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Wanging It at Carnegie Hall May 2018

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Yuja Wang, Carnegie May 17 2018 (credit: Paul Vincent )

Rachmaninov Preludes and Etudes Tableaux

Yuja Wang opened her May 17th 2018 Carnegie recital with Rachmaninov’s Prelude in G Minor Op. 23 No. 5. Starting as a rousing march, this prelude erupts and transforms into an exotic fantasy. The march returns only to recede unexpectedly, as if everyone ran away.

In Yuja’s hands the opening tempo wavered, perhaps in anticipation of Rachmaninov’s cinematic legato or his final, self-deprecating wink. Her interpretation blended the contrasting sections well.

As with Ms. Wang’s 2016 Carnegie recital (reviewed here), the most enjoyable repertoire was at the beginning. I could feel Ms. Wang’s involvement with Rachmaninov, and wished for myself that she had not changed her program to include fewer preludes.

Scriabin, Sonata no. 10 Op. 70

This particular work does not do a lot for this reviewer, so I will not comment on it.

Ligeti Etudes

Before the Ligeti, someone came out to the Carnegie Steinway. At first we thought the piano had a glitch, but actually the gentleman positioned an iPad inside the piano so that Ms. Wang could sight-read. I can understand why memorizing these etudes could be a challenge, but Yuja was totally on top of this work and gave us an enchanting, virtuoso performance.

Prokofiev Sonata No. 8 in B flat major

The Carnegie program described Prokofiev’s Sonata as exhuding a sense of “peace, optimism and resilience”. While the opening has a certain serenity, my overall impression was of occasional major-key sunshine clouded by Prokofiev’s peculiar harmonies and manic rhythms. This was a demanding piece for performer and listener, but Yuja gave an epic rendition.

Seven Encores

In 2016, Yuja Wang played five encores at Carnegie. In 2018, she played seven. While the 2016 encores appeared to be chosen on the spur of the moment, the 2018 encores seemed more deliberate. Yuja traipsed off and on stage between each encore with minimal time spent acknowledging the audience, as if on a mission to cram in as much material as possible.

Fans like myself have heard various of Yuja’s Rondo Alla Turca and Carmen encores many times. This time she seemed a little ragged, but it was still immensely enjoyable, especially when she accelerated Mozart to a ridiculous speed.

Ms. Wang likes to close her encores with something reflective, and this time we got Schubert’s Gretchen am Spinnrade arr. Liszt. She sang silently while playing this. For me this was the peak of our evening with Yuja.

Yuja Wang Carnegie May 2018 (credit: Patti Turner)

Elegance and Excess

Yuja Wang came on stage in a breathtaking purple dress with skin-toned midriff. This drew wild cheers from the Carnegie audience. We expect such elegance from our cultural icons, of course.

Post-intermission Ms. Wang likes to wear something more revealing. I wonder if she realizes how hard it can be be hard to listen to her play when your view of the pianist is limited to whatever is showing under the piano.

Has Yuja Wang Grown Up?

There was more musical bite to Yuja’s 2018 program, but less spontaneity in the encores. The speed with which she raced through the encores, and the short steps she took due to high heels and tight clothing, made her look like a clockwork doll. Perhaps it was just the cumulative effect of months of touring, but to this reviewer it felt like Ms. Wang was drifting away from her audience. Has Yuja Wang grown up? Let’s hope not!

Nina Scheidmantel Carnegie Hall Debut

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Nina Scheidmantel at Carnegie

Nina Scheidmantel at Carnegie

On Saturday October 29, 2016, I went to Carnegie Weill to see pianist Nina Scheidmantel’s Carnegie debut recital. I had decided to attend based on her web site and some videos on YouTube. While the videos were quirky (in more than one her dress magically changed while she was on stage) I could see that she was capable.

Presented by the Artist

Nina’s recital was billed as “Presented by the Artist”, meaning that it was privately funded. I wondered if I might get to meet her manager and gain insight into how to set up such an event myself.

German-Chinese Pianist

Two hours before Ms. Scheidmantel’s concert I stopped by at Carnegie to photograph her poster. An elfin gentleman in some kind of dress clothing appeared by my side, asking if he could interest me in the recital. When I showed him my ticket, we became instant friends.

It turned out that this affable gentleman was managing Ms. Scheidmantel’s recital. He told me that as a German-Chinese pianist, Ms. Scheidmantel had given recitals in China and earned interest from both Chinese and German authorities, some of whom were expected to attend this performance. It promised to be a great evening.

Balcony at Carnegie Weill

I had not been upstairs at Carnegie Weill before, and was delighted to find that my front and center keyboard-side seat was just perfect. Weill is small (around 260 seats) so even in the balcony I was closer to the performer than most of the audience are in the 2800-seat Stern Auditorium. I had brought my concert binoculars, but I did not need them.

Program and Artist

Nina’s program included Ravel, Beethoven, Schumann, Brahms and Prokofiev. After a brief announcement by the gentleman I had met earlier, Ms. Scheidmantel came on stage in an elegant floor-length black gown, with her hair up in a sparkling silver tiara. I was struck by how tall she was, and how much more Chinese she looked compared with her Carnegie Hall poster. Two of my favorite pianists (Lang Lang and Yuja Wang) are Chinese, so my expectations grew accordingly.

Of Pianists and Dragons

Ms. Scheidmantel attacked her Ravel vigorously. Although Valses Nobles et Sentimentales opens percussively, I have never thought of it as bombastic, but that was how Ms. Scheidmantel came across. Indeed, that was how she also played Beethoven, Schumann, and Brahms. At the end of each piece, she clenched her arms in a victorious flourish, as if she had just slain a dragon.

Release the Pedal, Nina!

Nina had a signature move where she would sustain a single note at the end of a section, long enough to transform it into something magical. Unfortunately she came off the pedal so slowly that sometimes she fell foul of damper mechanics. The resonating string would buzz for a long second, making it sound frayed. Was this a flaw in the regulation of the house Steinway, or should Nina have lifted her foot more decisively?

More Nuanced

I struggled to repress my discomfort at the endless Sturm und Drang of Nina’s performance. While I was struck by how physically powerful she was at the keyboard, I wish that she had included something more nuanced in her program. If I were her manager I would advise her to switch out Schumann in favor of something leaner. Chopin’s C minor Nocturne Op. 48 No 1 would have suited her style well and made for a rounder program.

Expectations

After the Brahms I felt that Nina had shown us everything that she could do, so I left. I felt good about supporting a relatively unknown artist, but bad that I had expected more of her than was reasonable. I was also disappointed at the choice of repertoire, which may have contributed to my perception of the pianist as a little heavy-handed.

The gentleman managing the recital had told me that this was not a publicity event so much as a family celebration and Nina’s personal dream. As a pianist myself I can relate to this dream, but when you sell tickets to the public you put yourself in the public eye, and the public has expectations.

Nina Scheidmantel – a Spirited Performance

Nina Scheidmantel carried off her Carnegie debut well for someone so early in her career. She appeared totally at ease and gave a spirited performance that speaks well for her future. I hope that as she matures artistically and her repertoire grows, we will see her again in New York.

Yuja Wang at Carnegie – May 2016

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Yuja Wang at Carnegie Hall May 14th 2016

Yuja Wang comes on stage at Carnegie, May 14th 2016

On May 14th, 2016  I attended Yuja Wang’s recital at Carnegie Hall, with my wife Patti. This performance was the reason I became a Carnegie subscriber a year ago: I had to have great seats, and we did.

The last time I was at Carnegie was to see Kissin (reviewed here). For him, additional seats were placed on stage to squeeze in as many spectators as possible. Not so for Yuja Wang.

Since Ms. Wang’s recital was sold out, it surprised me that she had the stage to herself. I am sure that she was happy about that, however. It can’t be easy to have the audience intruding on your personal space when you are tackling such strenuous repertoire.

Yuja Wang’s Sparkle

People will tell you that Yuja Wang’s clothing has nothing to do with how well she plays, but this reviewer acknowledges that those fabulous outfits are part of Yuja’s brand. I would have been disappointed if she did not look like a diva. I was not disappointed: she walked out on stage in one of the most beautiful gowns I have ever seen. Its color reminded me of the pale salmon that I had across the street an hour earlier at the Europa Cafe (205 W 57th St., recommended). The gown didn’t just sparkle, it flared and outshone the highlights of the black Carnegie Steinway. You can get a hint of that from my photograph.

Brahms Ballade in D Minor

The recital opened with the Brahms’ Ballade in D Minor, Op. 10 No. 1. This was impressively sonorous, and for me the best part of the scheduled repertoire.  I settled back to absorb the rest of the evening, but when she moved on to Schumann’s Kreisleriana, I could not feel it. I can’t fault Ms. Wang: I personally have never gotten much out of Schumann.

Beethoven’s Hammerklavier Sonata

After the intermission, Yuja showed up in a dramatic new gown – dark green with a saucy slit on the audience’s side, as seen in my wife’s photograph (credit Patti Turner). If you wanted skin, this was your moment. But while the dress shimmered, Yuja’s performance seemed a little off. The Adagio was haunting but the rest, to be honest, did not work for me. Perhaps she was dulled by playing the same German program again and again. Or perhaps the Hammerklavier is so complex and demanding, that it is as hard for the audience as it is for the soloist.

Yuja: I don’t know what to play!

After the end of the program I wondered which of Yuja’s legendary encores we would be treated to. I had had enough heavy repertoire, as had most everyone else. When Yuja returned to the piano for an encore, the hall was electric with anticipation. She sat at the keyboard for a few moments, then turned to the audience and said ruefully “I don’t know what to play!”

My heart went out to her. This had not been the most inspiring evening. This was partly due to the program, but in some intangible way it also came from the pianist herself. Maybe she just needed to burn some Rondo Alla Turca.

Gretchen am Spinnrade (Schubert, arr. Liszt)

From that moment on, we were treated to the gifted Yuja we love. I have never heard such a beautiful rendering of the Schubert/Liszt spinning wheel, Gretchen am Spinnrade. There are few pianists who can make me teary, but she did. Or watch it on medici.tv: a year’s subscription costs less than dinner for two in New York.

Carmen and Ronda Alla Turca

At this point it had been a long night for us and for the performer. If Yuja had called it quits, that would have been ok. But she came alive with her encores, and so did we. She gave us both Horowitz’s Carmen and the Mozart/Volodos Rondo Alla Turca. I’ve watched these many times on YouTube, but to see Yuja Wang in person, elbows stretched to both ends of the keyboard delivering these delights, was the treat of a lifetime.

Chopin’s Waltz in C sharp minor

Yuja Verbier 2010 red dress

Yuja, Verbier 2010

Ms. Wang played Chopin’s Waltz in C sharp minor, Op. 64 No. 2 as her final encore. It was beautiful, especially the last 16 bars.

Most pianists do not bring out the descending right hand notes at the end of each bar (G, G, G, F, E, D, C, D). Kissin does, but Rubenstein, Horowitz and Ashkenazy do not. As written, the pedal comes off at the end of the bar, but Yuja holds her thumb down to sustain this note through the next bar. That’s definitely not what’s written, but it makes for a luminous sound. You can see her do this in her superlative Verbier 2010 video, starting right here.

Yuja Wang at Carnegie May 2016: sublime!

We saw two pianists at this event: Yuja Wang the professional who seemed weighed down by the main course, and Yuja Wang the star who lit up for dessert. The star was the Yuja whom I went to Carnegie to see.  She brings out the inner layers of familiar pieces in a way that makes me feel I am hearing them for the first time. At her best, she is sublime.