Or hookers too

you forgot to say she is also very attractive and has great body and feminine hips which for me was always the most important attraction part, before radiation to my brain at dentist robbed me from that instinct and made my brain numb, but before I had an asian girlfriend who looked like her both face and body, almost a twin

@bloodgrss "Heights and Achievements"???!!! The New Yorker By Janet Malcolm August 29, 2016 ... What is one to think of the clothes the twenty-nine-year-old pianist Yuja Wang wears when she performs-extremely short and tight dresses that ride up as she plays, so that she has to tug at them when she has a free hand, or clinging backless gowns that give an impression of near-nakedness (accompanied in all cases by four-inch-high stiletto heels)? In 2011, Mark Swed, the music critic of the L.A. Times, referring to the short and tight orange dress Yuja wore when she played Rachmaninoff’s Third Piano Concerto at the Hollywood Bowl, wrote that “had there been any less of it, the Bowl might have been forced to restrict admission to any music lover under 18 not accompanied by an adult.” Two years later, the New Criterion critic Jay Nordlinger characterized the “shorter-than-short red dress, barely covering her rear,” that Yuja wore for a Carnegie Hall recital as “stripper-wear.” Never has the relationship between what we see at a concert and what we hear come under such perplexing scrutiny. Is the seeing part a distraction (Glenn Gould thought it was) or is it-can it be-a heightening of the musical experience? During the intermission of a recital at Carnegie Hall in May, Yuja changed from the relatively conventional long gold sequinned gown she had worn for the first half, two Brahms Ballades and Schumann’s “Kreisleriana,” into something more characteristically outré. For the second half, Beethoven’s extremely long and difficult Sonata No. 29 in B-Flat, known as the “Hammerklavier,” she wore a dress that was neither short nor long but both: a dark-blue-green number, also sequinned, with a long train on one side-the side not facing the audience-and nothing on the other, so that her right thigh and leg were completely exposed. As she performed, the thigh, splayed by the weight of the torso and the action of the toe working the pedal, looked startlingly large, almost fat, though Yuja is a very slender woman. Her back was bare, thin straps crossing it. She looked like a dominatrix or a lion tamer’s assistant. She had come to tame the beast of a piece, this half-naked woman in sadistic high heels. Take that, and that, Beethoven!" ...

slippedisc.com/2019/06/yuja-wang-maybe-ill-have-a-baby-maybe-ill-quit-at-35/ Yuja Wang is bored: ‘Maybe I’ll have a baby. Maybe I’ll quit at 35’ By norman lebrecht on June 23, 2019 The over-exposed pianist has been talking to Christian Berzins at Zurich’s NZZ am Sonntag: ‘I do not want to be a slave to the repertoire. Maybe I’ll have a baby, maybe I’ll quit at 35, because then I won’t enjoy it anymore. Who knows?’ ‘I was home in New York for two weeks, and I enjoyed that time extremely! I met friends, did my stuff and also practiced something. It was so nice! It pulled me back. But then there was check-in again and check-out at the airport, transfers, trains, stress, concert in the evening.’ Read on here. The headline echoes her self-doubt: ‘Bin ich Gott oder Abfall? - Am I God, or garbage?’

@@mariodisarli1022 IN DEFENCE OF YUJA WANG By Norman Lebrecht On June 24, 2019 Our collaborator Zsolt Bognar has been upset by the griping of some readers at the Chinese-American pianist, her minimalist clothes and her flamboyant lifestyle. He has written this riposte to one of the sourpusses. The day I met Yuja was the day I filmed a feature about her for the show Living the Classical Life. She entered, as joyful and grateful as possible, so willing to submit to a format of introspection and deep consideration. She came across as one of the deepest, most vulnerable yet strong, and sincerely kindest human beings we have ever featured. And there was no trace of arrogance or entitlement to any aspect of her life. Her deep commitment to her art and to her mission to share great music with the world was astonishing. We explored her work ethic, and the demands she places on herself. Hers is a probing spirit, always searching for new answers and deeper meaning, and one who is open about just being herself. You would also be flabbergasted by how self-critical she is. Some people cannot seem to see past her concert attire. She loves these clothes and has fun collecting and wearing them. Many said the same about Liszt’s over-blown attire, ostentatiously decked out with all of his medals and decorations clanking together, his theatrics, his gloves that he would toss aside, his sex appeal, and his intentions. I notice that the most savage criticism directed at Yuja comes from a very specific demographic and age group, absolutely without fail. You dismiss her as a loud virtuoso. When she came here to Cleveland for performances of Rachmaninoff 3 and Bartók 1, what astonished the audiences here, of all my musician friends, teachers, and colleagues, was the heartbreaking, even understated lyricism. I don’t think I heard the Rachmaninoff so arrestingly melancholic, and much of it even seemed at sotto voce. The Bartók was prismatic in its musical grasp and range. I have heard her elsewhere in the world, and am surprised by the sense of discovery and freedom. Her Brahms 1 in Tokyo was introspective and tragic in the very least. Most of the guests I feature on Living the Classical Life do not keep in touch as friends, and that’s fine. Yuja became one of the most devoted and caring friends I have ever met, and this has gone on for years. Full of life and humor, she goes above and beyond to be there for her friends. But there is no need to defend her character or sincerity as a musician. What I am saying is that she is doing what she loves doing, fully and with great conviction, musically and in life. What is clear is she is a musician and human being who cares fully about everything. You didn’t like her Hammerklavier? Fine, go and listen to any number of others out there-the world is full of choices and the perspectives of devoted artists. I do happen to know she was made aware of your comment. Look what you wrote-you made your opinion clear, but expressed it in appalling, embarrassing terms that only reflect on you. Krystian Zimerman once said of the best criticism: for it to be truly perceptive, like a radio station the transmitter and receiver must be equally tuned. Otherwise, one perceives only the effect, not the cause. Sergei Babayan said of Glenn Gould: sometimes we play for listeners who are not present-our message is addressed to another audience.

@bloodgrss Hi Yuja! The New York Times Review. Yuja Wang Plays Dazed Chaos, Then 7 Encores By Zachary Woolfe May 18, 2018 The usual praise for a musician who plays a recital in a big hall is that he or she makes that big hall feel small. But on Thursday, the pianist Yuja Wang made Carnegie Hall seem even vaster than normal: big, empty, lonely. Through her concert’s uncompromisingly grim first half and its wary, stunned second, Ms. Wang charted wholly dark, private emotions. She was in no way hostile toward an adoring (if slightly disoriented) audience, but neither did she seem at all interested in seducing it. After the playbills had been printed, Ms. Wang - who will have a Perspectives series at Carnegie next season - revised her program. She subtracted two of the four Rachmaninoff preludes she’d planned to give before intermission and added an extra three of his later, even less scrutable Études-Tableaux. Ms. Wang played none of these pieces in a way that made them seem grounded or orderly; she even seemed to want to run the seven together in an unbroken, heady minor-key span, a choice that most - but not enough - of the audience respected by not clapping in between. Even divided by light applause, these pieces blurred into and stretched toward one another. Doing nothing that felt exaggerated or overwrought, Ms. Wang emphasized unsettled harmonies and de-emphasized melodic integrity. The Étude-Tableau, in E-flat Minor (Op. 33, No. 6) wasn’t the juxtaposition of one hand’s abstraction and the other’s clear etching. No, she was telling two surreal tales at once. The martial opening of the Prelude in G Minor (Op. 23, No. 5) swiftly unraveled into something woozy and bewildering. The washes of sound in the Étude-Tableau in C Minor (Op. 39, No. 1) were set alongside insectlike fingerwork - neurotic, insistent, claustrophobic. ... Her bending of the line in the Étude-Tableau in B Minor (Op. 39, No. 4) felt like the turning of a widening gyre, infusing the evocation of aristocratic nostalgia with anxiety. (Rachmaninoff composed most of the works Ms. Wang played as World War I loomed and unfolded, and the 19th century finally ended.) The stretched-out, washed-out quality of melancholy in her account of the Étude-Tableau in C Minor (Op. 33, No. 3), made that sorrow seem more like resignation: The loneliness she depicted felt familiar to her, even comfortable. The prevailing mood - dreamlike sadness; a feeling of being lost; rushing through darkness - continued in what followed. The relentless trills and tremolos of Scriabin’s Sonata No. 10 - which is sometimes played lusciously but was here diffuse and gauzy - glittered angrily. Three Ligeti etudes from the 1980s and ’90s proved that Rachmaninoff and Scriabin, as she presented them, were presentiments of the modernism of the distant future. There was the sense that more time than just 20 minutes - decades, perhaps - had elapsed during intermission, after which Ms. Wang played Prokofiev’s Sonata No. 8, composed during World War II. Here, playing with guarded poise, Ms. Wang seemed to inhabit a kind of aftermath of the dazed chaos she had depicted in the early-20th-century works on the first half. The contours were sharper now, the colors brighter and bolder. The effect was still unnerving. I considered whether Ms. Wang’s flamboyant clothes - in the first half, a floor-length purple gown with only a slash of sparkle covering her breasts; in the second, a tiny iridescent turquoise dress with vertiginous heels - were the right costume here. They did give the impression that she had arrived alone, a disconcerting combination of powerful and vulnerable, at a not particularly appealing party. In that sense they were a fitting complement to her ominous vision of this music. Likewise, it seemed at first that a few of her seven - yes, seven - encores jarred with the forlorn mood she’d built up. Vladimir Horowitz’s “Carmen” fantasia, an Art Tatum stride version of “Tea for Two,” a demented arrangement of Mozart’s “Rondo alla Turca” - all were blazingly performed but had a touch of cheerful kitsch about them. But perhaps they, too, were of a piece with the intoxication that permeated the recital. ... And by the end, as she followed the “Mélodie” from Gluck’s “Orfeo ed Euridice” with Schubert’s “Gretchen am Spinnrade,” Ms. Wang finally seemed to have found a measure of real, hard-earned peace.

@@mariodisarli1022 bloodgrss 18 hours ago @Mario DiSarli IN DEFENCE OF YUJA WANG By Norman Lebrecht On June 24, 2019 Our collaborator Zsolt Bognar has been upset by the griping of some readers at the Chinese-American pianist, her minimalist clothes and her flamboyant lifestyle. He has written this riposte to one of the sourpusses. The day I met Yuja was the day I filmed a feature about her for the show Living the Classical Life. She entered, as joyful and grateful as possible, so willing to submit to a format of introspection and deep consideration. She came across as one of the deepest, most vulnerable yet strong, and sincerely kindest human beings we have ever featured. And there was no trace of arrogance or entitlement to any aspect of her life. Her deep commitment to her art and to her mission to share great music with the world was astonishing. We explored her work ethic, and the demands she places on herself. Hers is a probing spirit, always searching for new answers and deeper meaning, and one who is open about just being herself. You would also be flabbergasted by how self-critical she is. Some people cannot seem to see past her concert attire. She loves these clothes and has fun collecting and wearing them. Many said the same about Liszt’s over-blown attire, ostentatiously decked out with all of his medals and decorations clanking together, his theatrics, his gloves that he would toss aside, his sex appeal, and his intentions. I notice that the most savage criticism directed at Yuja comes from a very specific demographic and age group, absolutely without fail. You dismiss her as a loud virtuoso. When she came here to Cleveland for performances of Rachmaninoff 3 and Bartók 1, what astonished the audiences here, of all my musician friends, teachers, and colleagues, was the heartbreaking, even understated lyricism. I don’t think I heard the Rachmaninoff so arrestingly melancholic, and much of it even seemed at sotto voce. The Bartók was prismatic in its musical grasp and range. I have heard her elsewhere in the world, and am surprised by the sense of discovery and freedom. Her Brahms 1 in Tokyo was introspective and tragic in the very least. Most of the guests I feature on Living the Classical Life do not keep in touch as friends, and that’s fine. Yuja became one of the most devoted and caring friends I have ever met, and this has gone on for years. Full of life and humor, she goes above and beyond to be there for her friends. But there is no need to defend her character or sincerity as a musician. What I am saying is that she is doing what she loves doing, fully and with great conviction, musically and in life. What is clear is she is a musician and human being who cares fully about everything. You didn’t like her Hammerklavier? Fine, go and listen to any number of others out there-the world is full of choices and the perspectives of devoted artists. I do happen to know she was made aware of your comment. Look what you wrote-you made your opinion clear, but expressed it in appalling, embarrassing terms that only reflect on you. Krystian Zimerman once said of the best criticism: for it to be truly perceptive, like a radio station the transmitter and receiver must be equally tuned. Otherwise, one perceives only the effect, not the cause. Sergei Babayan said of Glenn Gould: sometimes we play for listeners who are not present-our message is addressed to another audience.

@@bloodgrss kzfaq.info/get/bejne/orOFgMdiv6uzeJc.html Look at the faces of these young Chinese musicians. They are ready to die of shame! This is a disgrace to the great Chinese nation!

@bloodgrss "Heights and Achievements"???!!! The New Yorker By Janet Malcolm August 29, 2016 ... What is one to think of the clothes the twenty-nine-year-old pianist Yuja Wang wears when she performs-extremely short and tight dresses that ride up as she plays, so that she has to tug at them when she has a free hand, or clinging backless gowns that give an impression of near-nakedness (accompanied in all cases by four-inch-high stiletto heels)? In 2011, Mark Swed, the music critic of the L.A. Times, referring to the short and tight orange dress Yuja wore when she played Rachmaninoff’s Third Piano Concerto at the Hollywood Bowl, wrote that “had there been any less of it, the Bowl might have been forced to restrict admission to any music lover under 18 not accompanied by an adult.” Two years later, the New Criterion critic Jay Nordlinger characterized the “shorter-than-short red dress, barely covering her rear,” that Yuja wore for a Carnegie Hall recital as “stripper-wear.” Never has the relationship between what we see at a concert and what we hear come under such perplexing scrutiny. Is the seeing part a distraction (Glenn Gould thought it was) or is it-can it be-a heightening of the musical experience? During the intermission of a recital at Carnegie Hall in May, Yuja changed from the relatively conventional long gold sequinned gown she had worn for the first half, two Brahms Ballades and Schumann’s “Kreisleriana,” into something more characteristically outré. For the second half, Beethoven’s extremely long and difficult Sonata No. 29 in B-Flat, known as the “Hammerklavier,” she wore a dress that was neither short nor long but both: a dark-blue-green number, also sequinned, with a long train on one side-the side not facing the audience-and nothing on the other, so that her right thigh and leg were completely exposed. As she performed, the thigh, splayed by the weight of the torso and the action of the toe working the pedal, looked startlingly large, almost fat, though Yuja is a very slender woman. Her back was bare, thin straps crossing it. She looked like a dominatrix or a lion tamer’s assistant. She had come to tame the beast of a piece, this half-naked woman in sadistic high heels. Take that, and that, Beethoven!" ...

​@@georgescancan7503 I disagree Yuja Wang's interpretation of Prokofiev are the best ever. She has an ability to abstract herself from the music and imply her interpretation without it interfering with the composers intentions; in works of composers post-19C, that's a very favorable and rare ability. Also about her attire, there exists a need today to conserve previous traditions for some reason even though composers have been trying to break that since 1945. All Yuja Wang is doing by changing her attire is trying to change perception of musicians as old posh and conservative and attract newer generations of music lovers; in this day and age what she wears isn't even remotely provocative and the minute number of people that are shocked also hate all todays fashion. The fact that she is internationally renowned and noneuropean while the majority of other european soloists are unknown is indicative of how fresh her musical perspectives are and without which the western classical traditions would've died out 5 years ago from lack of younger interest. She studied under gary graffman, one of the leading classical pianist and who studied for a long time under horowitz which makes her a greater arbiter of western tradition than the majority of renowned european pianists. The rest of what u said is stupid and doesnt really warrant a response. understand overcome change

@ Butros Nayan Dear Butros Nayan, the naked body at the piano keyboard is not a masterpiece of modern pianistic art, it is an ordinary strip club. Gary Graffman is a specialist in preparing Chinese piano acrobats for the American market. Yes, Gary may have turned the pages of the musical text for Vladimir Horowitz and brought him a cup of coffee, but this is not a reason to call him a world magnitude. By the way, Vladimir Horowitz was a European and became a great pianist in Europe, not in America, if you want to know. for fan: New York CLASSICAL REVIEW < Yuja shows familiar flash but a lack of depth in Carnegie recital> By Eric C. Simpson May 15.2016 Bravo, Eric! Yuja is a well-oiled (Sex sells + Kitsch) sewing machine! YW - PR product, money making machine!!!

@@georgescancan7503 You're a prime example of a critic as defined by Brendan Behan. "Critics are like eunuchs in a harem, they know how to do it but can't!"

@@ukoze Sutor, ne ultra crepidam From Wikipedia, the free encyclopedia Vasari's home in Florence, Apelles Sutor, ne ultra crepidam is a Latin expression meaning literally "Shoemaker, not beyond the shoe", used to warn people to avoid passing judgment beyond their expertise. Its origin is set down in Pliny the Elder's Naturalis Historia [XXXV, 85[1] (Loeb IX, 323-325)] where he records that a shoemaker (sutor) had approached the painter Apelles of Kos to point out a defect in the artist's rendition of a sandal (crepida from Greek krepis), which Apelles duly corrected. Encouraged by this, the shoemaker then began to enlarge on other defects he considered present in the painting, at which point Apelles advised him that ne supra crepidam sutor iudicaret[1] (a shoemaker should not judge beyond the shoe),[1] which advice, Pliny observed, had become a proverbial saying. The English essayist William Hazlitt most likely coined the term "Ultracrepidarian" as first used publicly in a ferocious letter to William Gifford, the editor of The Quarterly Review: 1819 HAZLITT Letter to W. Gifford Wks. 1902 I. 368 You have been well called an Ultra-Crepidarian critic. (Oxford English Dictionary 2nd ed.) A related English proverb is "A cobbler should stick to his last".[2] The Russian language commonly uses variants of the phrase "Суди, дружок, не свыше сапога" (Judge not, pal, above the boot), after Alexander Pushkin's poetic retelling of the legend.[3]

@@georgescancan7503 Thank you for that very erudite reply. I hope you take it to heart!

The best thing Ms. Yuja Wang can do for classical music is to close the piano lid forever! She can show off her provocative dresses in a strip club or in a cowboy saloon.

@@mariodisarli1022 I agree her sartorial choices are indeed provocative and yet they are quite alluring. Having made that concession, might you not join me by agreeing they are also quite tasteful and suit her youth? Remember, for many in her generation classical music is for old fuddy-duddies. From that perspective --and I am convinced these choices are certainly of an informed volition-- what she does is make classical music both fun and endlessly engaging. She makes the music accessible and contemporary. With this regard, I find her choices both savvy and wise. I am afraid, my friend, we part ways when it comes to viewing her playing as anything other than suiting style with substance. I invite you to listen more and see if her Siren song doesn't draw you further into the music and into her aura. Her gifts are profoundly sentimental without being trapped in sentimentality. I am always left wanting to hear more and yes, I confess, always wanting to watch more as her beauty gives the music an immediacy that has always been the purview of gifted soloists. With this regard, she updates the music and makes it strains of today, with the promise of an audience among the younger set. Hers then is a service to classical music and ensures that you and I will have something to listen to for many years to come.

@@erikbrodnax7050 It's about CLASSIC MUSIC! These two words "classical music" contain the greatest meaning, work and achievements of European civilization. This is a diamond that will always be valuable and will never disappear! This diamond does not need to be popularized, it is not jewelry for everyday consumption. All kinds of "entertainment music" (pop, rock, etc.) will disappear, transform, but classical music and works of the greatest composers of our planet will exist forever!

@@mariodisarli1022 to expect all people to conform to one singular idea and to compress a person based on her/his outward appearance is quite ignorant, disappointing, and shallow. If all paintings were impressionist, if all buildings were brutalist, if all streets were concrete, if all trees were oak, would you like the monotony and predictability of that? Yuja breathes fresh air, contrast, and youth into an otherwise age old craft and pleasure.

@@mariodisarli1022 IN DEFENCE OF YUJA WANG By Norman Lebrecht On June 24, 2019 Our collaborator Zsolt Bognar has been upset by the griping of some readers at the Chinese-American pianist, her minimalist clothes and her flamboyant lifestyle. He has written this riposte to one of the sourpusses. The day I met Yuja was the day I filmed a feature about her for the show Living the Classical Life. She entered, as joyful and grateful as possible, so willing to submit to a format of introspection and deep consideration. She came across as one of the deepest, most vulnerable yet strong, and sincerely kindest human beings we have ever featured. And there was no trace of arrogance or entitlement to any aspect of her life. Her deep commitment to her art and to her mission to share great music with the world was astonishing. We explored her work ethic, and the demands she places on herself. Hers is a probing spirit, always searching for new answers and deeper meaning, and one who is open about just being herself. You would also be flabbergasted by how self-critical she is. Some people cannot seem to see past her concert attire. She loves these clothes and has fun collecting and wearing them. Many said the same about Liszt’s over-blown attire, ostentatiously decked out with all of his medals and decorations clanking together, his theatrics, his gloves that he would toss aside, his sex appeal, and his intentions. I notice that the most savage criticism directed at Yuja comes from a very specific demographic and age group, absolutely without fail. You dismiss her as a loud virtuoso. When she came here to Cleveland for performances of Rachmaninoff 3 and Bartók 1, what astonished the audiences here, of all my musician friends, teachers, and colleagues, was the heartbreaking, even understated lyricism. I don’t think I heard the Rachmaninoff so arrestingly melancholic, and much of it even seemed at sotto voce. The Bartók was prismatic in its musical grasp and range. I have heard her elsewhere in the world, and am surprised by the sense of discovery and freedom. Her Brahms 1 in Tokyo was introspective and tragic in the very least. Most of the guests I feature on Living the Classical Life do not keep in touch as friends, and that’s fine. Yuja became one of the most devoted and caring friends I have ever met, and this has gone on for years. Full of life and humor, she goes above and beyond to be there for her friends. But there is no need to defend her character or sincerity as a musician. What I am saying is that she is doing what she loves doing, fully and with great conviction, musically and in life. What is clear is she is a musician and human being who cares fully about everything. You didn’t like her Hammerklavier? Fine, go and listen to any number of others out there-the world is full of choices and the perspectives of devoted artists. I do happen to know she was made aware of your comment. Look what you wrote-you made your opinion clear, but expressed it in appalling, embarrassing terms that only reflect on you. Krystian Zimerman once said of the best criticism: for it to be truly perceptive, like a radio station the transmitter and receiver must be equally tuned. Otherwise, one perceives only the effect, not the cause. Sergei Babayan said of Glenn Gould: sometimes we play for listeners who are not present-our message is addressed to another audience.

"While the cooks learned to control the piano, the state ran out of food!" Mao Dzedong

@@mariodisarli1022 "When the seagulls follow the trawler, it's because they think sardines will be thrown into the sea." Eric Cantona.

@@keyboarddancers7751 "Two things are infinite: the universe and human stupidity; and I'm not sure about the universe." Albert Einstein

@@mariodisarli1022 Our Fascist friend-ban coming...

@@bloodgrss kzfaq.info/get/bejne/orOFgMdiv6uzeJc.html Look at the faces of these young Chinese musicians. They are ready to die of shame! This is a disgrace to the great Chinese nation!

Maybe you could find out what street corner she is working in Vegas, bring $100 and have a good time

@@charlesdaues9439 wow that is very disrespectful mate

slippedisc.com/2019/06/yuja-wang-maybe-ill-have-a-baby-maybe-ill-quit-at-35/ Yuja Wang is bored: ‘Maybe I’ll have a baby. Maybe I’ll quit at 35’ By norman lebrecht on June 23, 2019 The over-exposed pianist has been talking to Christian Berzins at Zurich’s NZZ am Sonntag: ‘I do not want to be a slave to the repertoire. Maybe I’ll have a baby, maybe I’ll quit at 35, because then I won’t enjoy it anymore. Who knows?’ ‘I was home in New York for two weeks, and I enjoyed that time extremely! I met friends, did my stuff and also practiced something. It was so nice! It pulled me back. But then there was check-in again and check-out at the airport, transfers, trains, stress, concert in the evening.’ Read on here. The headline echoes her self-doubt: ‘Bin ich Gott oder Abfall? - Am I God, or garbage?’

@@charlesdaues9439 If you want cheap fun pal-you obviously are knowledgeable of such low class things; thank heaven you know nothing of music to be taken seriously here troll...

@@mariodisarli1022 IN DEFENCE OF YUJA WANG By Norman Lebrecht On June 24, 2019 Our collaborator Zsolt Bognar has been upset by the griping of some readers at the Chinese-American pianist, her minimalist clothes and her flamboyant lifestyle. He has written this riposte to one of the sourpusses. The day I met Yuja was the day I filmed a feature about her for the show Living the Classical Life. She entered, as joyful and grateful as possible, so willing to submit to a format of introspection and deep consideration. She came across as one of the deepest, most vulnerable yet strong, and sincerely kindest human beings we have ever featured. And there was no trace of arrogance or entitlement to any aspect of her life. Her deep commitment to her art and to her mission to share great music with the world was astonishing. We explored her work ethic, and the demands she places on herself. Hers is a probing spirit, always searching for new answers and deeper meaning, and one who is open about just being herself. You would also be flabbergasted by how self-critical she is. Some people cannot seem to see past her concert attire. She loves these clothes and has fun collecting and wearing them. Many said the same about Liszt’s over-blown attire, ostentatiously decked out with all of his medals and decorations clanking together, his theatrics, his gloves that he would toss aside, his sex appeal, and his intentions. I notice that the most savage criticism directed at Yuja comes from a very specific demographic and age group, absolutely without fail. You dismiss her as a loud virtuoso. When she came here to Cleveland for performances of Rachmaninoff 3 and Bartók 1, what astonished the audiences here, of all my musician friends, teachers, and colleagues, was the heartbreaking, even understated lyricism. I don’t think I heard the Rachmaninoff so arrestingly melancholic, and much of it even seemed at sotto voce. The Bartók was prismatic in its musical grasp and range. I have heard her elsewhere in the world, and am surprised by the sense of discovery and freedom. Her Brahms 1 in Tokyo was introspective and tragic in the very least. Most of the guests I feature on Living the Classical Life do not keep in touch as friends, and that’s fine. Yuja became one of the most devoted and caring friends I have ever met, and this has gone on for years. Full of life and humor, she goes above and beyond to be there for her friends. But there is no need to defend her character or sincerity as a musician. What I am saying is that she is doing what she loves doing, fully and with great conviction, musically and in life. What is clear is she is a musician and human being who cares fully about everything. You didn’t like her Hammerklavier? Fine, go and listen to any number of others out there-the world is full of choices and the perspectives of devoted artists. I do happen to know she was made aware of your comment. Look what you wrote-you made your opinion clear, but expressed it in appalling, embarrassing terms that only reflect on you. Krystian Zimerman once said of the best criticism: for it to be truly perceptive, like a radio station the transmitter and receiver must be equally tuned. Otherwise, one perceives only the effect, not the cause. Sergei Babayan said of Glenn Gould: sometimes we play for listeners who are not present-our message is addressed to another audience.

@bloodgrss "Heights and Achievements"???!!! The New Yorker By Janet Malcolm August 29, 2016 ... What is one to think of the clothes the twenty-nine-year-old pianist Yuja Wang wears when she performs-extremely short and tight dresses that ride up as she plays, so that she has to tug at them when she has a free hand, or clinging backless gowns that give an impression of near-nakedness (accompanied in all cases by four-inch-high stiletto heels)? In 2011, Mark Swed, the music critic of the L.A. Times, referring to the short and tight orange dress Yuja wore when she played Rachmaninoff’s Third Piano Concerto at the Hollywood Bowl, wrote that “had there been any less of it, the Bowl might have been forced to restrict admission to any music lover under 18 not accompanied by an adult.” Two years later, the New Criterion critic Jay Nordlinger characterized the “shorter-than-short red dress, barely covering her rear,” that Yuja wore for a Carnegie Hall recital as “stripper-wear.” Never has the relationship between what we see at a concert and what we hear come under such perplexing scrutiny. Is the seeing part a distraction (Glenn Gould thought it was) or is it-can it be-a heightening of the musical experience? During the intermission of a recital at Carnegie Hall in May, Yuja changed from the relatively conventional long gold sequinned gown she had worn for the first half, two Brahms Ballades and Schumann’s “Kreisleriana,” into something more characteristically outré. For the second half, Beethoven’s extremely long and difficult Sonata No. 29 in B-Flat, known as the “Hammerklavier,” she wore a dress that was neither short nor long but both: a dark-blue-green number, also sequinned, with a long train on one side-the side not facing the audience-and nothing on the other, so that her right thigh and leg were completely exposed. As she performed, the thigh, splayed by the weight of the torso and the action of the toe working the pedal, looked startlingly large, almost fat, though Yuja is a very slender woman. Her back was bare, thin straps crossing it. She looked like a dominatrix or a lion tamer’s assistant. She had come to tame the beast of a piece, this half-naked woman in sadistic high heels. Take that, and that, Beethoven!" ...

Really cool to see the behind the scenes for choosing a piano. The new one may develop into something special but right now sounds quite new. The older instrument is bright yet rich. A testament to her talent that she can perform on anything.

I’m still chuckling…but seriously she’s the one that woke me up and I’m out of my 71 year old stupor…what a performer!

I heard Yuja had said "Sorry,baby" to the other two pianos.

Hi Yuja! Let's talk about Yuja Wang. How did you like my idea of a shiny vertical metal rod next to the piano? The vertical metal bar that "girls" use in a strip club? I'm sure Yuja will look great on this vertical metal bar in her bikini dress! While the orchestra plays, Yuja can demonstrate her erotic art on this metal bar! The audience would be particularly happy.

@@georgescancan7503 Lol-you've used all this prejudiced ignorance on me before Georges/Mario; but I'm on the job againtroll-enjoy your last days of insane Yuja Wang trolling stupidities and your sexist/racist agenda against her. Copy and paste fast...the ban is coming😉

@@bloodgrss Yuja, trolling, copying, etc. you can name absolutely everything. You have left so much shame on the Internet in your pursuit of money that this shame will haunt you for the rest of your life!

@@bloodgrss Separate two things: a brothel and a concert hall!

@@georgescancan7503 Lol-you've used all this prejudiced ignorance on me before Georges/Mario; but I'm on the job againtroll-enjoy your last days of insane Yuja Wang trolling stupidities and your sexist/racist agenda against her. Copy and paste fast...the ban is coming😉

@@georgescancan7503 Georges/Mario-I'm on the job troll-enjoy your last days of insane Yuja Wang trolling stupidities and your sexist/racist agenda against her. Copy and paste fast...

@@bloodgrss Hi Yuja! Who is Yuja? Product PR and show industry! Absolutely ordinary pianist, pulled onto the stage by mafia structures for the sexual entertainment of snotty youths and old libertines! Her videos and interviews multiply at the rate of cholera spread! She filled the entire Internet with her "art" consisting of a half-naked body. We must finally say: enough !!! The Classical Review Wang’s powerful virtuosity stronger on flash than depth in Boston recital May 13, 2018 By Aaron Keebaugh Yuja Wang performed Friday night at Jordan Hall for the Celebrity Series. Photo: Robert Torres ... There is no doubting Yuja Wang’s technique at the keyboard. The Chinese-born pianist is capable of unleashing torrents of octave runs, and her left-hand figures supply an almost orchestral sense of depth and gravity to her sound. She clearly shapes every phrase, and her notes resonate with a ping. ... Still, there were times Friday night when one wondered if Wang only saw some of this music as just showpieces for her mesmerizing technical skill. Her selections of Rachmaninoff Preludes and Études-tableaux, though played deftly, didn’t always flower with the vocal quality so integral to the composer’s style. Wang takes a full-bodied approach to Rachmaninoff, and she renders his textures in multi-dimensional shapes. In the Prelude in G minor, Op. 23, No. 5, her strong left hand figures tethered the march rhythms to the ground. The Prelude in B minor, Op. 32, No. 10 unfolded in Debussyian washes of color. In the Étude-tableau in E-flat minor, Op. 39, No. 5, Wang’s harmonies and bass lines crashed together in blistering clusters. But in each, Rachmaninoff sense of sweeping grandeur went largely unexplored. Three of Ligeti’s Etudes, which filled out the program, were similarly muscular but lacking in probing musicality. Wang’s running chromatic figures blurred into a fog in Etude No. 9, “Vertige,” and in Etude No. 1, “Désordre,” churning Bartókian rhythms propelled the music ever forward. In Etude No. 3, “Touches bloquées,” Wang’s performance needed more of the intimacy that this music requires. Though Wang played the work quickly-as marked-the Etude’s halo-like harmonics, caused by the pianist keeping some of the keys depressed with the left hand while punching out syncopated figures with the right, failed to shimmer. Ligeti incorporated difficult passages into these works not as vehicles for showboating but to create ethereal musical tapestries. And throughout, it seemed as if Wang was playing Ligeti’s notes, not Ligeti’s music. ... The program will be repeated 8 p.m. Thursday night at Carnegie Hall in New York. carnegiehall.org.

@@georgescancan7503 Lol-you've used all this prejudiced ignorance on me before Georges/Mario; but I'm on the job againtroll-enjoy your last days of insane Yuja Wang trolling stupidities and your sexist/racist agenda against her. Copy and paste fast...the ban is coming😉

@@bloodgrss Yuja, trolling, copying, etc. you can name absolutely everything. You have left so much shame on the Internet in your pursuit of money that this shame will haunt you for the rest of your life!

@@bloodgrss Separate two things: a brothel and a concert hall!

" 'Hope she decides to retain these qualities. " ???!!! kzfaq.info/get/bejne/a9lorM6GldO6foU.html

The best thing Ms. Yuja Wang can do for classical music is to close the piano lid forever! She can show off her provocative dresses in a strip club or in a cowboy saloon.

@@mariodisarli1022 IN DEFENCE OF YUJA WANG By Norman Lebrecht On June 24, 2019 Our collaborator Zsolt Bognar has been upset by the griping of some readers at the Chinese-American pianist, her minimalist clothes and her flamboyant lifestyle. He has written this riposte to one of the sourpusses. The day I met Yuja was the day I filmed a feature about her for the show Living the Classical Life. She entered, as joyful and grateful as possible, so willing to submit to a format of introspection and deep consideration. She came across as one of the deepest, most vulnerable yet strong, and sincerely kindest human beings we have ever featured. And there was no trace of arrogance or entitlement to any aspect of her life. Her deep commitment to her art and to her mission to share great music with the world was astonishing. We explored her work ethic, and the demands she places on herself. Hers is a probing spirit, always searching for new answers and deeper meaning, and one who is open about just being herself. You would also be flabbergasted by how self-critical she is. Some people cannot seem to see past her concert attire. She loves these clothes and has fun collecting and wearing them. Many said the same about Liszt’s over-blown attire, ostentatiously decked out with all of his medals and decorations clanking together, his theatrics, his gloves that he would toss aside, his sex appeal, and his intentions. I notice that the most savage criticism directed at Yuja comes from a very specific demographic and age group, absolutely without fail. You dismiss her as a loud virtuoso. When she came here to Cleveland for performances of Rachmaninoff 3 and Bartók 1, what astonished the audiences here, of all my musician friends, teachers, and colleagues, was the heartbreaking, even understated lyricism. I don’t think I heard the Rachmaninoff so arrestingly melancholic, and much of it even seemed at sotto voce. The Bartók was prismatic in its musical grasp and range. I have heard her elsewhere in the world, and am surprised by the sense of discovery and freedom. Her Brahms 1 in Tokyo was introspective and tragic in the very least. Most of the guests I feature on Living the Classical Life do not keep in touch as friends, and that’s fine. Yuja became one of the most devoted and caring friends I have ever met, and this has gone on for years. Full of life and humor, she goes above and beyond to be there for her friends. But there is no need to defend her character or sincerity as a musician. What I am saying is that she is doing what she loves doing, fully and with great conviction, musically and in life. What is clear is she is a musician and human being who cares fully about everything. You didn’t like her Hammerklavier? Fine, go and listen to any number of others out there-the world is full of choices and the perspectives of devoted artists. I do happen to know she was made aware of your comment. Look what you wrote-you made your opinion clear, but expressed it in appalling, embarrassing terms that only reflect on you. Krystian Zimerman once said of the best criticism: for it to be truly perceptive, like a radio station the transmitter and receiver must be equally tuned. Otherwise, one perceives only the effect, not the cause. Sergei Babayan said of Glenn Gould: sometimes we play for listeners who are not present-our message is addressed to another audience.

@@bloodgrss "McDonald´s"culture! The money& sex sells culture! popcorn pianist! Los Angeles Daily News By Bob Lowman 19.07.2016 .... However, the right environment can give a performance an extra bit of inspiration. “The energy at the Hollywood Bowl is great,” she says. “There’s always the smell of popcorn.”

@@mariodisarli1022 bloodgrss 18 hours ago @Mario DiSarli IN DEFENCE OF YUJA WANG By Norman Lebrecht On June 24, 2019 Our collaborator Zsolt Bognar has been upset by the griping of some readers at the Chinese-American pianist, her minimalist clothes and her flamboyant lifestyle. He has written this riposte to one of the sourpusses. The day I met Yuja was the day I filmed a feature about her for the show Living the Classical Life. She entered, as joyful and grateful as possible, so willing to submit to a format of introspection and deep consideration. She came across as one of the deepest, most vulnerable yet strong, and sincerely kindest human beings we have ever featured. And there was no trace of arrogance or entitlement to any aspect of her life. Her deep commitment to her art and to her mission to share great music with the world was astonishing. We explored her work ethic, and the demands she places on herself. Hers is a probing spirit, always searching for new answers and deeper meaning, and one who is open about just being herself. You would also be flabbergasted by how self-critical she is. Some people cannot seem to see past her concert attire. She loves these clothes and has fun collecting and wearing them. Many said the same about Liszt’s over-blown attire, ostentatiously decked out with all of his medals and decorations clanking together, his theatrics, his gloves that he would toss aside, his sex appeal, and his intentions. I notice that the most savage criticism directed at Yuja comes from a very specific demographic and age group, absolutely without fail. You dismiss her as a loud virtuoso. When she came here to Cleveland for performances of Rachmaninoff 3 and Bartók 1, what astonished the audiences here, of all my musician friends, teachers, and colleagues, was the heartbreaking, even understated lyricism. I don’t think I heard the Rachmaninoff so arrestingly melancholic, and much of it even seemed at sotto voce. The Bartók was prismatic in its musical grasp and range. I have heard her elsewhere in the world, and am surprised by the sense of discovery and freedom. Her Brahms 1 in Tokyo was introspective and tragic in the very least. Most of the guests I feature on Living the Classical Life do not keep in touch as friends, and that’s fine. Yuja became one of the most devoted and caring friends I have ever met, and this has gone on for years. Full of life and humor, she goes above and beyond to be there for her friends. But there is no need to defend her character or sincerity as a musician. What I am saying is that she is doing what she loves doing, fully and with great conviction, musically and in life. What is clear is she is a musician and human being who cares fully about everything. You didn’t like her Hammerklavier? Fine, go and listen to any number of others out there-the world is full of choices and the perspectives of devoted artists. I do happen to know she was made aware of your comment. Look what you wrote-you made your opinion clear, but expressed it in appalling, embarrassing terms that only reflect on you. Krystian Zimerman once said of the best criticism: for it to be truly perceptive, like a radio station the transmitter and receiver must be equally tuned. Otherwise, one perceives only the effect, not the cause. Sergei Babayan said of Glenn Gould: sometimes we play for listeners who are not present-our message is addressed to another audience.

@@bloodgrss kzfaq.info/get/bejne/orOFgMdiv6uzeJc.html Look at the faces of these young Chinese musicians. They are ready to die of shame! This is a disgrace to the great Chinese nation!

slippedisc.com/2019/06/yuja-wang-maybe-ill-have-a-baby-maybe-ill-quit-at-35/ Yuja Wang is bored: ‘Maybe I’ll have a baby. Maybe I’ll quit at 35’ By norman lebrecht on June 23, 2019 The over-exposed pianist has been talking to Christian Berzins at Zurich’s NZZ am Sonntag: ‘I do not want to be a slave to the repertoire. Maybe I’ll have a baby, maybe I’ll quit at 35, because then I won’t enjoy it anymore. Who knows?’ ‘I was home in New York for two weeks, and I enjoyed that time extremely! I met friends, did my stuff and also practiced something. It was so nice! It pulled me back. But then there was check-in again and check-out at the airport, transfers, trains, stress, concert in the evening.’ Read on here. The headline echoes her self-doubt: ‘Bin ich Gott oder Abfall? - Am I God, or garbage?’

@@mariodisarli1022 IN DEFENCE OF YUJA WANG By Norman Lebrecht On June 24, 2019 Our collaborator Zsolt Bognar has been upset by the griping of some readers at the Chinese-American pianist, her minimalist clothes and her flamboyant lifestyle. He has written this riposte to one of the sourpusses. The day I met Yuja was the day I filmed a feature about her for the show Living the Classical Life. She entered, as joyful and grateful as possible, so willing to submit to a format of introspection and deep consideration. She came across as one of the deepest, most vulnerable yet strong, and sincerely kindest human beings we have ever featured. And there was no trace of arrogance or entitlement to any aspect of her life. Her deep commitment to her art and to her mission to share great music with the world was astonishing. We explored her work ethic, and the demands she places on herself. Hers is a probing spirit, always searching for new answers and deeper meaning, and one who is open about just being herself. You would also be flabbergasted by how self-critical she is. Some people cannot seem to see past her concert attire. She loves these clothes and has fun collecting and wearing them. Many said the same about Liszt’s over-blown attire, ostentatiously decked out with all of his medals and decorations clanking together, his theatrics, his gloves that he would toss aside, his sex appeal, and his intentions. I notice that the most savage criticism directed at Yuja comes from a very specific demographic and age group, absolutely without fail. You dismiss her as a loud virtuoso. When she came here to Cleveland for performances of Rachmaninoff 3 and Bartók 1, what astonished the audiences here, of all my musician friends, teachers, and colleagues, was the heartbreaking, even understated lyricism. I don’t think I heard the Rachmaninoff so arrestingly melancholic, and much of it even seemed at sotto voce. The Bartók was prismatic in its musical grasp and range. I have heard her elsewhere in the world, and am surprised by the sense of discovery and freedom. Her Brahms 1 in Tokyo was introspective and tragic in the very least. Most of the guests I feature on Living the Classical Life do not keep in touch as friends, and that’s fine. Yuja became one of the most devoted and caring friends I have ever met, and this has gone on for years. Full of life and humor, she goes above and beyond to be there for her friends. But there is no need to defend her character or sincerity as a musician. What I am saying is that she is doing what she loves doing, fully and with great conviction, musically and in life. What is clear is she is a musician and human being who cares fully about everything. You didn’t like her Hammerklavier? Fine, go and listen to any number of others out there-the world is full of choices and the perspectives of devoted artists. I do happen to know she was made aware of your comment. Look what you wrote-you made your opinion clear, but expressed it in appalling, embarrassing terms that only reflect on you. Krystian Zimerman once said of the best criticism: for it to be truly perceptive, like a radio station the transmitter and receiver must be equally tuned. Otherwise, one perceives only the effect, not the cause. Sergei Babayan said of Glenn Gould: sometimes we play for listeners who are not present-our message is addressed to another audience.

"While the cooks learned to control the piano, the state ran out of food!" Mao Dzedong

@@mariodisarli1022 IN DEFENCE OF YUJA WANG By Norman Lebrecht On June 24, 2019 Our collaborator Zsolt Bognar has been upset by the griping of some readers at the Chinese-American pianist, her minimalist clothes and her flamboyant lifestyle. He has written this riposte to one of the sourpusses. The day I met Yuja was the day I filmed a feature about her for the show Living the Classical Life. She entered, as joyful and grateful as possible, so willing to submit to a format of introspection and deep consideration. She came across as one of the deepest, most vulnerable yet strong, and sincerely kindest human beings we have ever featured. And there was no trace of arrogance or entitlement to any aspect of her life. Her deep commitment to her art and to her mission to share great music with the world was astonishing. We explored her work ethic, and the demands she places on herself. Hers is a probing spirit, always searching for new answers and deeper meaning, and one who is open about just being herself. You would also be flabbergasted by how self-critical she is. Some people cannot seem to see past her concert attire. She loves these clothes and has fun collecting and wearing them. Many said the same about Liszt’s over-blown attire, ostentatiously decked out with all of his medals and decorations clanking together, his theatrics, his gloves that he would toss aside, his sex appeal, and his intentions. I notice that the most savage criticism directed at Yuja comes from a very specific demographic and age group, absolutely without fail. You dismiss her as a loud virtuoso. When she came here to Cleveland for performances of Rachmaninoff 3 and Bartók 1, what astonished the audiences here, of all my musician friends, teachers, and colleagues, was the heartbreaking, even understated lyricism. I don’t think I heard the Rachmaninoff so arrestingly melancholic, and much of it even seemed at sotto voce. The Bartók was prismatic in its musical grasp and range. I have heard her elsewhere in the world, and am surprised by the sense of discovery and freedom. Her Brahms 1 in Tokyo was introspective and tragic in the very least. Most of the guests I feature on Living the Classical Life do not keep in touch as friends, and that’s fine. Yuja became one of the most devoted and caring friends I have ever met, and this has gone on for years. Full of life and humor, she goes above and beyond to be there for her friends. But there is no need to defend her character or sincerity as a musician. What I am saying is that she is doing what she loves doing, fully and with great conviction, musically and in life. What is clear is she is a musician and human being who cares fully about everything. You didn’t like her Hammerklavier? Fine, go and listen to any number of others out there-the world is full of choices and the perspectives of devoted artists. I do happen to know she was made aware of your comment. Look what you wrote-you made your opinion clear, but expressed it in appalling, embarrassing terms that only reflect on you. Krystian Zimerman once said of the best criticism: for it to be truly perceptive, like a radio station the transmitter and receiver must be equally tuned. Otherwise, one perceives only the effect, not the cause. Sergei Babayan said of Glenn Gould: sometimes we play for listeners who are not present-our message is addressed to another audience.

@@bloodgrss Hi Yuja! GERMANY BERLIN - Cultural radio from the rbb (Berlin - Brandenburg) Philharmonie Berlin - Yuja Wang piano recital Rating: * - - - - (one star of five) Works bei Johannes Brahms: Ballads, Op. 10, No. 1 and 2; Robert Schumann: Kreisleriana, op. 16; Ludwig van Beethoven: Piano sonata No. 29 B flat major, op. 106 - "Hammerklavier-Sonate" With Yuja Wang ..... "Apart from the ecores, this evening was an absolute misunderstanding and, unfortunately, one of the worst piano evenings ever." Andreas Göbel, cultural radio 14.06.2016

@@mariodisarli1022 bloodgrss 18 hours ago @Mario DiSarli IN DEFENCE OF YUJA WANG By Norman Lebrecht On June 24, 2019 Our collaborator Zsolt Bognar has been upset by the griping of some readers at the Chinese-American pianist, her minimalist clothes and her flamboyant lifestyle. He has written this riposte to one of the sourpusses. The day I met Yuja was the day I filmed a feature about her for the show Living the Classical Life. She entered, as joyful and grateful as possible, so willing to submit to a format of introspection and deep consideration. She came across as one of the deepest, most vulnerable yet strong, and sincerely kindest human beings we have ever featured. And there was no trace of arrogance or entitlement to any aspect of her life. Her deep commitment to her art and to her mission to share great music with the world was astonishing. We explored her work ethic, and the demands she places on herself. Hers is a probing spirit, always searching for new answers and deeper meaning, and one who is open about just being herself. You would also be flabbergasted by how self-critical she is. Some people cannot seem to see past her concert attire. She loves these clothes and has fun collecting and wearing them. Many said the same about Liszt’s over-blown attire, ostentatiously decked out with all of his medals and decorations clanking together, his theatrics, his gloves that he would toss aside, his sex appeal, and his intentions. I notice that the most savage criticism directed at Yuja comes from a very specific demographic and age group, absolutely without fail. You dismiss her as a loud virtuoso. When she came here to Cleveland for performances of Rachmaninoff 3 and Bartók 1, what astonished the audiences here, of all my musician friends, teachers, and colleagues, was the heartbreaking, even understated lyricism. I don’t think I heard the Rachmaninoff so arrestingly melancholic, and much of it even seemed at sotto voce. The Bartók was prismatic in its musical grasp and range. I have heard her elsewhere in the world, and am surprised by the sense of discovery and freedom. Her Brahms 1 in Tokyo was introspective and tragic in the very least. Most of the guests I feature on Living the Classical Life do not keep in touch as friends, and that’s fine. Yuja became one of the most devoted and caring friends I have ever met, and this has gone on for years. Full of life and humor, she goes above and beyond to be there for her friends. But there is no need to defend her character or sincerity as a musician. What I am saying is that she is doing what she loves doing, fully and with great conviction, musically and in life. What is clear is she is a musician and human being who cares fully about everything. You didn’t like her Hammerklavier? Fine, go and listen to any number of others out there-the world is full of choices and the perspectives of devoted artists. I do happen to know she was made aware of your comment. Look what you wrote-you made your opinion clear, but expressed it in appalling, embarrassing terms that only reflect on you. Krystian Zimerman once said of the best criticism: for it to be truly perceptive, like a radio station the transmitter and receiver must be equally tuned. Otherwise, one perceives only the effect, not the cause. Sergei Babayan said of Glenn Gould: sometimes we play for listeners who are not present-our message is addressed to another audience.

@@bloodgrss kzfaq.info/get/bejne/orOFgMdiv6uzeJc.html Look at the faces of these young Chinese musicians. They are ready to die of shame! This is a disgrace to the great Chinese nation!

Yes she is both :)

Yes,Mr.! kzfaq.info/get/bejne/a9lorM6GldO6foU.html

"While the cooks learned to control the piano, the state ran out of food!" Mao Dzedong

slippedisc.com/2019/06/yuja-wang-maybe-ill-have-a-baby-maybe-ill-quit-at-35/ Yuja Wang is bored: ‘Maybe I’ll have a baby. Maybe I’ll quit at 35’ By norman lebrecht on June 23, 2019 The over-exposed pianist has been talking to Christian Berzins at Zurich’s NZZ am Sonntag: ‘I do not want to be a slave to the repertoire. Maybe I’ll have a baby, maybe I’ll quit at 35, because then I won’t enjoy it anymore. Who knows?’ ‘I was home in New York for two weeks, and I enjoyed that time extremely! I met friends, did my stuff and also practiced something. It was so nice! It pulled me back. But then there was check-in again and check-out at the airport, transfers, trains, stress, concert in the evening.’ Read on here. The headline echoes her self-doubt: ‘Bin ich Gott oder Abfall? - Am I God, or garbage?’

@bloodgrss "Heights and Achievements"???!!! The New Yorker By Janet Malcolm August 29, 2016 ... What is one to think of the clothes the twenty-nine-year-old pianist Yuja Wang wears when she performs-extremely short and tight dresses that ride up as she plays, so that she has to tug at them when she has a free hand, or clinging backless gowns that give an impression of near-nakedness (accompanied in all cases by four-inch-high stiletto heels)? In 2011, Mark Swed, the music critic of the L.A. Times, referring to the short and tight orange dress Yuja wore when she played Rachmaninoff’s Third Piano Concerto at the Hollywood Bowl, wrote that “had there been any less of it, the Bowl might have been forced to restrict admission to any music lover under 18 not accompanied by an adult.” Two years later, the New Criterion critic Jay Nordlinger characterized the “shorter-than-short red dress, barely covering her rear,” that Yuja wore for a Carnegie Hall recital as “stripper-wear.” Never has the relationship between what we see at a concert and what we hear come under such perplexing scrutiny. Is the seeing part a distraction (Glenn Gould thought it was) or is it-can it be-a heightening of the musical experience? During the intermission of a recital at Carnegie Hall in May, Yuja changed from the relatively conventional long gold sequinned gown she had worn for the first half, two Brahms Ballades and Schumann’s “Kreisleriana,” into something more characteristically outré. For the second half, Beethoven’s extremely long and difficult Sonata No. 29 in B-Flat, known as the “Hammerklavier,” she wore a dress that was neither short nor long but both: a dark-blue-green number, also sequinned, with a long train on one side-the side not facing the audience-and nothing on the other, so that her right thigh and leg were completely exposed. As she performed, the thigh, splayed by the weight of the torso and the action of the toe working the pedal, looked startlingly large, almost fat, though Yuja is a very slender woman. Her back was bare, thin straps crossing it. She looked like a dominatrix or a lion tamer’s assistant. She had come to tame the beast of a piece, this half-naked woman in sadistic high heels. Take that, and that, Beethoven!" ...

She always has got something to say. 10 years ago not so but now I also love her playing. Loads of personality, developed well.

Small child ?! You are deeply mistaken! She is a calculating business woman who has set one goal - to make millions. To do this, she is ready to bare her body in order to gain popularity with an uneducated public. She is ready, for the sake of fame and money, to vulgarize the works of the greatest composers, to turn them into entertainment for a bored crowd. This is a shame for classical music and the great Chinese nation!

@@mariodisarli1022 IN DEFENCE OF YUJA WANG By Norman Lebrecht On June 24, 2019 Our collaborator Zsolt Bognar has been upset by the griping of some readers at the Chinese-American pianist, her minimalist clothes and her flamboyant lifestyle. He has written this riposte to one of the sourpusses. The day I met Yuja was the day I filmed a feature about her for the show Living the Classical Life. She entered, as joyful and grateful as possible, so willing to submit to a format of introspection and deep consideration. She came across as one of the deepest, most vulnerable yet strong, and sincerely kindest human beings we have ever featured. And there was no trace of arrogance or entitlement to any aspect of her life. Her deep commitment to her art and to her mission to share great music with the world was astonishing. We explored her work ethic, and the demands she places on herself. Hers is a probing spirit, always searching for new answers and deeper meaning, and one who is open about just being herself. You would also be flabbergasted by how self-critical she is. Some people cannot seem to see past her concert attire. She loves these clothes and has fun collecting and wearing them. Many said the same about Liszt’s over-blown attire, ostentatiously decked out with all of his medals and decorations clanking together, his theatrics, his gloves that he would toss aside, his sex appeal, and his intentions. I notice that the most savage criticism directed at Yuja comes from a very specific demographic and age group, absolutely without fail. You dismiss her as a loud virtuoso. When she came here to Cleveland for performances of Rachmaninoff 3 and Bartók 1, what astonished the audiences here, of all my musician friends, teachers, and colleagues, was the heartbreaking, even understated lyricism. I don’t think I heard the Rachmaninoff so arrestingly melancholic, and much of it even seemed at sotto voce. The Bartók was prismatic in its musical grasp and range. I have heard her elsewhere in the world, and am surprised by the sense of discovery and freedom. Her Brahms 1 in Tokyo was introspective and tragic in the very least. Most of the guests I feature on Living the Classical Life do not keep in touch as friends, and that’s fine. Yuja became one of the most devoted and caring friends I have ever met, and this has gone on for years. Full of life and humor, she goes above and beyond to be there for her friends. But there is no need to defend her character or sincerity as a musician. What I am saying is that she is doing what she loves doing, fully and with great conviction, musically and in life. What is clear is she is a musician and human being who cares fully about everything. You didn’t like her Hammerklavier? Fine, go and listen to any number of others out there-the world is full of choices and the perspectives of devoted artists. I do happen to know she was made aware of your comment. Look what you wrote-you made your opinion clear, but expressed it in appalling, embarrassing terms that only reflect on you. Krystian Zimerman once said of the best criticism: for it to be truly perceptive, like a radio station the transmitter and receiver must be equally tuned. Otherwise, one perceives only the effect, not the cause. Sergei Babayan said of Glenn Gould: sometimes we play for listeners who are not present-our message is addressed to another audience.

@@bloodgrss "McDonald´s"culture! The money& sex sells culture! popcorn pianist! Los Angeles Daily News By Bob Lowman 19.07.2016 .... However, the right environment can give a performance an extra bit of inspiration. “The energy at the Hollywood Bowl is great,” she says. “There’s always the smell of popcorn.”

Sutor, ne ultra crepidam From Wikipedia, the free encyclopedia Vasari's home in Florence, Apelles Sutor, ne ultra crepidam is a Latin expression meaning literally "Shoemaker, not beyond the shoe", used to warn people to avoid passing judgment beyond their expertise. Its origin is set down in Pliny the Elder's Naturalis Historia [XXXV, 85[1] (Loeb IX, 323-325)] where he records that a shoemaker (sutor) had approached the painter Apelles of Kos to point out a defect in the artist's rendition of a sandal (crepida from Greek krepis), which Apelles duly corrected. Encouraged by this, the shoemaker then began to enlarge on other defects he considered present in the painting, at which point Apelles advised him that ne supra crepidam sutor iudicaret[1] (a shoemaker should not judge beyond the shoe),[1] which advice, Pliny observed, had become a proverbial saying. The English essayist William Hazlitt most likely coined the term "Ultracrepidarian" as first used publicly in a ferocious letter to William Gifford, the editor of The Quarterly Review: 1819 HAZLITT Letter to W. Gifford Wks. 1902 I. 368 You have been well called an Ultra-Crepidarian critic. (Oxford English Dictionary 2nd ed.) A related English proverb is "A cobbler should stick to his last".[2] The Russian language commonly uses variants of the phrase "Суди, дружок, не свыше сапога" (Judge not, pal, above the boot), after Alexander Pushkin's poetic retelling of the legend.[3]

@@georgescancan7503 Georges/Mario-I'm on the job troll-enjoy your last days of insane Yuja Wang trolling stupidities and your sexist/racist agenda against her. Copy and paste fast...

@@bloodgrss Hi Yuja! New York CLASSICAL REVIEW < Yuja shows familiar flash but a lack of depth in Carnegie recital> By Eric C. Simpson May 15.2016 Bravo, Eric! Yuja is a well-oiled (Sex sells + Kitsch) sewing machine! YW - PR product, money making machine!!!

@@georgescancan7503 Lol-you've used all this prejudiced ignorance on me before Georges/Mario; but I'm on the job againtroll-enjoy your last days of insane Yuja Wang trolling stupidities and your sexist/racist agenda against her. Copy and paste fast...the ban is coming😉

@@bloodgrss Yuja, trolling, copying, etc. you can name absolutely everything. You have left so much shame on the Internet in your pursuit of money that this shame will haunt you for the rest of your life!

It was 😂

@@tchaffman Seems she likes him 😉

slippedisc.com/2020/02/fury-as-yuja-in-dark-glasses-blanks-her-audience/ Fury as Yuja, in dark glasses, blanks her audience By norman lebrecht on February 23, 2020 The attention-seeking pianist came on stage in sunglasses at her Vancouver recital on Friday night and refused to acknowledge the audience. They grew increasingly resentful. Here’s a vivid post from the conductor Tania Miller: Last night I attended a Vancouver Recital Society concert with Yuja Wang performing. I was looking forward to hearing her perform. When she walked out on stage with sunglasses and a direct approach to the piano, quick bow and immediate performance with no acknowledgement of the audience, I thought it was quirky. Some of the audience tittered at the thought that this was some sort of cool new dress code. But with each subsequent work that she performed, she stood up, bowed quickly without a smile, and when she left the stage she walked with clear body language that shut the audience out. When the audience continued to clap to bring her back out on stage, she refused. The effect was shocking. As each subsequent work was performed and this pattern continued, it became clear that she was shutting the door on her audience. I heard later that she had trouble with the Canadian border getting into Canada. She was obviously angry. But Yuja Wang, you must not forget that the music is the most important treasure. And that some are bestowed with the ability to share it and it is an honour and a blessing to do so. Your innocent audience, some donning masks to protect themselves from the potential Coronavirus, came to be in your presence for this sold-out concert, and to hear the music and extraordinary talent that you had to share. Instead they experienced the rejection of an artist withholding the permission to share in the feeling, transcendence and the shared emotion of the beauty, joy, and humanity of music. UPDATE: Yuja: I was humiliated UPDATE2 Conductor apologises for dissing Yuja

@@mariodisarli1022 Such "Stars" live in scandals, they become famous thanks to scandals. If Ms. Yuja Wang did not go on stage in absolutely scandalous clothes, no one would need her. Her "pianism" is a Chinese-American acrobatics of a pianistic keyboard with elements of a half-naked body, musical depth is often lacking. All music critics of serious newspapers speak about this.

​@Frank Lord Trudeau Junior failed his old man, to have jeopardized the historical bonding of these two biggest nations/peoples since WW2, forged by Dr. Norman Bethume, who was canonized by Chairman Mao in his eulogy of this Internationale Comrade/Martyr. Salute to Frank Lord's chivalry.

@@georgescancan7503 typical socialist Canadian type response .do as i want not as you want ..total control of everyone and everything ..no respect ..go to Canada .if you are not a socialist .expect to be treated like a dog ..here is proof ..plus total racism ..

F*, I didn't know this. F* Canada for this.

Gay men agree completely 😍🥵

N. Kapustin Etude Op. 40 No. 3 Toccatina

@@kruloon9381 Thank you! and just learned that Nicolai Kapustin passed away a few months ago... what a loss..

If you had a daughter like her, you'd be Elrond Halfelven!

@bloodgrss "Heights and Achievements"???!!! The New Yorker By Janet Malcolm August 29, 2016 ... What is one to think of the clothes the twenty-nine-year-old pianist Yuja Wang wears when she performs-extremely short and tight dresses that ride up as she plays, so that she has to tug at them when she has a free hand, or clinging backless gowns that give an impression of near-nakedness (accompanied in all cases by four-inch-high stiletto heels)? In 2011, Mark Swed, the music critic of the L.A. Times, referring to the short and tight orange dress Yuja wore when she played Rachmaninoff’s Third Piano Concerto at the Hollywood Bowl, wrote that “had there been any less of it, the Bowl might have been forced to restrict admission to any music lover under 18 not accompanied by an adult.” Two years later, the New Criterion critic Jay Nordlinger characterized the “shorter-than-short red dress, barely covering her rear,” that Yuja wore for a Carnegie Hall recital as “stripper-wear.” Never has the relationship between what we see at a concert and what we hear come under such perplexing scrutiny. Is the seeing part a distraction (Glenn Gould thought it was) or is it-can it be-a heightening of the musical experience? During the intermission of a recital at Carnegie Hall in May, Yuja changed from the relatively conventional long gold sequinned gown she had worn for the first half, two Brahms Ballades and Schumann’s “Kreisleriana,” into something more characteristically outré. For the second half, Beethoven’s extremely long and difficult Sonata No. 29 in B-Flat, known as the “Hammerklavier,” she wore a dress that was neither short nor long but both: a dark-blue-green number, also sequinned, with a long train on one side-the side not facing the audience-and nothing on the other, so that her right thigh and leg were completely exposed. As she performed, the thigh, splayed by the weight of the torso and the action of the toe working the pedal, looked startlingly large, almost fat, though Yuja is a very slender woman. Her back was bare, thin straps crossing it. She looked like a dominatrix or a lion tamer’s assistant. She had come to tame the beast of a piece, this half-naked woman in sadistic high heels. Take that, and that, Beethoven!" ...

The best thing Ms. Yuja Wang can do for classical music is to close the piano lid forever! She can show off her provocative dresses in a strip club or in a cowboy saloon. kzfaq.info/get/bejne/oLucY7J_xMzcaI0.html

@@mariodisarli1022 My Fascist friend-ban coming...

@@bloodgrss Clown??? The New York Times Review: Yuja Wang, Trying Comedy, Shows How Funny Virtuosity Can Be The pianist Yuja Wang took a break from her typical concerts for a no-less-virtuosic comedy show at Zankel Hall on Monday.CreditMichelle V. Agins/The New York Times By Joshua Barone Feb. 12, 2019 In all seriousness: What can’t Yuja Wang do? This star pianist has built her reputation on breathtaking mastery of the standard repertory, like the chamber works she played last Wednesday with the violinist Leonidas Kavakos at Carnegie Hall. Or Robert Schumann’s Piano Concerto, which she’ll do with the Boston Symphony Orchestra later this week. But in between those two dates, she stopped by Carnegie’s Zankel Hall on Monday for something entirely different: a comedy show. One with music, of course. And, as always, she was radiant in Rachmaninoff and Lutoslawski. But there was - more. She rapped! She sang and danced through a “West Side Story” medley! She did one-legged, upside-down yoga on a piano bench! And along the way, she never lost an ounce of virtuosity.

@@mariodisarli1022 bloodgrss 18 hours ago @Mario DiSarli IN DEFENCE OF YUJA WANG By Norman Lebrecht On June 24, 2019 Our collaborator Zsolt Bognar has been upset by the griping of some readers at the Chinese-American pianist, her minimalist clothes and her flamboyant lifestyle. He has written this riposte to one of the sourpusses. The day I met Yuja was the day I filmed a feature about her for the show Living the Classical Life. She entered, as joyful and grateful as possible, so willing to submit to a format of introspection and deep consideration. She came across as one of the deepest, most vulnerable yet strong, and sincerely kindest human beings we have ever featured. And there was no trace of arrogance or entitlement to any aspect of her life. Her deep commitment to her art and to her mission to share great music with the world was astonishing. We explored her work ethic, and the demands she places on herself. Hers is a probing spirit, always searching for new answers and deeper meaning, and one who is open about just being herself. You would also be flabbergasted by how self-critical she is. Some people cannot seem to see past her concert attire. She loves these clothes and has fun collecting and wearing them. Many said the same about Liszt’s over-blown attire, ostentatiously decked out with all of his medals and decorations clanking together, his theatrics, his gloves that he would toss aside, his sex appeal, and his intentions. I notice that the most savage criticism directed at Yuja comes from a very specific demographic and age group, absolutely without fail. You dismiss her as a loud virtuoso. When she came here to Cleveland for performances of Rachmaninoff 3 and Bartók 1, what astonished the audiences here, of all my musician friends, teachers, and colleagues, was the heartbreaking, even understated lyricism. I don’t think I heard the Rachmaninoff so arrestingly melancholic, and much of it even seemed at sotto voce. The Bartók was prismatic in its musical grasp and range. I have heard her elsewhere in the world, and am surprised by the sense of discovery and freedom. Her Brahms 1 in Tokyo was introspective and tragic in the very least. Most of the guests I feature on Living the Classical Life do not keep in touch as friends, and that’s fine. Yuja became one of the most devoted and caring friends I have ever met, and this has gone on for years. Full of life and humor, she goes above and beyond to be there for her friends. But there is no need to defend her character or sincerity as a musician. What I am saying is that she is doing what she loves doing, fully and with great conviction, musically and in life. What is clear is she is a musician and human being who cares fully about everything. You didn’t like her Hammerklavier? Fine, go and listen to any number of others out there-the world is full of choices and the perspectives of devoted artists. I do happen to know she was made aware of your comment. Look what you wrote-you made your opinion clear, but expressed it in appalling, embarrassing terms that only reflect on you. Krystian Zimerman once said of the best criticism: for it to be truly perceptive, like a radio station the transmitter and receiver must be equally tuned. Otherwise, one perceives only the effect, not the cause. Sergei Babayan said of Glenn Gould: sometimes we play for listeners who are not present-our message is addressed to another audience.

@@bloodgrss kzfaq.info/get/bejne/orOFgMdiv6uzeJc.html Look at the faces of these young Chinese musicians. They are ready to die of shame! This is a disgrace to the great Chinese nation!

Found it lol. Prokofiev piano sonata no. 6

lol

That's what I heard tho

Hmmm, so we missed your other troll such that you needed to post another? What a sad fool you are-This is troll, not intelligent musical acumen...

slippedisc.com/2019/06/yuja-wang-maybe-ill-have-a-baby-maybe-ill-quit-at-35/ Yuja Wang is bored: ‘Maybe I’ll have a baby. Maybe I’ll quit at 35’ By norman lebrecht on June 23, 2019 The over-exposed pianist has been talking to Christian Berzins at Zurich’s NZZ am Sonntag: ‘I do not want to be a slave to the repertoire. Maybe I’ll have a baby, maybe I’ll quit at 35, because then I won’t enjoy it anymore. Who knows?’ ‘I was home in New York for two weeks, and I enjoyed that time extremely! I met friends, did my stuff and also practiced something. It was so nice! It pulled me back. But then there was check-in again and check-out at the airport, transfers, trains, stress, concert in the evening.’ Read on here. The headline echoes her self-doubt: ‘Bin ich Gott oder Abfall? - Am I God, or garbage?’

@@mariodisarli1022IN DEFENCE OF YUJA WANG By Norman Lebrecht On June 24, 2019 Our collaborator Zsolt Bognar has been upset by the griping of some readers at the Chinese-American pianist, her minimalist clothes and her flamboyant lifestyle. He has written this riposte to one of the sourpusses. The day I met Yuja was the day I filmed a feature about her for the show Living the Classical Life. She entered, as joyful and grateful as possible, so willing to submit to a format of introspection and deep consideration. She came across as one of the deepest, most vulnerable yet strong, and sincerely kindest human beings we have ever featured. And there was no trace of arrogance or entitlement to any aspect of her life. Her deep commitment to her art and to her mission to share great music with the world was astonishing. We explored her work ethic, and the demands she places on herself. Hers is a probing spirit, always searching for new answers and deeper meaning, and one who is open about just being herself. You would also be flabbergasted by how self-critical she is. Some people cannot seem to see past her concert attire. She loves these clothes and has fun collecting and wearing them. Many said the same about Liszt’s over-blown attire, ostentatiously decked out with all of his medals and decorations clanking together, his theatrics, his gloves that he would toss aside, his sex appeal, and his intentions. I notice that the most savage criticism directed at Yuja comes from a very specific demographic and age group, absolutely without fail. You dismiss her as a loud virtuoso. When she came here to Cleveland for performances of Rachmaninoff 3 and Bartók 1, what astonished the audiences here, of all my musician friends, teachers, and colleagues, was the heartbreaking, even understated lyricism. I don’t think I heard the Rachmaninoff so arrestingly melancholic, and much of it even seemed at sotto voce. The Bartók was prismatic in its musical grasp and range. I have heard her elsewhere in the world, and am surprised by the sense of discovery and freedom. Her Brahms 1 in Tokyo was introspective and tragic in the very least. Most of the guests I feature on Living the Classical Life do not keep in touch as friends, and that’s fine. Yuja became one of the most devoted and caring friends I have ever met, and this has gone on for years. Full of life and humor, she goes above and beyond to be there for her friends. But there is no need to defend her character or sincerity as a musician. What I am saying is that she is doing what she loves doing, fully and with great conviction, musically and in life. What is clear is she is a musician and human being who cares fully about everything. You didn’t like her Hammerklavier? Fine, go and listen to any number of others out there-the world is full of choices and the perspectives of devoted artists. I do happen to know she was made aware of your comment. Look what you wrote-you made your opinion clear, but expressed it in appalling, embarrassing terms that only reflect on you. Krystian Zimerman once said of the best criticism: for it to be truly perceptive, like a radio station the transmitter and receiver must be equally tuned. Otherwise, one perceives only the effect, not the cause. Sergei Babayan said of Glenn Gould: sometimes we play for listeners who are not present-our message is addressed to another audience.

That would be nice.!

Hmmm, so we missed your other troll such that you needed to post another? What a sad fool you are-This is troll, not intelligent musical acumen...

Asians are not able to feel and understand classical music. They always play it mechanically.

@@E266PD go ahead do it better

A jealous nobody

Wang exhibits her body, her body parts, she puts herself above the music, she has developed herself as a half-naked brand according to the motto: Sex provides for serenity. You have to talk about them as a brand and write about them and that's what happens. It succeeds because few understand anything about classical music and the glamour and the surface are more important than a deeper knowledge of music. Wang is a wonderful example of the narcissism of our time Wang stellt ihren Körper, ihre Körperteile aus, sie stellt sich über die Musik, sie hat sich selbst als Halbnackte zur Marke entwickelt nach der Devise: Sex sorgt für Aufmarksamkeit. Man soll über sie als Marke reden und schreiben und das passiert ja auch. Sie hat Erfolg, weil nur wenige etwas von klassischer Musik verstehen und der Glamour und die Oberfläche wichtiger sind als tiefere Kenntnisse der Musik. Wang ist ein wunderbares Beispiel für den Narzissmus unserer Zeit.

@@beckerhanshermann8372 I agree.

為什麼？？ 一定要像其他人穿的那樣嗎 這是她獨特的風格

hello grandpa / grandma

A talented sweet tomato is entitled to any adornment/attire during her reciital, but not a dry prune, appealing only to the ears, but not the eyes. When she was a decade younger, in her early 20's, scantily clad, raised some brows of envy, from the orchestra, in summer, Hollywood Bowl.

她的穿着好看极了