Happily for local audiences, Michael Tilson Thomas and the San Francisco Symphony were among the first to recognize her pre-eminence, and quickly forged a relationship with her that has brought us a series of revelatory local appearances. The latest came over the weekend, when Wang joined the orchestra in Davies Symphony Hall for a titanic account of Rachmaninoff's Third Piano Concerto.
来日間近のYuja Wang with S.F.Symphony [音楽時評]
11月１９日にサントリーホールに来演して，同じラフマニノフのピアの協奏曲第３番を協演する同じ顔ぶれ，ユジャ・ワン＋サン・フランシスコ交響楽団が，本拠地サン・フランシスコでシーズン締めくくりの演奏会を行って，たいへん好演したと高評を博していましたので，ご紹介します．
At this point, there's no more news to report about Yuja Wang. She is, quite simply, the most dazzlingly, uncannily gifted pianist in the concert world today, and there's nothing left to do but sit back, listen and marvel at her artistry.
手放しの賞賛という表現をを超えた，早くからこの若き天才ピアニストと協演してきたサン・フランシスコ交響楽団の誇りと喜びが溢れた表現にまず驚かされます．
ロスアンジェルスでは，ウルトラ・ミニ・スカートで登場してアメリカの話題を集めた彼女ですが，今回は，写真にあるように，まことに落ち着いた服装です．
賞賛振りは，歯が浮くような表現で訳しようがありませんから，原文のままとしますが，
Wang's Rachmaninoff was clearly the headline event. It wasn't just the fact that she made this concerto's fabled technical difficulties - its thunderous chordal writing, its intricate passagework, its wearying length - seem easy, although that was part of it.
More remarkable still was the depth and imagination she brought to the entire score, and the way she made the piece's virtuosic angle just one part of its purpose.
Of course, there were plenty of opportunities for showmanship, and Wang dispatched them with her customary aplomb. The fierce keyboard explosions in the outer movements - thickets of notes, densely clustered for maximum effect - and the quicksilvery bursts of repeated notes in the central episode of the second movement were beautifully handled.
But just as striking was Wang's ability, which Thomas and the orchestra suavely supported, to convey the lyricism and grace of Rachmaninoff's writing. In Wang's hands, the opening theme - a simple melody in octaves brimming with nuanced emotion and energy - sounded every bit as impressive as the finger-busting displays that ensued.
おまけに，アンコールとして，華麗な指さばきで有名な，For pure finger-busting, Wang delivered a stunning encore of Vladimir Horowitz's "Carmen" Variations.を弾いたというのですから，東京でも聴かせてくれるのでは，と楽しみです．
あとは，どうぞご自由に，ご渉猟下さい．
S.F. Symphony review: Wang's awesome Rachmaninoff
MUSIC REVIEW
Joshua Kosman
Updated 04:00 a.m., Tuesday, June 19, 2012
Pianist Yuja Wang Photo: Felix Broede/DG / SF
At this point, there's no more news to report about Yuja Wang. She is, quite simply, the most dazzlingly, uncannily gifted pianist in the concert world today, and there's nothing left to do but sit back, listen and marvel at her artistry.
Happily for local audiences, Michael Tilson Thomas and the San Francisco Symphony were among the first to recognize her pre-eminence, and quickly forged a relationship with her that has brought us a series of revelatory local appearances. The latest came over the weekend, when Wang joined the orchestra in Davies Symphony Hall for a titanic account of Rachmaninoff's Third Piano Concerto.
There were other delights on the program on Sunday afternoon, but Wang's Rachmaninoff was clearly the headline event. It wasn't just the fact that she made this concerto's fabled technical difficulties - its thunderous chordal writing, its intricate passagework, its wearying length - seem easy, although that was part of it.
More remarkable still was the depth and imagination she brought to the entire score, and the way she made the piece's virtuosic angle just one part of its purpose.
Of course, there were plenty of opportunities for showmanship, and Wang dispatched them with her customary aplomb. The fierce keyboard explosions in the outer movements - thickets of notes, densely clustered for maximum effect - and the quicksilvery bursts of repeated notes in the central episode of the second movement were beautifully handled.
But just as striking was Wang's ability, which Thomas and the orchestra suavely supported, to convey the lyricism and grace of Rachmaninoff's writing. In Wang's hands, the opening theme - a simple melody in octaves brimming with nuanced emotion and energy - sounded every bit as impressive as the finger-busting displays that ensued. For pure finger-busting, Wang delivered a stunning encore of Vladimir Horowitz's "Carmen" Variations.
Thomas and the orchestra brought their own brand of magic to the concert's first half. It began with Fauré's "Pavane," in a lovely, rhythmically sustained reading graced by a fragrant contribution from principal flutist Tim Day.
Even more alluring was the orchestra's sleek and strong-boned rendition of Sibelius' all-too-rarely heard Third Symphony. Thomas seemed intent on underscoring the work's elegance and balance without letting it subside into pure arabesque, and the orchestra followed his lead superbly.
Joshua Kosman is The San Francisco Chronicle's music critic.
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