Fei Fei Dong
May 18, 2014

Dong-Oshea

 

Praised for her “natural musicality and beauty of tone” (Cincinnati Enquirer) during the 2013 Cliburn Competition, Chinese pianist Fei-Fei Dong landed among the top six finalists and won three years of concert tours in the United States. She has begun to build a reputation for her poetic interpretations, charming audiences with her “passion, piquancy and tenderness” and “winning stage presence” (Dallas Morning News).

Ms. Dong gave her first recital at age 10 and made her orchestra debut three years later, performing Rachmaninov’s Third Concerto with the Macau Youth Symphony Orchestra. She has since appeared with the Aspen Music Festival, Hong Kong, Juilliard, Shanxi, and Shenzhen Symphony Orchestras. She has made debuts in Alice Tully Hall, Warsaw Philharmonic Concert Hall, and the Louvre Auditorium and been featured multiple times on New York’s WQXR radio. Her inaugural season as a Cliburn winner includes debuts with the Corpus Christi and Big Spring Symphony Orchestras with John Giordano and recital appearances across the United States.

Born in Shenzhen, Ms. Dong began piano lessons at the age of 5. She moved to New York to study at The Juilliard School, earning her Bachelor of Music under the guidance of Yoheved Kaplinsky, with whom she continues to study in pursuit of her master’s degree.

 

Muzio Clementi (1752-1832)

Sonata in F-sharp minor, Op. 25, No. 5 (1790)

I. Allegro espressivo
II. Lento e patetico
III. Presto

 

Frédéric Chopin (1810-1849)

Rondo in E-flat major, Op. 16 (1832)

 

Lowell Liebermann (b. 1961)

Gargoyles, Op. 29 (1989)

 

Frédéric Chopin (1810-1849)

24 Preludes, Op. 28 (1836-1839)

No. 1 in C major (1839)
No. 2 in A minor (1838)
No. 3 in G major (1838–1839)
No. 4 in E minor (1838)
No. 5 in D major (1838–1839)
No. 6 in B minor (1838–1839)
No. 7 in A major (1836)
No. 8 in F-sharp minor (1838–1839)
No. 9 in E major (1838–1839)
No. 10 in C-sharp minor (1838–1839)
No. 11 in B major (1838–1839)
No. 12 in G-sharp minor (1838–1839)
No. 13 in F-sharp major (1838–1839)
No. 14 in E-flat minor (1838–1839)
No. 15 in D-flat major (“Raindrop”) (1838–1839)
No. 16 in B-flat minor (1838–1839)
No. 17 in A-flat major (1836)
No. 18 in F minor (1838–1839)
No. 19 in E-flat major (1838–1839)
No. 20 in C minor (“Chord” or “Funeral March”) (1838–1839)
No. 21 in B-flat major (1838–1839)
No. 22 in G minor (1836–1839)
No. 23 in F major (1838–1839)
No. 24 in D minor (1838–1839)

 

Clodagh O’Shea, an associate professor in the Molecular and Cell Biology Laboratory, employs the help of viruses to pin down key cellular processes that are dysfunctional in cancer cells, hoping to discover important tumor targets and novel, virus-based cancer therapies. Human tumors acquire a myriad of molecular lesions, which makes it difficult to find the proverbial needle in the haystack. Adenovirus, which encodes a limited repertoire of proteins that target the critical hubs for cell growth and survival, will allow her to zoom in on critical lesions while ignoring mere bystanders. Moreover, she will exploit viral infection as a powerful model to define how these hubs act together as a program and identify novel therapies that uncouple them.

Viruses not only provide the necessary “intelligence” to identify the critical players in the cancer cell program, but could also be engineered to serve as mutation-guided missiles that unerringly home in on cancer cells throughout the body and implode them. This approach is called oncolytic virus therapy, something that particularly interests O’Shea. Defective adenoviruses that are unable to multiply in healthy cells, but selectively replicate in tumor cells, promise a novel and potentially self-perpetuating cancer therapy: Each time a virus homes in on a cancer cell and successfully replicates, the virus ultimately kills the cancer cell by bursting it open to release thousands of viral progenies, which are ready to seek out remaining tumor cells and distant micro-metastases.