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I finally heard Yuja Wang live at Soka Hall on Tuesday night. I'm linking the review in the LA Times (you will need to click on the search result) because I don't disagree with anything that was said about her playing. We heard the same program as she played in Santa Barbara. I'll add a few comments of my own.
Her playing was incredible in its fleetness and accuracy. When she first entered she gave a quick bow, bending at the hips with her head dropping below the horizontal with hardly a glance at the audience. The opening of the first Brahms Ballade was exquisite in its tonal beauty. This was true of all her quiet playing. She was wearing a long, full-length dress, but the top and bottom were see-through material that didn't hide much.
After intermission she returned in a different dress that was long enough that later in the program she almost tripped over it. The opening of the Hammerklavier was dramatic and commanding, almost startling. She gave three encores, including Gretchen am Spinnrade and Mozart alla Turca. The Mozart arrangement was a hoot, and she played it for maximum effect, smiling and seeming to be really enjoying the moment. It was only after this last encore that she seemed willing to bask in the audience appreciation. Most of the rest of the recital was done very seriously. It was certainly a memorable occasion.
Follow Ups:
Saw her do the same essentially the same program here in NY in Carnegie Hall on 14 May: two Brahms Ballades, Schumann's Kreisleriana & the Beethoven Hammerklavier. She approached the music with great seriousness of purpose and pulled it all off wonderfully well - no banging, no muddied passage work - all quite enlightening. She did the same encores as noted above, also the Danse Bohème from Carmen (as arranged, I believe, by Horowitz). It was in that last piece that she really let herself go, as you might say.
We've seen her a number of times here in CH, including with her sonata team partner Leonidas Kavakos. As always, her musicianship is of the highest order, while her outfits are always wholly ridiculous. This past concert was no exception: for the first half she was dressed in a diaphanous, actually see-through, form fitting flesh colored gown which was opaque in the necessary places. For the second half she wore a floor length emerald gown with a slit on the right side that went right up to her pelvis. If she's looking for attention she's got it - even from those who couldn't give a $hit about the music. And those 5 in heels - WTF - how can you work the pedals properly in shoes like that. The fact is, she could take it, her wardrobe that is, down a few notches and still look great.
We learn from reading history that men learn nothing from reading history. Hegel
There's no doubt in my mind that Yuja is a GREAT GREAT artist. She makes most other pianists who have recorded this work sound like poseurs. This performance was one of the most riveting musical experiences I've ever had. I hope to write a fuller report tomorrow. In the meantime, many many thanks to Analog Scott for his gracious gift of an extra ticket!!
nt
I finally just got a CD copy - I had heard parts of it on Spotify, but only now have I finally heard the whole magnificent album. ;-)
I guess I always assumed you had all of her CDs already. Was this the only one you have not listened to so far?
Spotify Only
Have not heard it
Have it
Have it
Have not heard it
Have not heard it
Have it
Have it
"I ask you. Do these fingers look like the fingers of a poseur?"
But that is a pretty poorly written piece of music criticism, IMO.
Still, I would have enjoyed hearing her play the piece - long one of my favorites. Heard Schiff do it 5 years ago, or so. I don't see how performers can possibly follow with an encore, but his was Bach.
What was "poorly written" about it?
Bach always trumps, pardon the expression.
"If people don't want to come, nothing will stop them" - Sol Hurok
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