get to hear jazz legend Chick Corea’s Trombone Concerto, performed by no less than New York Philharmonic principal Joseph Alessi, or Mahler’s elusive Seventh Symphony conducted by young Singaporean hotshot Kahchun Wong, now the chief conductor of Manchester’s Halle Orchestra. Now, whoever thought even that was possible? With a concert ticket at 700 bahts (S$28) for very decent stall seats, this was just a steal. 

TPO pre-concert talk, with
tenor horn and mandolin players in attendance.

Never had I also encountered so many young people toting trombone cases and secondary school students at the single concert. They far outnumbered the middle-aged farang male and or upper middle-class families on a Saturday outing, usually the most common demographic. They were impeccably behaved and respectful, and totally enthusiastic in response to the performers and the music played. There was almost a carnival-like atmosphere in the hall’s starlight illuminated foyer where an interactive pre-concert talk was taking place. 

What of the music? De rigeuer is a performance of the King’s Anthem for which everybody stood up for (lese majeste rules apply in case one did not comply). The Corea work was mostly easy listening, with the ace in Alessi playing extended solos as if he were improvising, while the orchestra being most discreet in its partnership. A breathtaking virtuoso show was the least to be expected, which extended to a substantial jazzy encore accompanied by the TPO’s pianist. 

The Mahler symphony was why we came, and we were not disappointed. The opening tenor horn solo was excellent, setting the mood for the march-like first movement which was kept on tight leash under conductor Wong’s control. The pace was not allowed to lag. The two Nachtmusik movements provided moments of respite, and these were coloured by the gentle clangour of cowbells and the mandolin’s ear-catching tinkle. These were nicely phrased, but best of all was the central Scherzo which was vehemence personified. Was it meant to be vitriolic, demonic or a motley combination of most sinister traits? 

This strangest of Mahler movements was perfectly judged, and one cannot have hoped for a more trenchant reading. The blustery finale was probably the most problematic of five movements, sounding overlong with a confusion of ideas. However, Wong still managed to keep a lid on things that would otherwise boil over, making for a somewhat conflicted but generally happy end. The audience response was vociferous, with each soloist in the orchestra (especially the brass) recognised with the loudest of cheers. 

This listener was more than satisfied with the outcome, and the concert well worth the effort of a long trek. As for my long-time friend Buzz, I could only thank him for his “introduction” to the TPO and say, “we wish you were here with us in BKK”! Simply put, Thailand Philharmonic concerts are Bangkok’s best kept secret, but soon it should no longer be. 

Do check-out the orchestra’s website for its concert season and further details: Home Page - Thailand Philharmonic Orchestra 

Post concert saw a meet-and-greet with Alessi and the man Kahchun himself, who was genuinely pleased to see Singaporeans come all this way for music. We were not the only ones. We missed the last bus ride back to Bang Wa but that was a small glitch in the grand scheme of things. So it was a Grab ride (480 bahts) to Siam Square for a well-deserved dinner. Patting oneself on the back is what people do when they go on vacation and get to tell the whole world about it, and this was little different.

Singaporeans in BKK:
with bass trombonist Jasper Tan
& bassoonist Emerald Chee.

Have music, will travel