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.
サントリーホール：都響プロムナード，梅田指揮，山本contrabass [音楽時評]
6月23日，サントリーホールに東京都交響楽団のプロムナード・コンサート；梅田俊明，コントラバス山本修，コンマス四方恭子を聴きに行って来ました．
とにかくサントリーホールのブルーローズでヘンシェル・クァルテットの低レベルの演奏会を3日も聴かされてから，他の何を聴いても良く聴こえる感じがしてしまうのは有り難いことです．
梅田俊明さんは，前に日本音楽コンクールの本選会の指揮で凡庸に聴こえてから，あまり買っていなかったのですが，今日の都響の指揮はたいへん良かったと思います．
プログラムは，ロシアモノで
ムソルグスキー： 交響詩「はげ山の一夜」（リムスキーコルサコフ編）
クーセヴィッｔキー： コントラバス協奏曲 嬰へ短調 作品３
※※※※※※※※
リムスキーコルサコフ：交響組曲「シェヘラザード」 作品35（ヴァイオリン独奏／四方恭子）
でした．
「はげ山の一夜」はやや怪奇的な作品ですが，曲の構成が優れているので聴く機会の多い作品です．それを梅田俊明がまことに纏まりよく聴かせてくれました．都響が弦も菅も良く鳴っていました．
コントラバス協奏曲はヘンシェル・クァルテットを批判したNew York Times の記事に，チェロがコントラバスのように弾いていたとあったのを思い出しましたが，山本修のコントラバスは音量は穏やかで終始一貫してまことに美麗な音の演奏で，感嘆しました．チェロの批判としては，図太くって濁った音の意味で使われるのですが，この協奏曲のAllegro/Andante/Allegro の3楽章は，まるでチェロ協奏曲を聴いているような柔和な美しい響きで一貫していました．
「シェヘラザード」は千夜一夜物語の語り手、シェヘラザードに基づいた作品として有名で，
第1楽章《海とシンドバッドの船》
第2楽章《カランダール王子の物語》
第3楽章《若い王子と王女》
第4楽章《バグダッドの祭り，海，船は青銅の騎士のある岩で難破。終曲》
の4楽章構成ですが，各楽章が波瀾万丈で，テンポ変化に富んでいます．また，シェヘラザード主題（ソロ・バイオリン）と王の主題（チェロ）が循環して現れ，見事な統一性アル交響曲として作曲されています．
演奏では，冒頭から何度も繰り返されるシェヘラザード主題の循環が，四方恭子さんのヴァイオリンでまことに華麗に演奏されて未だに耳に残っています．チェロのソロも綺麗でしたし．金管，木管の
演奏もたいへん素晴らしい演奏で，静かに全曲が閉じられるのが惜しいほどに，都響の好演が目立ちました．
梅田俊明さんにも敬意を表したいと思います．
とにかく３人東京都響の演奏の充実振りは頼もしい限りです．
