Violinist VC Artist Sirena Huang on her Upcoming Zankel Hall Recital Debut

The International Violin Competition of Indianapolis will present their 2022 Gold Medalist with pianist Chih-Yi Chen.

The International Violin Competition of Indianapolis presents 2022 Gold Medalist Sirena Huang in her Zankel Hall recital debut with pianist Chih-Yi Chen on April 26, at 7:30 PM (ET).

The program will include works by Beethoven, Poulenc, Stravinsky, Perkinson, Coleridge-Taylor, and Chen Gang & He Zhan-Hao.

Sirena made her solo debut with the National Taiwan Symphony Orchestra in 2004 at the age of nine. She has since performed across three continents as a recitalist, chamber musician, and soloist with numerous orchestras, including the New York Philharmonic, Cleveland Orchestra, and Baltimore and Indianapolis symphony orchestras.

We caught up with the VC Artist on her experience in Indianapolis, and what she's looking forward to most for the upcoming recital.

Tell us about your experience at the Indianapolis International Violin Competition?

It was a unique and wonderful experience. It was my first time staying with a host family during a competition, and I immediately felt welcomed in the warmest way. My incredible hosts—Jennifer, Colin, and their adorable dog, Maeve—made me feel right at home from the start. A few days after arriving, I tested positive for COVID, which was a frightening and unexpected challenge. However, I’m incredibly grateful for my hosts, who took such wonderful care of me and made it easy for me to rest and recover.

One of the most memorable aspects of my time there was collaborating with pianist Melivia Raharjo, ECCO (East Coast Chamber Orchestra), and the Indianapolis Symphony with Maestro Slatkin. Making music with these phenomenal musicians was truly inspiring; there were moments where I was enjoying playing with them so much that I completely forgot I was in a competition!

How did you feel when you received the gold medal winner of the 2022 edition?

I first started watching the IVCI when I was eight years old. Every four years, my family would gather around my dad’s computer to listen to all the performances—it was our family’s version of the Olympics. I was always so excited to hear the incredible musicians, and afterwards, I’d feel inspired to practice, dreaming that maybe one day I could be part of it. I never imagined that 20 years later, I would actually have the chance to compete, let alone win. It still feels surreal, and I’m not sure it will ever fully sink in!

How did winning the competition help you in your career?

The competition has supported my career in extraordinary ways. It has opened the door to countless performance opportunities, led to my debut album, and my recital debut at Carnegie Hall. I was finally able to acquire the bow I had long wanted, and the artist management services have been truly invaluable. I feel incredibly fortunate to work with such an amazing team.

Tell us about your upcoming concert at Carnegie Hall. What is the program for this concert and what does it mean to you?

The program is: Stravinsky Suite italienne, Poulenc Violin Sonata, Beethoven Sonata No. 1, Perkinson Blue/s Forms, Coleridge-Taylor Deep River, and Chen Gang Sunshine Over Tashkurgan.

I felt compelled to create a program that was personal and reflected my growth in consciousness around systems of power and privilege. This collection includes composers from the classical canon that shaped my early musical journey, as well as composers of color whose work I discovered as an adult, and who profoundly reshaped my understanding of classical music and its possibilities. This program is a tribute to both the composers who shaped my past and those who inspire the artist I strive to be.

Discovering the works by Coleridge-Taylor, Perkinson and Chen Gang featured in this recital program, has been both exhilarating and sobering, highlighting the deep loss and harm caused by racism in the classical music world. I reflect on how much richer our musical landscape could have been if marginalized composers were embraced from the beginning. Too many artistic voices have been silenced, and it has become a personal mission to center the voices of those excluded from the traditional Eurocentric canon. That said, I acknowledge that representation alone isn’t sufficient, and we must keep working toward substantial, systemic change. This program is just the beginning of that journey, and I look forward to continuing to learn and grow along the way.

How does it feel to be presenting a recital in such a legendary concert hall?

Performing at Carnegie Hall is undoubtedly a profound and meaningful experience. It’s a stage where so many artists I’ve admired have performed, and having the opportunity to follow in their footsteps is truly an honor. That said, I strive to approach every performance with the same mindset, regardless of the venue or audience—to be fully present in the moment and serve the music as authentically as I can. In that sense, this performance aligns with how I approach all my concerts. I’ve also chosen pieces that resonate deeply with me—works I’m passionate about and eager to share—making it a very exciting experience for me.

What are your goals for the coming years?

We live in a world where all forms of oppression — imperialism, patriarchy and white supremacy — are deeply systemic and interconnected, shaping the very air we breathe. Over time, I have become increasingly aware of how these forces operate within the classical music world. Toni Morrison once said, “The [artists] that try hard not to be political are political by saying ‘we love the status quo.’” This resonates deeply with me. There is still so much learning and growing I need to do, and so much we can accomplish together to create a classical music world that is truly anti-oppressive and liberatory. In the years ahead, my goal is to continue to learn and grow particularly by reckoning the oppressive history of classical music, to explore new ways that challenge the status quo, and rethink what classical music can be.

Do you have advice for young competitors on how to make the best of a competition experience?

Everyone’s journey is different, so I can only share what I’ve learned from my own experiences. One of the most valuable lessons I’ve gained over the years is not to tie my self-worth as a musician to the outcome of a competition—though it took many competitions to truly internalize that. Once I was able to let go of that attachment, I found the freedom to be my authentic self in performance, and to me, that is the most important thing of all.