Georgia Rowe, The Mercury News
Any time Yuja Wang and Michael Tilson Thomas share the stage, something remarkable happens: a synergy that makes the music at hand sound fresh and new.
It happened again Wednesday evening at Davies Symphony Hall, as the acclaimed pianist joined Tilson Thomas and the San Francisco Symphony in Chopin’s Piano Concerto No. 2 in F minor. They partnered brilliantly, infusing this Romantic warhorse with verve and irresistible sparkle.
Wang’s appearance was just one highlight of the program, which introduced repertoire that will be featured in the Symphony’s fast-approaching Asian tour. From Nov. 9-22, Tilson Thomas and the orchestra will make stops in South Korea, Taiwan, China and Japan . Based on Wednesday’s performance, which also included Bruckner’s Symphony No. 7 in E major, and Tilson Thomas’ “Agnegram,” music lovers in the East are in for a very big treat. The program repeats at Davies Hall through Friday evening.
Wang, who made her S.F. Symphony debut in 2006 — Tilson Thomas was one of her early champions — makes a dazzling impression even before she plays a note. Known for her glamorous concert attire (her designers should get a credit in every printed program), she came onstage looking fabulous in a full-length, form-fitting, white-gold sequined gown.
Her performance of Chopin’s concerto was just as arresting. The 1830 score was inspired by Konstancja Gladkowska, a young singer with whom the 20-year-old Chopin had fallen deeply in love. His feelings were unrequited, but the infatuation produced a work reflecting both youthful exuberance and Romantic allure.
Wang’s flawless playing brought out the score’s ardor and puckish charm in equal measure. With Tilson Thomas and the orchestra lending luxuriant support, the pianist made an assertive entrance in the concerto’s first movement, traversing its rippling, light-refracting passagework with astonishing clarity. Her fioritura in the tender Larghetto was expressed with warmth and melting beauty.
Wang maintained the dreamy atmosphere into the opening of the glittering rondo finale, yet her characteristic ebullience, fueled by the orchestra’s alert, focused playing, brought the performance to an ideally vivacious close. She returned for a solo encore, a lustrous performance of Chopin’s Waltz No. 7 in C-sharp minor, Op. 64, No. 2 …