Thank you!
Your support is sustaining the future of local news in our communities.

Prokofiev, piano and perfection: Yuja Wang at Tanglewood

Prokofiev, piano and perfection: Yuja Wang at Tanglewood

Yuja Wang performs with the TMCO and Andris Nelsons.

Hilary Scott

Sunday, July 20 was sunny and warm. Nic Mayorga, son of American concert pianist, the late Lincoln Mayorga, joined me at Tanglewood to hear Yuja Wang play Prokofiev’s Piano Concerto No. 2 in G minor, Op. 16. I first saw Wang on July 8, 2022, when she filled in for Jean-Yves Thibaudet on the opening night of Tanglewood’s summer season. She virtually blew the shed down with her powerful and dynamic playing of Liszt’s Piano Concerto No. 1.

Nic was my guest last season on July 13, when Wang wowed us with her delicate interpretation of Beethoven’s Piano Concerto No. 4. We made plans on the spot to return for her next date in Lenox.

As we found our seats there was a buzz in the Shed. A huge crowd had gathered. Nic went for tall cans of cold mineral water — essential. The Tanglewood Music Center Orchestra was on stage. The door opened, and out stepped Wang in a brilliant shear and sparkling silvery light dress befitting the warm day. Conductor Andris Nelsons followed. They greeted concertmaster Nathan Cole, and settled in.

The first movement, an Andandtino -Allegretto - Andandtino, is one where a 22-year-old Prokofiev distinguishes himself as an entirely new breed of concerto composers. It is far from typical. There is no conventional drama between opposing forces of piano and orchestra — just a light, gentle phrase with intentionally muted strings (pizzicato) and clarinets, giving way to Chopin-like left-hand figures from the piano, and a lengthy, divine melody in the right. There is beauty in this.Wang is in charge.

She transitioned to a faster march section that evolved into an extended solo played with great precision and attention to detail. The soloist had the floor until a raucous return of the full orchestra, followed by a pianissimo recollection of the opening. The two great forces now united, everyone was on the edge of their seat.

The second movement is a Scherzo: Vivace. Here, Wang showed her mastery over one of the most challenging sections — a relentlessly demanding moto perpetuo where the soloist must play unbroken sixteenths, both hands, in octave unison. Nic agreed that one must see this type of playing live to fully appreciate the artist. The orchestra added wonderful, subtle color and counter moods to this virtuoso spotlight. Wang’s command of the minutest shifts in tempo was astounding. The piano, here, produces melodies but also becomes a percussion instrument of the highest order.

In the third movement, an Intermezzo: Allegro moderato, the soloist gets a breather from the speedy tempos — but not quite, as she must alternate between delicacy and great force in figures while the orchestra layers a backdrop of a heavy march. Wang displayed her versatility here, commanding the tone, volume and moods as dictated by Prokofiev’s adventuring. Tempos changed. Everything changed. Yet throughout, each mini stanza and bar stood out — authentic, independent, real. Likely exactly what Prokofiev had in mind, but likely to elude all but the finest musicians.

In the Finale: Allegro tempestoso, Prokofiev reverts to the more conventional opposition-of-forces theme — the piano trying to overwhelm the orchestra in a barrage of flittering bright passages offset by heavy-handed chords. Wang chose a more collegial approach here. She was firm but polite; it never felt like a struggle. This made the transition to the next idea — where clarinets and violas offer a contrasting tranquility — smooth as silk. The solo piano continued with elements of Russian folk music, joined by the orchestra, building intensity before another solo piano display, and then a traditional buildup to a sweeping conclusion.

I glanced over at Nic’s joy and bewilderment. A standing ovation was followed, with encore performances of selections from Sebelius’s 13 Pieces for Piano, Op. 76, No. 2: Etude; Schubert’s “Gretchen am Spinnrade,” D. 118, arranged by Liszt; and Horowitz’s Variations on a Theme from Carmen.

Prokofiev’s debut of this concerto in 1913 did not go over quite as well. Some in the audience expressed displeasure at his ideas, hissed and rushed out. But Prokofiev expressed his displeasure at their poor taste, played an encore nonetheless, and fanned the flames. Sometimes a genius from one generation is misunderstood in his time but vindicated generations later by audiences and musicians of a different era. Such is the case with Prokofiez, who had the last laugh. Yuja Wang has her place in this saga. That she performs with the young musicians of the Tanglewood Music Center Orchestra shows her generous nature and kind heart — she cares about the future of classical music.

If you are curious and like to travel, Wang will play Prokofiev’s Piano Concerto No. 2 again several times this season: Nov. 13 at The Philharmonie de Paris; Dec. 4 and 5 at The Konzerthaus, Vienna; and Dec. 12 at The Concertgebouw in Amsterdam. I highly recommend it.

Latest News

Baseball, wine and jazz at Millbrook Winery

Bernie Williams and his Band of Friends at Millbrook Winery in 2025.

Provided

Throughout the history of Major League Baseball, precious few greats have been considered five-tool players. New York Yankee Bernie Williams was one of them.

To be considered a five tool player, one must show exceptional proficiency in five categories: hitting for average, hitting for power, running bases, fielding and arm strength. But there’s another tool Williams possesses that didn’t make it to the back of his baseball card: his mastery of jazz guitar.

Keep ReadingShow less
Lucky Orphans offers sanctuary for horses and healing for people

Deanna Hearn opened Lucky Orphans in 2003.

Provided
If horses could speak, Hearn believes they would offer just one piece of advice: “They’d tell us to slow down.”

From feeding retired racehorses before sunrise to guiding veterans, grieving parents and troubled teenagers through equine-assisted therapy sessions, Deanna Hearn rarely has a quiet day. As founder of Lucky Orphans Horse Rescue in Dover Plains, she oversees the care of more than 40 sanctuary horses while leading a nonprofit whose mission extends far beyond animal rescue.

What began as a childhood love of horses has evolved into a place where healing runs in both directions — for horses and for people. By the time you leave Lucky Orphans, it becomes clear that this place isn’t really about horses. The horses are simply how it begins. For Hearn, every rescued horse represents something much larger: hope, resilience, healing and second chances. The organization’s mission, she says, is simple: “People helping horses heal people.”

Keep ReadingShow less
Weekend in Norfolk returns for four days of art, music and community

A brass quintet at the Yale Music Shed at Weekend in Norfolk 2025.

Jennifer Almquist

Norfolk bursts with activity in midsummer with Weekend in Norfolk (WIN). An all-volunteer committee transforms the town with free public events for all ages. WIN 2026 begins Thursday, July 30, and runs through Sunday, Aug. 2.

Norfolk sculptor Jon Riedeman, the new head of Norfolk Artists and Friends (NAF), organized the group’s 19th annual art exhibition, featuring paintings, sculpture, photography and jewelry by area artists in the Art Barn on the grounds of the Norfolk Chamber Music Festival. Riedeman expanded the show this year by inviting artists from New Marlborough, Massachusetts, to participate. The exhibit opens with a reception Thursday, July 30, from 5 to 7 p.m.

Keep ReadingShow less
google preferred source

Want more of our stories on Google? Click here to make us a Preferred Source.

Abbey’s open-air theater returns with “Babette’s Feast”
Jen Gleason, director of “Babette’s Feast,” poses before a natural setting on the stage of The Gary-The Olivia Theater in Bethlehem.
Jack Sheedy

Jen Gleason stood on the stage of The Gary-The Olivia Theater and gestured toward the upstage wall—which wasn’t there. Like the so-called fourth wall separating audience from actors, all walls in this theater are invisible.

“That’s just God’s creation,” Gleason said, pointing to woods and rocks and grass and sky where you might expect a brick wall. “You cannot copy that. That’s the best backdrop you could possibly have.”

Keep ReadingShow less
Campus mental health expert to speak at Sharon Book Signing
Author and psychiatrist Mathilde Ross offers help for students navigating campus mental health.
Marissa Fiorucci

As August looms, college students begin to think about the upcoming academic year. Concerns over roommate compatibility or maintaining good grades are common. But for some, mental health challenges can arise in the campus setting.

Author and psychiatrist Mathilde Ross deals with the subject in her book “How to Thrive at College: A Guide to the Ups and Downs of Mental Health on Campus.” Ross, the daughter of Cicily and Joseph Hajek of Sharon, will be among the writers featured at the Hotchkiss Library’s 28th annual Sharon Summer Book Signing on July 31 from 4:45 to 7:30 p.m.

Keep ReadingShow less

The art of bringing travel home

The art of bringing travel home
Bringing the taste of France home with a container of salt.
Kerri-Lee Mayland

Perhaps that’s why summer travel is so irresistible. It isn’t just the promise of sunshine or a change of scenery. It’s the chance to step outside our routines, notice how other people live, taste something we’ve never tasted before, discover a beautiful object made by local hands and come home just a little different than when we left.

The best trips don’t end at the airport or in the driveway. They continue in the way we cook, decorate, entertain and even dress. That’s why I always try to bring a little piece of wherever I’ve been home with me.

Keep ReadingShow less
google preferred source

Want more of our stories on Google? Click here to make us a Preferred Source.

google preferred source

Want more of our stories on Google? Click here to make us a Preferred Source.