“Yuja Wang was the soloist, bringing devil-may-care glamour and dexterity to the outer movements and exquisite poise to the central Andante, among the most beautiful things Shostakovich ever wrote.” The Guardian “Rachmaninov’s massive sonorities hold no terrors for her, she’s equally capable of exquisitely nuanced playing, as evidenced by the beautifully weighted chords at the close of the second movement and the delicate filigree of the opening of the third.” Evening Standard “Shostakovich’s Second Piano …

” The new concerto opens by sending Yuja Wang, the soloist here (as at the premiere), into the boxing ring for three rounds against the devil. Fists fly as pianist and orchestra trade blows in a rhythmically pugnacious stand-off, which hardly lets up in energy until near the very end. Wang’s hands flash up and down the keyboard with brilliance. From there the music relaxes somewhat as it sinks into a …

“Yuja Wang’s recital Sunday afternoon in Orchestra Hall… [was] a guided tour through several historical epochs, each benefiting from Wang’s distinct perspective – plus, of course, her wizardly technique. The concert’s high point, not surprisingly, came with Scriabin’s Sonata No. 5 in F-sharp Major, Op. 53, a treacherously difficult work even a pianist of Wang’s keyboard acuity and self-composure was wise to save for the end. Beyond its monstrous technical …

“Chopin’s Introduction et Polonaise Brillante initially found Wang taking an accompanying role, but ended with a dazzling display from her – of course Chopin couldn’t keep the piano in the background for long. Nothing seemed to faze Wang, either here or in Chopin’s later Cello Sonata” The Guardian