Kavakos and Wang team up at Wigmore Hall

By Roy Westbrook, 20 December 2017

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“Kavakos held the attention throughout, relishing its contrasting sections”

Reviewed at Wigmore Hall, London on 19 December 2017

Janáček, Violin Sonata

Schubert, Fantasy for violin and piano in C major, D.934

Debussy, Violin Sonata in G minor

Bartók, Violin Sonata no. 1, Sz. 75

Szymanowski, 3 Mythes, Op.30: La Fontaine d'Aréthuse

Leonidas Kavakos, Violin

Yuja Wang, Piano

Shock, spectacle and endurance: Yuja Wang and Thomas Adès at full tilt

Laurence Vittes, 8th February

If Prokofiev’s original intention in his Second Piano Concerto was shock and awe, Yuja Wang gives exactly the right performance with the Los Angeles Philharmonic.

***11

Thomas Adès and Yuja Wang offer contemporary works at the NY Phil

Sam Jacobson, 23rd January

Yuja Wang returns to the New York Philharmonic with Rautavaara’s dazzling First Piano Concerto in a probing program curated and conducted by Thomas Adès.

****1

Yuja Wang serves an iridescent musical feast in Cleveland

Sam Jacobson, 28th November

Yuja Wang does double duty in demanding piano concertos by Ravel and Ligeti, while conductor Petr Popelka shows his chemistry with the orchestra in Pictures at an Exhibition.

****1

Contemporary works populate Philadelphia Orchestra's opening night

Cameron Kelsall, 25th September

Audiences drawn in by Yuja Wang's performance of the Ravel Piano Concerto are also treated to Julia Wolfe and Arturo Márquez.

****1

Stormy weather: a wild ride with Berlioz and Yuja Wang at Tanglewood

Kevin Wells, 20th July

Yuja Wang’s verve and panache, combined with the Tanglewood Music Center Orchestra’s fearless, youthful energy, forge an incandescent, explosive performance.

****1

White Nights and historic firsts: Gražinytė-Tyla and the Vienna Phil

Chanda VanderHart, 6th May

For the first time in its 165-year subscription series, a female conductor leads a Vienna Philharmonic subscription concert.

****1

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Roy Westbrook

Roy Westbrook gained a diploma in music history at London University (Morley College) and was for some years the head of music day schools at Oxford University, where he also led music summer schools. After some years leading the University's business school he has returned to music teaching and writing, and recently took part in the Arts in Residence courses on Bruckner, Mahler and Bach He is co-author (with Terry Barfoot) of a history of opera, and has taught day schools on Sibelius in Oxford and elsewhere.