Jocelyn Morlock: My Identify is Amanda Todd; Janáček: Sinfonietta; Tchaikovsky: Piano Concerto No. 1 in B-flat Minor, Op. 23. Toronto Symphony Orchestra, Gustavo Gimeno, conductor; Yuja Wang, piano. April 16, 2025, Roy Thomson Corridor. Repeats tonight, April 17, and Saturday, April 19; tickets right here.
Worldwide famous person pianist Yuja Wang makes a welcome return to Toronto for 3 performances with the Toronto Symphony Orchestra this week. She is certainly one of many choose few artists who drives tickets gross sales, and audiences are completely satisfied to pay $200 even for a seat within the choir loft.
Though yesterday’s full home at Roy Thomson Corridor was there for the principle occasion after intermission, the primary half didn’t disappoint with an attention-grabbing and well-played program.
First Half: TSO
My Identify is Amanda Todd by Jocelyn Morlock is a robust memorial of the Canadian teenager who tragically took her personal life on the younger age of 15, after enduring relentless cyberbullying. From the melancholic strings opening to the agitated, discordant winds and brass that mirror the incessant noises of negativity on the web, the music is a considerate reflection of Amanda’s emotional misery and struggling. The piece slowly transforms right into a harmonious and virtually peaceable ending that signifies hope and redemption, an acceptable remembrance of Amanda’s legacy.
Leoš Janáček’ devoted the Sinfonietta to the Czechoslovak military, celebrating the Czech state’s declaration of independence. It’s a daring assertion of creative and nationwide identification. The piece opens with a hanging fanfare of brass and drums, expertly performed by an expanded brass part that was greater than double its standard dimension.
This was adopted by a lush, romantic Andante with wealthy orchestral colors. The following two actions have been full of energetic dance-like passages and joyous trumpet fanfare that evoked vigorous and festive celebrations.
TSO Music Director Gustavo Gimeno saved a decent ship and weaved all of the intricate parts collectively, whereas giving a particular voice to every part. The opening fanfare echoing nationalistic pleasure resurfaced within the remaining motion, and Gimeno successfully constructed stress that culminated in an explosive and triumphant end.
This rarely-performed piece has not been on the TSO live performance roster for nearly 20 years, and deserves to be heard extra typically.
Yuja Wang: Tchaikovsy & Extra
Yuja Wang is thought for her daring, unreserved model — in each her pianistic artistry and trend decisions, the latter being an genuine extension of her musical persona. After making a grand entrance in a glittery lengthy robe with a plunging neckline, alongside along with her trademark sky-high Louboutin stilettos, she launched into the double-octave cascades of Tchaikovsky’s Piano Concerto No. 1 with fearless depth. Though the primary motion is stuffed with highly effective, fiery passages, she confirmed skillful management in not getting the most important sound, however in balancing towards the ethereal, tender allegro strains.
This was particularly obvious within the second motion, during which she saved a distinctively lighter contact and a barely slower tempo, revealing an acute sensitivity to phrasing that was imbued with considerate dramatics. Her technically flawless taking part in gave the sensation she was conversing with an outdated good friend, but nonetheless discovering one thing recent and new of their relationship.
Gimeno gave the soloist ample area and freedom to precise, whereas the orchestra responded with equally sensible taking part in, and there have been advantageous solos from the oboe, clarinet and cello. Within the remaining motion, there was impeccable readability in Wang’s rapid-fire passages, and the dynamic interaction between the soloist and orchestra was once more evident.
Wang generously rewarded the very enthusiastic viewers with three encores. The primary piece, Danzón No. 2 by Arturo Márquez, was maybe a tribute to Gimeno’s Spanish roots. Regardless that this may increasingly not have been Wang’s most acquainted repertoire, and she or he had Gimeno flip the pages on the iPad, she vividly captured the essence of the spirited and sultry dance.
The second encore was a shocking piano association of Shostakovich’s String Quartet No. 8 in C minor, which Wang obsessed with electrifying vitality. The viewers was clearly not getting sufficient, and so they went wild when Wang sat down for the third time for the Etude No. 6 by Philip Glass. Once more, Wang’s dazzling virtuosity and passionate taking part in have been on absolutely show.
It was a spectacular night that left everybody feeling exuberant.
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Denise Lai is a Physiotherapist and Faculty Professor. She is an alumnus of the Toronto Mendelssohn Choir and a rusty piano participant.