481.王羽佳连弹五部拉赫玛尼诺夫钢琴作品

Reader86

“It was a momentous occasion as Wang played all five of Rachmaninoff’s works for piano and orchestra at Carnegie Hall for one show only.

Yes, Yuja Wang did an encore.

After playing, with electric mastery, all four of Rachmaninoff’s dizzyingly difficult piano concertos and his “Rhapsody on a Theme by Paganini” on Saturday — the kind of feat for which the phrase “once in a lifetime” was invented — she would have been forgiven for accepting a sold-out Carnegie Hall’s standing ovation, letting those two and a half hours of music speak for themselves, and heading home for a bubble bath.

But this is a superstar artist as famous for what comes after her written programs as during them. At Carnegie in 2018, she responded to waves of applause with seven encores. Appearing with the New York Philharmonic a few weeks ago, she returned to the keyboard no fewer than three times.

So on Saturday, the audience hushed as Wang, after all she’d already done with the Philadelphia Orchestra and Yannick Nézet-Séguin, sat back down at the piano and played the “Dance of the Blessed Spirits” from Gluck’s “Orfeo ed Euridice.” It had the same freshness and tender lucidity that, in her hands, had lain beneath even Rachmaninoff’s densest, most ferocious fireworks.

She didn’t seem to have broken a sweat — neither on her face nor in her music-making, which had been calmly dazzling all the way through the final flourish of the Third Concerto at the program’s end.

To these scores’ vast demands she brought both clarity and poetry. She played with heft but not bombast, sentiment but not schmaltz. Her touch can certainly be firm, but not a single note was harsh or overly heavy; her prevailing style is sprightly, which is why the concert didn’t feel like eating five slices of chocolate cake in a row. In the 18th variation of the “Rhapsody,” the work’s aching climax, she began demurely and dreamily before adding muscle. But when the orchestra joined in, a point at which many pianists begin to pound, she refused to hammer.

[…]
Wang is nimble at that alternation, with power and accuracy in fast fingerwork and fortissimo chords — and, just as important, patience and elegance in cooler moments. Her pillowy chords at the close of the Second Concerto’s middle movement floated quietly into place, and she was shadowy but luminous before that piece’s ending romp.

[…]
Virtuosity on this level, in material this ravishing, is elevating to witness — which is why, even after so many hours, I was left at the end feeling an exhilarated lightness. Like many others I saw, I drifted up the aisle and onto the street unable to stop smiling.”

Reader86

“这是一个重要的时刻，因为王羽佳在卡内基音乐厅仅演奏了一场拉赫玛尼诺夫的五部钢琴和管弦乐作品。

是的，王羽佳谢幕了。

周六，她以精湛的技艺演奏了拉赫玛尼诺夫所有四部难度极高的钢琴协奏曲和《帕格尼尼主题狂想曲》——这种壮举被人们称为“一生一次”——她本可以接受满座的卡内基音乐厅观众起立鼓掌，让这两个半小时的音乐为自己说话，然后回家泡泡浴，这是可以理解的。

但这位超级明星艺术家在写完节目后和写完节目期间都同样出名。2018 年在卡内基音乐厅，她以七次返场回应了如潮的掌声。几周前与纽约爱乐乐团一起演出后，她至少三次回到键盘上演奏。

因此，周六，当王菲与费城交响乐团和雅尼克·涅杰-塞金合作演出完毕后，她坐回钢琴前，弹奏格鲁克《奥菲欧与欧律狄克》中的《圣灵之舞》时，观众们都安静了下来。这首曲子在她的手中，带着清新、温柔和明朗，甚至在拉赫玛尼诺夫最密集、最凶猛的烟火中也能看到这种感觉。

她似乎没有流一滴汗——无论是脸上还是音乐创作中，在节目结束时的第三协奏曲的最后华彩部分，她都平静地令人眼花缭乱。

对于这些乐谱的巨大要求，她带来了清晰度和诗意。她的演奏有分量但不浮夸，有感情但不伤感。她的触感当然可以很坚定，但没有一个音符是刺耳或过重的；她以轻快的风格为主，这就是为什么这场音乐会不会让人感觉像连续吃五块巧克力蛋糕。在作品痛苦的高潮“狂想曲”的第 18 个变奏中，她开始端庄而梦幻，然后开始加强。但当管弦乐队加入时，许多钢琴家开始猛击，她却拒绝猛击。

[…]
王在这种交替中很灵活，快速的指法和极强和弦有力而准确——同样重要的是，在冷静的时刻，她有耐心和优雅。在第二协奏曲中间乐章结束时，她柔软的和弦静静地飘浮到位，在那首曲子的结尾嬉戏之前，她阴暗而明亮。

[…]
这种水平的精湛技艺，如此令人陶醉的素材，令人心旷神怡——这就是为什么，即使过了这么多小时，我最后还是感到一种兴奋的轻松。正如我见到的许多其他人一样，我走过过道，走到街上，脸上始终笑容满面。”