YUJA WANG Fantasia 4790052

Wang's playing-style is more focused than flamboyant and she has a distinctive, deft technique that allows for an astonishing lightness of touch . . .

. . . sensitive and mature technique . . . clever programming skills . . . The variety is enough here to make the listener giddy, especially when presented in such vivid, richly textured studio sound. Time and again Wang shows us why she's become the world's darling, whether shading dynamics poetically in a morsel of Gluck's "Orfeo ed Euridice", clarifying the multiple layers in Albéniz's "Triana", or romping with the preposterous glitter of Horowitz's "Carmen Variations" . . . With such tracks we listen intently, happy to follow Wang's fingers wherever they take us . . .

Beautifully performed, this is the kind of music that leaves an audience wanting more.

. . . this young pianist's technique is quietly transcendent, her musicianship zestful and profound. The sequence itself is satisfying . . . I've often noticed that paradoxical quality of highly charged relaxation, on the part of performer and audience alike, that can make an encore the most magical moment of a recital. Wang conveys a sense of it.

Yuja Wang makes fiercely difficult music sound easy and natural, with no technical limitations hemming in her expression and no expressive excesses distracting from her achievements. There is a voraciousness to her playing . . . She imparts a sprightly ping to Scarlatti's "Sonata in G Major" and brings just a touch of romanticism into the baroque composer's "Melodie d"Orfeo." It works. Virtuosic piano chestnuts continue to serve her well . . . she's most compelling when she has an explicit story to tell. In Liszt's arrangement of the Act II gypsy song from Bizet's "Carmen," she melds dark, demonic whirls with graceful filigree. And in the same composer's take on Schubert's "Gretchen am Spinnrade," a lovely contrast, she keeps a tender, lyrical line with wistful and dreamy qualities.

. . . one of the finest pianists -- and, importantly, musicians -- of our time . . . [The four brief Rachmaninov pieces are] played with unshowy brilliance, power, and her usual complete authority over the keyboard.

. . . a high-powered collection of showstoppers . . . With Deutsche Grammophon's exceptional reproduction, Wang presents the music with a wide dynamic range . . . an impressive demonstration of what she can do at the keyboard.

. . . a well-chosen, delicious spread of her favourite short pieces . . . [Rachmaninov's] Elegie is the most interesting of the lot because its introspection allows Wang to reveal her contemplative side . . . [Dukas/Horowitz: "The sorcerer's apprentice"]: Her performance is impishly dramatic . . . The slow tracks are the best and give Wang space for interesting phrasing. "Melodie de Gluck" is gorgeous, and she plays Chopin's Valse in C-sharp Minor Op 64, No 2 slower than expected, which results in fantastic pacing . . . communicative playing and modern appeal.

. . . whatever dazzles and delights is here in super-abundance. Wang is clearly one of the major talents of our time and her playing throughout is of an astonishing verve, style and dexterity . . . [Hear her in Rachmaninov's A minor Etude], where, opening with a ferocious growl, she sets the stage for playing of extreme virtuosity . . . her Scarlatti is a glory of brilliance and piquancy . . . her selection of early Scriabin is wondrously fiery and poetic as required. In the Saint-Saens-Horowitz "Danse macabre" Wang storms the heights and her playing is of an unquenchable virtuosity . . . she has been superbly recorded . . . [you will also] be enchanted by DG's presentation . . .

. . . the lightness and flexibility of her touch takes the breath away, and her sound is at every moment transparently controlled, each piece displaying insight and affection . . . her Chopin is exquisitely nuanced. She really gets inside the soul of Rachmaninov, and she renders the Scriabin pieces with smoky suggestiveness . . . this young virtuoso has pulled off a remarkable feat.

. . . if there were an Olympic event in keyboard virtuosity, this 25-year-old Chinese pianist would undoubtedly win it . . . she can find the poetry in Rachmaninov and Scriabin . . . Her CD is a flawless and charming collection of encores . . .

Die ersten Töne sind pure Energie. Mit dem fast wütenden Unterton und der theatralischen Pause schafft Wang vom ersten Moment an Spannung. Technische Brillanz trifft auf die Fähigkeit, mit der Musik wirklich etwas sagen zu wollen . . . Mit der Stückauswahl kann Wang . . . die ganze Palette ihres Könnens zeigen: ihre makellose Technik, ihren strahlenden Ton, ihre weichen, intimeren Facetten und auch die freche Seite an ihr . . . Wang überzeugt mit jeder Facette . . .

. . . Yuja Wang beweist auf ihrer neuen CD, dass Zugaben auch eine Herausforderung der ganz besonderen Art sein können.

Was bei ihrem Spiel sofort auffällt, ist ihre phänomenale Tonkontrolle. Die vielen Abstufungen im Piano, Pianissimo und noch leiseren Dynamikstufen, über die die junge Chinesin verfügt, machen staunen, niemals wirkt ihr Spiel dabei undeutlich. Auch wenn ihre linke Hand Begleitfiguren "sotto voce" murmeln lässt, ist jeder Ton deutlich angeschlagen, ebenso in den rasenden Läufen der "Carmen-Variationen". Das können auf diesem Niveau nur wenige. Gleichermaßen elegant wie temperamentvoll mit niederschmetternder Virtuosität meistert Wang die gefürchtete Transkription der Strauß'schen "Tritsch-Trasch-Polka" . . . Ebenfalls sehr überzeugend gerät Wang der beliebte cis-Moll-Walzer [von Chopin] . . . äußerste pianistische Kontrolle, stupende Brillanz und geschmackvoll-werktreues Spiel.

. . . [sie zeigt] auf ihrem neuen Album "Fantasia", wie sich höchstes technisches Können mit nuancierten Interpretationen verbindet. Neben halsbrecherisch schnellen Stücken, die sie mit übermütiger Spielfreude meistert, legt sie auch großen Wert auf lyrischere Werke.

. . . [die Stücke geben] einen guten Einblick in Können und Charakter der jungen Starpianistin. Technische Grenzen scheint sie jedenfalls kaum zu kennen . . . Atmosphäre zaubert [Yuja Wang bei Rachmaninow und Skrjabin] . . . Beeindruckend auch die Intensität, mit der sie die Liszt-Paraphrase des Schubert-Liedes "Gretchen am Spinnrade" spielt . . . [Ein Höhepunkt ist] die "Danse macabre" von Saint-Saens . . . Wie Yuja Wang das Stück nach motorischen Beginn über eine Riesensteigerung zum pianistischen Kabinettstück werden lässt, ist große Klasse.