On a grey Sunday afternoon that threatened rain, 20-year-old New Zealand pianist Madeleine Xiao transformed Lucas Parklands’ intimate concert hall into a vessel for musical storytelling, delivering a commanding performance that held the audience in rapt attention through seven demanding works spanning Bach to Debussy.
The recital, part of venue founder Ian Lucas’s acclaimed “Brilliant Young” series, showcased not only Madeleine’s formidable technical prowess but her ability to connect with audiences on a deeply human level, a quality that has marked her rapid ascent in the classical music world.
“I hope they could come on this journey with me and enjoy the story I tell,” Madeleine said before the performance. “That’s one of the great things about music. No performance is the same.”
A Journey Through Musical Narratives
The afternoon’s programme revealed itself as a carefully constructed narrative arc, from dedication and transcendence, through monumental struggle, to impressionistic serenity. Between pieces, Madeleine spoke directly to the audience, weaving connections between the works and inviting listeners into each composer’s story. Opening with Liszt’s transcription of Schumann’s Widmung (Dedication), she immediately established this conversational, storytelling approach with a confident start featuring powerful sweeping narrative.
Originally written by Robert Schumann as a wedding gift for his wife Clara, the piece set the tone for an afternoon of transcriptions, transformations, and emotional journeys. “Today I dedicate it to all of you for braving the weather and coming out here,” Madeleine told the audience from the stage.
Madeleine made the melody soar in the upper register, then shifted its placement between hands, allowing the music to transition through E major before returning to A-flat major. She finished in a fiery climax, admirably capturing the emotional depth of Liszt’s transcription.
The Monumental Chaconne
What followed was the monumental Bach-Busoni Chaconne from Partita No. 2 in D minor, a transcription Madeleine describes as “definitely one of my favourite pieces to play, it’s just one of those pieces that feels somehow larger than life.” Italian pianist Ferruccio Busoni’s arrangement expands Bach’s solo violin masterwork into a piano tour de force. “Not only did he maintain most of Bach’s ideas, he added his own spin and flair to it into this incredible, incredible piece,” she explained.
The performance demonstrated her mastery of the work’s formidable challenges. The piece began with a simple statement of the theme which quickly built in depth and scope, 33 variations in the minor mode, followed by 19 in the major mode with a chorale-like middle section, then concluding with 12 more minor variations. Bach was audible within the piece, and Madeleine demonstrated her ability to shift mood quickly and adeptly.
Madeleine brought out the full range of emotions, from delicate rippling sounds to massive orchestral climaxes. The audience sat in rapt attention throughout.
Chopin’s Colours and Beethoven’s Struggles
The programme’s Chopin selections, the Andante Spianato and Grande Polonaise and the Fourth Ballade, highlighted what Madeleine identifies as the composer’s unique gift: “Chopin really used all of his colours and special sounds that he’s so known for. A lot of people are saying that Chopin is the first composer to actually really write for the piano.”
“And you’ll be able to tell how and why later when you just get the most beautiful array of sounds,” she told the audience. “And from the quietest, simplest sounds to the most heroic, brilliant sounds. It’s a little bit like a procession.”
In the Andante Spianato, the delicate descent in the right hand before a rise to the end was notable, with the melody clearly stated in the left hand at the start. The opening featured tranquil rippling effects in a gentle 6/8 time. The middle section proved serene and lyrical, slightly melancholic, allowing Madeleine to showcase her expressive legato playing. It ended quietly, setting a calm and introspective mood.
The subsequent Grande Polonaise was dramatically introduced. The piece, in E-flat major, contrasted the Andante with its bold, aristocratic dance character, beginning with a majestic fanfare before launching into a vibrant polonaise theme full of colour and rhythmic sparkle. A playful, dance-like section sounded as if Madeleine was skipping through the piece, with dramatic transitions from powerful playing to delicate and lyrical phrases. She demonstrated she is not afraid of attacking the piano, capable of producing substantial sound, and the work concluded with a brilliant, energetic coda showcasing her virtuosic skills.
The Fourth Ballade offered its own narrative. “So, Chopin was actually the first artist to write something called a ballade,” Madeleine explained from the stage. “It could be considered programming, which is music that tells a story. Chopin didn’t actually tell us which story he wrote this to. But his friend Robert Schumann suspected that it could be based on a Polish poem.”
She shared the poem’s plot, about two brothers sent by their father to search for treasure who instead came back with two women, adding with a smile: “See if you can see how that story fits in. I’m not quite convinced yet.”
The composition opened with a subtle seven-bar introduction in C major, leading into the first theme in B-flat minor. Madeleine explored the tonal shifts and modulations through complex harmonic progressions. The music progressed with contrapuntal interplay and dramatic tension building, from deeply sombre moments to lyrical shifts showcasing her virtuosic skills. The piece’s climax featured a majestic return of the second theme in D-flat major, followed by a coda marked by rapid scales, chromaticism, and final fortissimo F minor chords.
But it was Beethoven’s Piano Sonata No. 31 in A-flat major, Op. 110 that Madeleine singled out as her current favourite. “I think I’d have to go with the Beethoven,” she said when asked to choose. “It’s just a really massive journey and storytelling unfolding on something that’s so incredible. And every time I play the piece, I’m like, what the heck just happened?”
Written as one of the composer’s final works while completely deaf, the sonata holds particular poignancy. “And this was one of Beethoven’s last works that he had written,” she told the audience. “It’s a real culmination of his whole lifetime. And as some of you may know, Beethoven lived a, really, life of struggle. And at this point, he was basically completely deaf. Don’t ask me how he wrote this, I have no idea.”
The sonata’s three movements trace an emotional arc. “The first movement is an incredibly expressive sonata form,” Madeleine explained. “And it’s almost like a song with the right hand and the left-hand accompaniment. The second movement is a final scherzo. And it is believed that it is inspired by two German folk songs. One of which I think is called My Cat Has Had Kittens.”
She paused for the audience’s laughter before adding: “And the third movement is just absolutely incredible. It’s super and takes you to another planet.”
The performance proved the work’s power to transport. Very fluid playing saw the first movement’s theme well stated, opening with a gentle, lean theme in E major before building through rhythmic variation, trills, and arpeggios to a climax that softly faded away. The second movement contrasted with its stormy character and vigorous runs.
The fugue section was particularly notable, the distinct voices audible and expressive with increasing depth. The final movement returned to E major as the sonata’s emotional centrepiece, beginning with a deeply expressive aria-like theme (Arioso dolente) before moving seamlessly into a fugue with intricate counterpoint. The fugue and lyrical sections alternated and developed, culminating in a triumphant finale. The fugue is the make or break of this piece, and Madeleine mastered it. The audience was clearly taken on a journey.
“It really tells of his life struggle,” she reflected in conversation. “Every chord, every harmonic shift means something. And to bring that out and tell that story, it takes your whole soul to do so. And you have to really feel it for the audience too.”
A Serendipitous Pairing
Among the programme’s most intriguing elements was the juxtaposition of two works connected by water, memory, and Impressionistic colour: Salina Fisher’s Sumner Tides and Debussy’s L’isle Joyeuse.
Fisher, one of New Zealand’s leading contemporary composers and a friend of Madeleine’s, composed Sumner Tides as a tribute to Claude Debussy. “Now these next two pieces go together,” Madeleine told the audience. “First one is a piece by a New Zealand composer. And I’ve always liked to bring some of where I’m from to present other things. So this is a piece by Salina Fisher, who is a dear friend of mine. And I actually played the world premiere of this piece last year.”
The piece draws on Fisher’s vivid teenage memories of Cave Rock at Sumner Beach in Christchurch, where “vivid memories of my early teenage years came flooding back during a recent visit,” Fisher writes. “The same sea that once surged into the cave, nearly claiming my dear friend and I, now appeared serene. Its gentle ebb and flow served as a poignant reminder of the continuous passage of time.” Fisher describes the work as “an homage to Claude Debussy, whose music captured my heart during those formative years.” Madeleine premiered the work at Auckland Town Hall in 2024.
When planning the Lucas Parklands programme, Madeleine added Debussy’s joyous L’isle Joyeuse, itself inspired by Jean-Antoine Watteau’s painting “L’Embarquement pour Cythère” (The Embarkation for Cythera), depicting lovers journeying to Venus’s mythical island, and recognised a connection.
“I thought it would go quite well in this programme with the different colours,” she explained. “And then I realised, wow, these two actually go really well together.”
The pairing also reflects Madeleine’s commitment to championing New Zealand music. “It’s something I really love doing and I’ve done a lot of New Zealand music. So, I wanted to bring some of that with me this time coming to Australia.”
Fisher’s Sumner Tides began with a thoughtful exploration of piano timbres, gently developing textures and gestures that evoked the ebb and flow of the sea. Wave-like flourishes and momentum quickly emerged, with repeated figurations that rose and fell. The piece was notable for its evocative harmonic language and use of extended tonality and modal colour. Madeleine showcased her lyrical and sensitive touch, allowing the piano to produce a soundscape rather than a conventional melody. The piece unfolded as a sequence of musical events: motifs ebbed and receded, dynamics swelled and softened, interrupted by brief moments of stasis.
Debussy’s L’isle Joyeuse provided a suitably brilliant finale. This typically Debussian virtuosic solo piano piece was both extrovert in character and technically demanding. The piece began with a rapid trill and an augmented fifth arpeggio, creating a blurry, roiling texture reminiscent of the painting that inspired it. The piece was notable for its mysterious whole-tone scales which appeared throughout, and its use of the Lydian mode, which gave the music a bright and jubilant sound.
The composition progressed through bursts of frenetic energy and calmer, atmospheric sections with shimmering arpeggios. Towards the climax, the themes returned with increased intensity, and the piece culminated in a triumphant section where rapid octave chords pounded with exhilarating force. The piece ended with the initial trills and arpeggios played faster and louder, creating a celebratory, powerful finale, prompting spontaneous applause from the audience.
The Human Connection
For Madeleine, technical mastery serves a larger purpose: forging human connections through music. This philosophy has guided her approach since childhood, when she began performing at retirement villages in Auckland.
“I love this question, and I’m very passionate about it, actually,” she said when asked about bringing music to diverse community audiences. “I think it’s one of the reasons I really love what I do, being able to share music with anyone. And I think there probably is a lot of misconception about music, because people haven’t experienced it or been exposed to it. And as musicians, I think doing our job is also bringing it to as many people as possible.”
“In New Zealand, since I was a young age, I’ve been playing retirement villages,” she continued. “Some of these elderly people would have never had the opportunity to hear music, perhaps, or go to concerts. And it’s actually one of my favourite kind of performances, because you see them realise, wow, music can be like this.”
She described how repeated exposure can transform listeners: “Maybe for some people, it’s their first time hearing music, and they’re like, oh, I’m not so sure about it. But then the second time they hear it, they start to grow on it. And that kind of growth and development eventually transforms them into perhaps a proper music lover. And that’s what music can do, has that power.”
Now, as a student completing her Bachelor of Music Honours degree at the University of Auckland who will begin master’s studies at one of London’s prestigious conservatoires in 2026, Madeleine continues to prioritise accessibility and connection. “I think essentially, we’re just using music as a vessel,” she said. “It’s still a human-to-human connection.”
That commitment was evident at Lucas Parklands, where the intimate, acoustically superb venue, nestled in Hinterland rainforest, created an unusually focused atmosphere. The audience’s attention was remarkable throughout the performance, more attentive than typically observed at the venue.
Madeleine, who changed from a black gown to a silver sequin gown at the interval, embraced the venue’s unique character. “I think coming from New Zealand, we also have quite a lot of wildlife and nature,” she said. “But this is probably the closest and the most intimate I’ve gotten yet. So, I’m really excited to see what that’s like during my playing. I’ve already had some bird visits during practice today.”
During her brief time at Lucas Parklands, she also encountered a koala, adding to the distinctly Australian experience. The resident kookaburras, it should be noted, remained respectfully silent during the performance.
A Career in Ascendance
Madeleine’s appearance at Lucas Parklands comes at a pivotal moment in her career. Described for her “impassioned virtuosity” and “glowing, soulful melodies” (NZ Herald), she is one of New Zealand’s most exciting and sought-after young pianists, rapidly gaining recognition internationally. At just 20, she is currently completing a Bachelor of Music Honours degree at the University of Auckland where her mentors include Rae de Lisle, Bryan Sayer, Katherine Austin and Sarah Watkins.
She is a top-prize winner in every major competition throughout New Zealand spanning solo, concerto and chamber music. In 2024, she won the National Young Performer of the Year Award and the audience prize, reached the semifinals of the international Lev Vlassenko Piano Competition and was awarded the Best New Zealand Pianist Award. The youngest ever winner of the University of Auckland Concerto Competition, she has performed with the Auckland Philharmonia, Christchurch Symphony Orchestra, and orchestras in Italy. She is an Auckland Philharmonia Haydn Staples Scholar and was awarded the Pettman Royal-Overseas-League Scholarship, which enabled a European career development tour.
Many of Sunday’s works will feature in her upcoming master’s degree auditions at three prestigious London conservatoires: the Royal Academy of Music, Royal College of Music, and Guildhall School of Music and Drama.
Her invitation to Lucas Parklands came through violinist Amalia Hall. “It’s so thrilling to be able to travel and perform, it’s the point of why I love what I’m doing,” she said. “Getting as many opportunities, when you’re young and rising, is really important. You never know where things can lead.”
Music That Transforms
Beyond the technical challenges and career milestones, Madeleine hopes for something more fundamental from her performances. “I hope the audience can maybe learn something new from music or maybe even learn something new about themselves,” she said.
It’s a philosophy grounded in respect for the composers’ intentions. “I really focus on making every note speak and mean something, following what the composer intended, because, I mean, those times, every bit of ink had to mean something,” she explained. “Respecting that and putting my input into it to hopefully create something special.”
On Sunday afternoon at Lucas Parklands, surrounded by rainforest and an audience that hung on every note, Madeleine achieved precisely that, transforming a grey November afternoon into a journey through passion, struggle, memory, and joy, one note at a time.
Disclaimer: The information provided in this article is for general informational purposes only. While we strive for accuracy and timeliness, we make no representations or warranties of any kind, about the completeness, accuracy, reliability, suitability, or availability with respect to the article or the information contained within for any purpose.