Chris Zhu of Class I was recently named the first-prize recipient in the nonprofit American Prize competition in the performing arts, at the high school level, for his piano solo submission. Chris began studying piano at age five and entered his first competition at age eight. He has performed at various high-profile venues—including Carnegie Hall and Steinway Hall in New York, and Symphony Hall in Boston—and has received numerous awards for his piano performances, including a second place in the Bradshaw and Buono International Piano Competition; four first-prize awards in the Massachusetts Music Teachers Association Bay State Contest; two prizes at the Steinway Society of Massachusetts Piano Competition; one first-prize award in the senior division of the University of Rhode Island piano extravaganza; and a second-place award in the intermediate group of American Protege International Piano and String Competition. An accomplished violinist, Chris has also received the top prize from the Roman Totenberg Young Strings Competition and has played First Violin for orchestras at New England Conservatory Prep School and Boston Youth Symphony.

Chris’s journey reflects the remarkable dedication and discipline that shape a young musician’s path, especially in the world of competitive piano. From his early start at five years old to performing on some of the most revered stages, every accolade he has earned speaks to countless hours of practice, resilience, and an unshakable passion for the instrument. His achievements show how a deep connection to music not only refines technical skill but also builds character, confidence, and a profound artistic voice. For musicians like Chris, the piano is more than an instrument; it becomes a companion that grows with them through every performance, competition, and milestone. As musicians continue to progress, the importance of caring for their instrument becomes just as meaningful as developing their craft, especially when transporting a piano safely to recitals, rehearsals, or new spaces. This is when practical considerations begin to surface, and exploring resources such as https://pianomoversoftexas.com/ can make the responsibilities of ownership feel far more manageable. Ensuring a piano is moved with precision and respect preserves its tone, structure, and longevity, allowing performers to focus entirely on their artistry. By safeguarding the instrument that supports every note and nuance, musicians create the foundation they need to perform confidently, continue growing, and honor the very tool that helps them share their gift with the world.

The American Prize was founded in 2009 and is awarded annually. Unique in scope and structure, the prize is designed to evaluate, recognize, and reward the best performers, ensembles, and composers in the United States based on submitted recordings. The American Prize has attracted thousands of qualified contestants from all fifty states since its founding; has awarded nearly $100,000 in prizes in all categories since 2010; and is presented in many areas of the performing arts. The competitions of The American Prize are open to all U.S. citizens, whether living in this country or abroad, and to others currently living, working, or studying in the U.S. It is the nation’s most comprehensive series of contests in the classical arts. The contest is administered by Hat City Music Theater, Inc., a nonprofit organization based in Danbury, Connecticut.

On November 8, Rousmaniere Hall was filled with the sound of more than 100 male voices singing in harmony at the Festival of Men’s Choruses. While the festival is an annual tradition, this year’s concert was special: Catholic Memorial’s Chorale and the St. Albans School Madrigal Singers from Washington, D.C. joined the Roxbury Latin Glee Club and the Belmont Hill B-Flats in celebration of RL’s 375th anniversary.

First to perform was the CM Chorale. Formed only last year, the group delivered a strong performance, opening their five-piece set with a traditional Muskogee song titled Heleluyan, featuring a canon with the title of the song as the sole lyric. Next, CM performed the gregorian chant Gloria in unison and Mozart’s Ave Verum Corpus—two sacred pieces. To end, they sang CM’s fight song Cheer! Hail! Fight! and a jaunty rendition of There is Nothing Like a Dame.  

Next up were the St. Albans Madrigal Singers, who performed with synchronization and skill in their four songs, the first of which was the Italian piece Ad Amore. The close harmonies in the piece impressed the audience. The Madrigal Singers followed up this impressive opening with Bound for the Promised Land, an early American hymn, and Biebl’s Ave Maria, a hallmark of men’s choral music. For Ave Maria, a bass, baritone, and tenor trio sang from the balcony, giving the piece a call-and-response sensation. The group concluded with a special performance of Men of the Future, Stand.

Veterans of the festival, the Belmont Hill B-Flats anchored the guest performances with a strong four-song showing. They opened with I Can See Clearly Now, a familiar Johnny Nash tune. They moved on to the more doleful Prayer of the Children and then the more contemporary Castle on the Hill. The B-Flats finished with the Canadian folk song Northwest Passage, with their new headmaster, Gregory Schneider, singing the solo.

After intermission, the Roxbury Latin Latonics reopened the show with three stellar pieces. First, the group flawlessly debuted its rendition of Ave Maria, written by Tomás Luis de Victoria. They followed this polyphonic Latin piece with the somber Irish folk song Danny Boy. Baritone Christian Landry (I) hit every note in the solo and touched every heart in the audience. Finally, the Latonics performed the fan-favorite Brown-Eyed Girl. Tenor Ale Philippides’s (III) solo had the entire crowd swooning, brown-eyed or not. 

Following the Latonics, the Roxbury Latin Glee Club made its seasonal stride down the aisles of Rousmaniere to join its brethren in song. The group began with the heartfelt Waitin’ for the Dawn of Peace, an American Civil War folk song. The Glee Club then masterfully performed O Vos Omnes, a Latin piece, and Stopping by Woods on a Snowy Evening, a tribute to Robert Frost’s poem with pianist Chris Zhu (I). It’s All Right brought some 60s soul to the festival with Tommy Reichard (IV), Eli Bailit (III), and Richard Impert (I) soloing. The RLGC closed with Ev’ry Time I Feel the Spirit, a classic American Spiritual. Emmanuel Nwodo (IV), Esteban Tarazona (II), and Frankie Lonergan (II) manned the song’s three solos.

Fittingly, the night ended with a performance of all four groups. A hearty rendition of Brothers, Sing On! was followed by the inspiring Seize the Day, with pianist Jonathan Weiss (I), which earned a standing ovation from the crowd. The last two performances captured the overarching success of the concert and the night’s theme of unity in brotherhood.

View photos from this year’s Festival of Men’s Choruses. (Photos by Mike Pojman and John Werner)

By Ethan Phan (II) and Daniel Berk (II)
Reprinted from The Tripod