Charlotte Hu has captivated audiences across the U.S., Europe, and Asia, performing sold-out concerts at some of the world’s most prestigious venues, including Lincoln Center, Carnegie Hall, the Kennedy Center, Wigmore Hall, the Concertgebouw, Taipei National Concert Hall, and Osaka’s Symphony Hall. She’s also a frequent guest at major festivals such as the Aspen Music Festival, Ruhr-Klavier Festival, and the Oregon Bach Festival.
Her concerto appearances include performances with leading ensembles like the Philadelphia Orchestra, the Israel Philharmonic Orchestra, and the Taiwan Philharmonic, among others. Recent and upcoming highlights include engagements with Newport Classical, the Mansion at Strathmore, the Gilmore Piano Festival, the Evergreen Symphony Orchestra, and the Orquesta Filarmónica de Bogotá, alongside key performances across Asia at venues such as the National Centre for the Performing Arts in Beijing, Taipei Concert Hall, Hong Kong Cultural Center, and the Taichung Opera House. In June 2026, Charlotte will release her next album on PENTATONE, featuring Enrique Granados’ Goyescas suite in its entirety. We caught up with her to discuss the journey so far—and the project she’s most excited to share next.
Charlotte, thank you for taking the time to speak with Occhi Magazine. For readers who aren’t familiar with you, please share with us what originally drew you to music and a career in the arts.
Introduced to music by my mother, who is a devoted classical music fan, I was drawn to the beauty and creativity of the performing arts from a young age. I decided to become a pianist when I was ten years old. I especially love communicating with people through my music and meeting individuals from all walks of life, representing a vast array of cultures and backgrounds.
Do you remember the first moment music felt like more than “lessons”? What was happening in your life then, and what did the piano give you that nothing else could?
When I was 15, I spent the summer alone in Philadelphia. I was studying Chopin’s Ballade No. 1 at the time. I remember feeling quite lonely, and Chopin’s music truly touched my heart; it felt as if the music transcended the notes to hug and warm me. Music has a profound power to heal.
Early on, what did you have to unlearn to become a professional rather than a “good pianist”? Was there a specific teacher, performance, or failure that forced that shift?
I entered Juilliard as an undergraduate when I was 17. Before school had even officially begun, I suffered a hand injury. It was challenging both physically and mentally; I had to completely relearn how I approached the keyboard and how I practiced. It was a great lesson. I spent my time off watching videos of other performers and even took up singing and conducting. Over time, I developed a way of using my body that is entirely unique to me, and it has served me well ever since.
Who were the mentors that changed you most, and how, specifically, did they challenge you?
There were different mentors at different stages of my life. During my studies, Sergei Babayan and Seymour Bernstein had a huge influence on me. Sergei helped make my music freer and raised my playing to a higher level—I won the Rubinstein Competition while studying with him. Seymour influenced me in a different way; he was a beautiful soul and a life mentor who helped me navigate difficult times. Nowadays, my mentors are my students and the people I encounter every day. I learn through my interactions with them and through the act of helping others.
What part of the profession tested you in ways the practice room never could?
A music career is like a river. It changes course, and you don’t always know where it will take you. If you are patient and flexible, you can enjoy the different scenery and the people you meet along the way. If you truly love music and your goal is to be in it for life, then any challenge is just part of the experience. If you stay with it long enough, you eventually reach the ocean, where the vastness and freedom surpass anything you ever imagined.
You’re known for virtuosity and flair, but what’s the invisible discipline behind that? On the days you don’t feel inspired, what systems, rituals, or rules keep you honest?
Since I balance multiple roles—performer, teacher, festival director, entrepreneur, and leader of the Philadelphia Zen Meditation Center—being organized and efficient is essential. I always look ahead and plan well in advance to give myself ample time to prepare.
Maintaining the discipline of solid preparation is the key to enjoying freedom on stage. Even on days when I’m not inspired, I systematically work through challenging passages. However, when I feel burned out or exhausted—which is very different from being uninspired—I make sure to take time off completely.
What does success actually mean to you now, compared to earlier in your career?
Success has changed meanings for me. Earlier on, it meant winning major competitions and performing on the world’s biggest stages. Now, success means freedom: the freedom to explore repertoire that truly resonates with my heart, the freedom to plan my days around what matters most, and the space to lift others up and bring light to the younger generation.
I believe dedication must come from within. As artists, we must stay in tune with our inner selves. It is vital that the definition of success is rooted in self-fulfillment rather than external achievement.
How do you metabolize failure in public? After a performance that didn’t meet your own standard, what’s your process in the next 24 hours?
I try very hard to avoid feeling unprepared on stage because it is agonizing! That feeling is part of my motivation to keep going even when I am pressed for time. When a performance doesn’t go as planned, I immediately go into “fixing mode” to figure out how to avoid those mistakes next time, and then I work on accepting that I am human.
You’ve said your first encounter with Goyescas at Juilliard stayed with you for years—what exactly “never left”?
The passion, the colors, and the spontaneity never left me. The sound is lush and full of layered nuances. I started learning the suite from El Amor y la Muerte; the music is so open and fragile because it comes straight from the heart. It truly touched me. Now, having recorded it, I’ve been able to revisit my younger self and see how that original spontaneity has endured.
Granados’ Goyescas is inspired by Goya—what does “Goya” mean in your hands?
Imagine if colors were emotions. Human emotions have so many different layers and subtleties; you can feel happy and sad at the same time. I translate that depth into my pianism. Through this monumental work, I can go inside the souls of the characters and make them come alive.
In this suite, virtuosity “never overshadows intimate storytelling”—how do you keep the narrative in control?
Virtuosity should always be at the service of the music. The brilliance is simply part of the story. To keep it from becoming about technique alone, I listen very carefully to every note I produce, ensuring that fast passages are full of color and expression. This applies to all music I play, whether it is technically brilliant or seemingly plain.
What are you working on right now that feels risky—artistically, emotionally, or professionally?
I just finished my performance at the Gilmore Piano Festival, where I performed works by Frédéric Chopin and Pauline Viardot, including both solo works and songs with a soprano. It was a very rewarding experience to bring the work of such a brilliant, lesser-known composer to the stage. Now, I’m returning my focus to Goyescas for a series of upcoming concerts to celebrate the album release on June 5!
Where can we find out more about you?
You can visit my website at www.charlottehu.com and follow my social media platforms under Charlotte Hu on Facebook, Instagram, and YouTube.
Images provided courtesy of Jensen Artists
About Author
