Tales of Hoffmann and the Hammerklavier

By Mark Pullinger, 28 July 2016

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“Wang was diabolical in the best sense of the word, fearlessly hammering the repeated notes”

Reviewed at Salle des Combins, Verbier on 27 July 2016

Schumann, Kreisleriana, Op.16

Ravel, Gaspard de la nuit: Scarbo

Beethoven, Piano Sonata no. 29 in B flat major "Hammerklavier", Op.106

Mozart, Piano Sonata no. 11 in A major, K331: Rondo alla Turca (Arr. Fazil Say)

Horowitz, Carmen Variations

Kissin, Cello Sonata

Yuja Wang, Piano

Gautier Capuçon, Cello

Yuja Wang with the Mahler CO: between lyricism and volatility

Edward Sava-Segal, 1st May

Yuja Wang and the Mahler Chamber Orchestra frame Chopin’s E minor concerto with two Prokofiev works, the First Symphony and Second Piano Concerto.

****1

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

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Mark Pullinger

Mark has been a Bachtrack editor since 2014. He is also an experienced critic, writing hundreds of reviews for the site, as well as a freelancer writing for other magazines and newspapers. He also writes programme notes and blogs on Substack. Mark has a particular passion for the operas of Verdi as well as Russian and French repertoire. Outside the concert hall and opera house, Mark enjoys cooking and travel and is probably at his happiest let loose in a French patisserie or a Viennese coffee house.

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