Boston Classical Review

Lang Lang remains a classical music superstar—especially among the younger listeners—and the pianist’s sold-out appearance Friday night in Symphony Hall provided a showcase for his dazzling virtuosity as well as his eccentric musical personality in his first Celebrity Series recital in a decade.

Lang Lang’s voice is unique: an attentive listener can identify him in any piece he plays, with his individual tempo and rubato setting him apart, though different composers resonate better with this style than others. The pianist’s focus on physical showmanship and connecting with the audience accounts for some of his rock-star popularity and Friday night saw wild, hooting cheers atypical for a Boston audience.

The recital opened in understated fashion with Gabriel Fauré’s Pavane. Lang initially adopted a modest tempo and restrained phrasing that suited the French aesthetic. The contrast between the first theme and its reinstatement became apparent, with the second slower and more overtly expressive. Trills, while placed precisely and glided effortlessly, drew attention away from some of the sensitive moments.

He was most successful with Robert Schumann’s Kreisleriana, excelling in the portrayal of torment and storms in the opening movement and its later contrast with the different characters of contemplation, playfulness, and tension. Abrupt bass accents conveyed agitated moments and detached fluttery decorations painted a light-heartedness within the lines. 

Still, some musical choices were puzzling. While the tempo of the fourth movement is marked “Very slow,” the pianist stretched things out almost to the breaking point. Likewise, the impressively breathless runs of the Sehr rasch (Very fast) section obscured some of the notes.

The Romantic pieces of this program required much sensitivity, and Lang Lang’s emotive delivery embellished many moments yet sometimes could overshadow others.

Chopin works after intermission displayed more of his poetic musical interpretation and flamboyant stage personality. The unique offbeat stresses of the Mazurkas sometimes paired tightly with his unusual rubato, such as in the short Op. 24 no. 4. 

Lang Lang to the uninitiated can be fascinating in his physical display of intentions, with unusual stage movements that can be engaging in moments of heightened drama. In softer and more interior moments, he almost seemed to be attempting to extend his phrases with physical expression rather than the piano sound.

The least conservative of his interpretations was in the Polonaise in F-sharp minor, Op. 44, jarring flutters opening to blaring alarms of the main theme rather than the more standard, march-like observations of this score. The finer points of Chopin’s poetic voice were lost in a thrilling race here, anguished torrents of sound masking the expected stately procession.The middle mazurka section was weighted and stiff before delving back into an even more heightened, thrill-seeking finale.

Lang Lang presented two encores of contrasting moods, echoing the duality of the evening’s playing. He introduced the first, Romance sans paroles by “French lady” Charlotte Sohy,  played with great delicate beauty. The second was a showier, high-note closer of Manuel de Falla’s Ritual Fire Dance, which suited his flamboyant virtuosity, surprising snaps of sound, and pounding rhythms that provided the audience with one last burst of exciting fireworks.

The Celebrity Series presents Leonidas Kavakos and Daniil Trifonov 8 p.m. Wednesday at Symphony Hall. celebrityseries.org

Posted in Performances

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