” 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 turned Davies Hall into her own deluxe dice cup Sunday night, shook it hard, and let the numbers fall where they would. It will surprise no one who has ever heard this stunningly gifted pianist that she cleaned up and left everyone at the bar gaping at her game. But on this particular night, the always combustive Wang had more surprises than usual in store. […] The inspiration of …
“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
Bachtrack Gautier Capuçon and Yuja Wang are two of the busiest performers on the circuit today, according to Bachtrack’s latest annual statistics. And as a pairing, this exhilarating duo was always likely to produce fireworks, although their programme of mature Chopin and Franck also showed much depth and reflection, something Capuçon and Wang were clearly keen to explore. Their flourishing musical collaboration bore considerable fruit in these works, both players mixing …
“Adams wrote the single-movement work for Yuja Wang , who was the dashing soloist here, too, her faultless fingers dealing effortlessly with a solo part that hardly gives her a moment’s rest. As the title suggests, it’s a Totentanz of sorts, though that diabolical element seems to get more diluted as the work goes on. The opening section is driven along effectively enough on an uneasy, asymmetrical division of its 9/8 metre, with the …