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Review: The starry spectacle of Yuja Wang and Vikingur Ólafsson at Disney Hall

BBG News

This week, the pianists Ólafsson and Wang, renowned stars, performed at Walt Disney Concert Hall. The interest in their recital was so high that the Los Angeles Philharmonic, who hosted the event, added an additional date due to Wednesday’s sold-out show. It was a performance not to be missed by any living creature that could fit into the venue, and on Wednesday night, one audience member was seen leaving Disney Hall with a small dog.

Duets for two pianists often involve musicians who share similar musical sensibilities. With their positions facing one another, they can maintain eye contact, and the instruments are arranged side by side with the lid of the back piano raised, transforming the setup into a sort of 460-stringed ensemble. This close connection frequently results in pairs that resemble siblings (such as the Labèque sisters) or married couples (like Dennis Russell Davies and Maki Namekawa).

Although much of that description might fit other piano duos, it’s quite different for the unusual partnership between Ólafsson and Wang. The thoughtful Icelandic and energetic Chinese-Canadian pianists shared a stage at Disney, with their pianos positioned so they faced opposite directions. They turned their heads to make eye contact only when coordinating a peak moment. True to form, Ólafsson selected the classic, radiant Hamburg Steinway from the L.A. Phil’s collection; Wang, on the other hand, opted for the orchestra’s more stylish New York Steinway.

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In essence, Los Angeles has become an impromptu hub for chamber operas, with various productions throughout the area addressing contemporary social and political concerns.

In Disney’s acoustic setting, the outcome was an enveloping grandeur that preserved clarity and distinctiveness between the pianos and their players. Ólafsson’s deep, velvety sound, notably from the Hamburg keyboard’s lower keys, created a plush, cushiony backdrop for the music, while Wang’s treble notes shimmered. The quieter pieces were transformed into captivating piano artistry, and the grand works provided an overwhelming sense of piano immersion, sometimes even excessively so.

Exciting yet intriguing, the show offered a mix of various elements, and smaller pieces made for a more delightful experience. To kick things off, elegantly dressed pianists silently took their places on stage, immediately transporting us into whimsical realms with Luciano Berio’s two-minute “Wasserklavier.” Their fingers scarcely touched the keys, creating an impression of tranquil ripples on a watery surface.

At concerts, it’s unusual for things to start smoothly when they begin quietly, but somehow the pianists managed to captivate an impatient audience into stillness (no rustling of candy wrappers, no barking dogs). This led seamlessly into the lyrical grandeur of Schubert’s late Fantasia in F Minor. Wang played a vibrant, rhythmic melody with precision, while Ólafsson responded with elegant lyricism.

John Cage’s brief, Satie-inspired “Experiences 1” and Conlon Nancarrow’s Study No. 6, originally composed for player piano, were followed by John Adams’ “Hallelujah Junction.” The performance of these pieces at Disney Hall held a unique significance given the venue. Originally written for two Los Angeles pianists, Gloria Cheng and Grant Gershon, “Hallelujah Junction” was first performed in 1998 at the new Getty Center and dedicated to Ernest Fleischmann. Without the determined leadership of Fleischmann, who never accepted no as an answer, there would be no Disney Hall where this extraordinary piano atmosphere could be created. It was Fleischmann who initiated Adams’ four-decade association with the L.A. Phil, a relationship that the composer recognized during the orchestra’s latest Green Umbrella concert. In honor of what would have been Fleischmann’s 100th birthday in December of last year, Adams dedicated the concert to him.

Olafsson and Wang showcased Cage’s playful charm more effectively than Nancarrow’s captivating sparkle prior to tackling “Hallelujah Junction.” Both pianists share a past with Adams, who composed his second grand piano concerto, titled “Must the Devil Have All the Great Tunes,” for Wang and his softer third piano concerto, “After the Fall,” for Olafsson, who debuted it alongside the San Francisco Symphony last month. Despite this, the duo plowed through “Hallelujah Junction.” They fell short compared to Cheng and Gershon in terms of clarity and finesse, but Wang’s rhythmic pulses pulsed with an independent energy.

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In honor of its 60th year, Twyla Tharp Dance will debut ‘Aguas da Amazonia’ accompanied by Philip Glass’ music at venues such as Santa Barbara, Costa Mesa, Palm Desert, and Northridge, prior to moving on to the Kennedy Center.

In the second half, magic was reintroduced with Arvo Pärt’s “Hymn to a Great City.” Composed and first performed in New York in 1984, this modest composition didn’t echo the bustling city sounds. Instead, it was filled with the tranquil ringing of prayer bells, not car horns – a choice that suited the mystical Pärt, who would debut in the U.S. two years later. However, initially dissatisfied with his work, he withdrew the hymn before eventually revising it. The current version beautifully conveys the ethereal chime of tiny bells and the resonant thrum of gongs, all faintly echoing from afar. In this performance, the pianists displayed a magical touch, much like Pärt himself when he penned his Fourth Symphony (“Los Angeles”) for the L.A. Philharmonic and Disney Hall’s acoustics.

Ólafsson and Wang skillfully showcased the more somber, chime-like elements in Rachmaninoff’s two-piano arrangement of his Symphonic Dances. Despite this, the melancholy nature of Rachmaninoff’s last significant work was countered by a stunning display of piano artistry. Eventually, they gracefully concluded their performance at Disney with three encores. A Dvorák Slavonic dance and a Brahms Hungarian one were playful and engaging, while Brahms’ Waltz in A-flat Major was tenderly elegant.

Without our fortunate dog’s talent for picking up higher pitched spiritual chimes, it seems there could be sounds we’ve unknowingly overlooked, as they continue to resonate even within ordinary human hearing range.

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2025-03-01 22:01

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