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Last year an estimated audience of over 5 billion watched pianist Lang Lang perform during the opening ceremonies of the Beijing Olympics. On Tuesday the 15^th, a somewhat smaller audience at the Folly Theater watched him open the Harriman Jewell Series season with a recital of Beethoven, Albeniz and Prokofiev.

In the first half of the program, the talented young pianist tackled, and I do mean tackled, two Beethoven sonatas, the Op. 2. No. 3 from the composer's early career, and the Piano Sonata No. 23 in F Minor, the so-called "Apassionata," dating from a much later period.

A player of undeniable technical skill, the young Chinese virtuoso attacks the piano as if it were an opponent to be conquered. Thumping the bass keys, pounding at the treble keys, and taking every advantage to emphasize rhythm and syncopation, he has a mannered, almost violent interpretation of every piece. His dynamic range consists of extremely loud crashing chords, suddenly juxtaposed with a soft touch, especially during upper key trills, which he plays with an airy finesse.

Watching Lang Lang perform is almost as much a feast for the eyes as for the ears. During melodic moments his face beams with pleasure, and at other times his brow becomes knotted as his hands and arms come crashing down on the keyboard. During rapid passages his hands become a blur, and at other times he draws his arms back to bring them thundering down on the keys, his head and hair flying.

Beethoven has never been performed with more drama, and at the end of the first half several in the audience noted to this reviewer that they were already exhausted. (So was the new Steinway instrument he was playing, as it required retuning during the interval.)

Lang Lang saved his most expressive pianism for three selections from Albeniz's Iberia, Book I, to open the program's second half.  Focusing on the rhythm of the work, the pianist gave a powerful and staccatoed interpretation of the piece. Of sensitivity and gentle touch there was none; his performance struck this reviewer as Impressionism without its shimmer. What would the composer have thought?

In Prokofiev's Piano Sonata No. 7 in B Flat Major Lang Lang found a composition more suited to his style. Full of the angst and anguish of World War II, Prokofiev's work contains many rapid and tortured passages of music. Lang Lang was more than up to the task, displaying his technical mastery to the hilt. The aggressive and almost deafening crescendo at the work's conclusion was played for all it was worth, and the piece ended with booming chords and flailing arms.

The Prokofiev brought the audience to its feet with a quick standing ovation. No doubt Lang Lang's pure power and force of personality won over some, but this reviewer wonders if perhaps more than a few audience members were applauding the performer's substantial publicity machine rather than the artist himself.

Somehow, his bombastic performance led this listener's memory to return to another, very different recital we heard in this same Folly Theater space last season, when the elegant and refined pianist Ivan Moravec gave a splendid and nuanced performance under the auspices of The Friends of Chamber Music. Between the two artists one could not possibly draw stronger contrasts.  For this taste, I'll take Moravec and leave Lang Lang to his enthusiastic admirers, of which there is no shortage.

 REVIEW
Harriman Jewell Series
Lang Lang, piano
Tuesday, September 15, 2009
Folly Theater
12^th and Central, Kansas City, MO
www.harriman-jewell.org

By Don Dagenais

City Classics Music and Dance Columnist; Classical Contributor

A lifelong classical music fan, Don Dagenais is a frequent preview speaker for the Lyric Opera of Kansas City and has taught classical music and opera courses at several Kansas City venues. He has served on the boards of directors of a number of performing arts organizations including the Lyric Opera of Kansas City, the Lyric Opera Guild, UMKC Conservatory of Music and Dance, Opera Volunteers International, the Civic Opera Theater of Kansas City, Inspiration Point Fine Arts Colony, Octarium, and the Friends of the Symphony.  He has been the past president of most of these organizations and is current the president of the Friends of the Symphony. 

Dagenais co-authored a history of the Lyric Opera of Kansas City, published on the occasion of its 50th anniversary (2007) and has written books on the histories of both the Lyric Opera Guild and Opera Volunteers International, as well as an introductory book for opera novices (Your Passport to the Opera).  He has received several local and national awards for outstanding volunteer work for the arts, including a lifetime achievement award from The Coterie Theatre in 2000, the Kansas City Musical Club's annual award in 2001, a Partners in Excellence Award from Opera Volunteers International in 2002, a Bravo Award from Opera Volunteers International in 2004 and a community service award from the Daughter of the American Revolution in 2008 honoring him for his community service to the arts.

In addition to his music interests, Don is president of the board of directors for the Metropolitan Ensemble Theater and has served on the boards of The Coterie Theatre and the Heart of America Shakespeare Festival, serving as president of each organization.  He publishes newsletters for seven arts organizations.  When not involved in the performing arts, Don is a senior real estate attorney with Lathrop & Gage LLP in Kansas City, Missouri, where he has practiced law since 1976 after graduating from the Cornell Law School.