寫在前面??！非英語專業(yè)生手工翻譯?。幸恍┎粶蚀_的地方??！會有一些完全不會翻譯的地方??！純粹為愛發(fā)電??！不要打我?。〔灰蛭遥?！不要打我??！原文在中文后面！！謝謝看官們的厚愛！?。ǚg不易如果覺得這還算是人話的話麻煩支持一下）原文來自《紐約時代雜志》，侵刪。

這是一個值得銘記的時刻，王羽佳在卡內(nèi)基音樂廳一次性演奏了5部拉赫瑪尼諾夫的鋼琴作品。

王羽佳在周六的馬拉松演奏會上，她每一首拉赫瑪尼諾夫鋼琴協(xié)奏曲和帕格尼尼主題狂想曲都穿了不一樣的服裝。

周六，王羽佳將四首難度驚人的拉赫瑪尼諾夫四首鋼琴協(xié)奏曲和帕格尼尼主題狂想曲演繹的爐火純青，大概“一生一次“這個詞就是為這場演出而發(fā)明的。在演出結(jié)束之后，整個卡內(nèi)基音樂廳的觀眾都站起來鼓掌。她讓人們沉浸在這兩個半小時的音樂盛宴里（為什么兩個半小時啊整個音樂會是四個半小時），然后自己回家好好洗個澡放松一下。

但是這位明星藝術(shù)家因為音樂會中的曲目和返場而出名。2018年在卡內(nèi)基音樂廳，她7次返場，收獲了無數(shù)掌聲。她在幾周前現(xiàn)身與紐約愛樂樂團合作，并且至少三次在返場演奏了曲目。

于是在星期六，在王羽佳和費城愛樂樂團和塞甘的合作結(jié)束之后，觀眾們又安靜下來，羽佳回到鋼琴前彈奏了格魯克的選自 Gluck’s “Orfeo ed Euridice”的“Dance of the Blessed Spirits”。這首曲子清新而溫柔，而就是在她的指尖下，剛剛演奏完如焰火版絢爛、密集、熱烈的拉赫瑪尼諾夫鋼琴作品。

她似乎沒有流下任何一滴汗，無論是在她的臉上或者是音樂的演奏過程中，她靜靜地在那里閃耀著，直到整個項目，也就是拉赫瑪尼諾夫第三鋼琴協(xié)奏曲華麗的結(jié)束。她給這些對于背譜技術(shù)要求極高的曲子帶來了清晰和詩意。

她演奏地十分有力量，但是又不夸大這些力量，她表達地相當感性，卻又不輕浮。她的觸鍵當然是堅定的，但是沒有一個音符是刺耳的或是過于沉重的；她一貫的風格是輕快的，這就是為什么聽她的音樂會不像你一下子吃了五篇巧克力蛋糕一樣油膩。在《帕格尼尼主題狂想曲曲》變奏18中，這個作品的高潮部分，在加入肌肉的發(fā)力之前，她演奏風格變得端莊而夢幻。但是當管弦樂隊加入時，這是許多鋼琴家都會猛烈敲擊琴鍵，但是王羽佳她拒絕這樣演奏。在這次時間很長的音樂會里，她本人沒有感覺到自己有時間去進行深入的調(diào)整。她休息了五次，兩次短暫的休息，兩次中場休息，和一次長時間的，意想不到的音樂會中斷，這是因為在《第二鋼琴曲》第三樂章演奏伊始，觀眾突發(fā)急病需要就醫(yī)，于是這個樂章被打斷了。這場音樂會持續(xù)了約四個半小時。

本次節(jié)目的兩大亮點是第二和第三鋼琴協(xié)奏曲，這是上個世紀曲目的試金石，也包括拉赫年輕時所作的《第一鋼琴協(xié)奏曲》，以及多變的，配器繁多的《第四鋼琴協(xié)奏曲》，和如萬花筒般絢爛有趣的《帕格尼尼主題狂想曲曲》。這五首作品的創(chuàng)作和修改幾乎從拉赫瑪尼諾夫職業(yè)生涯的開始一直延續(xù)到結(jié)束，從19世紀90年代早期到20世紀40年代早期（他出生于150年前的4月）。但是這五首曲子都留下了他不可磨滅的印記：華麗的感情，兇猛的展開，連續(xù)的節(jié)奏變換，當然還有反映于琴鍵上的激烈和柔情的交替。

王羽佳在這種交替中憑借著她飛速指法和強音和弦的力量與準確性表現(xiàn)得十分靈活，同樣重要的是，在平靜的樂章中，她兼具耐心和優(yōu)雅。第二鋼琴協(xié)奏曲的第二樂章接近尾聲，她奏響的和弦飄向遠方，在尾聲的喧鬧之前，顯得朦朧而明亮。

在第三協(xié)奏曲接近尾聲的洶涌中，鋼琴選擇了一次內(nèi)斂，王羽佳用精準的細節(jié)塑造了這一段：前兩個和弦輕柔，下一個突然響亮——比她在整場音樂會獨奏的時候聽上去更加強——在最后一個樂句消逝在卡內(nèi)基的空氣中。這幾個元素構(gòu)成了一個整體的風格：脆弱，堅強，求索但不會迷茫。這和隨之而來的熾熱的八度跑動一樣令人難忘。

這場音樂會的第一個部分，也就是第二和第一鋼琴協(xié)奏曲，是非常震撼的。無論是什么原因，你都會感覺到，尼贊-塞甘與這支交響樂團之間配合的極為完美，就像是雙向奔赴。這支樂團在歷史上和拉赫本人有著密切的合作，曾首演過《第四鋼琴協(xié)奏曲》和《狂想曲》。最終，以他為鋼琴演奏家錄制了他所有的協(xié)奏曲和狂想曲這五部曲子。

周六，在第二鋼協(xié)的開場樂章出現(xiàn)了不穩(wěn)定的情況，似乎打破了平衡：琴弦的聲音層次并不是很豐富，被淹沒在樂團里。自由速度在延伸著，但是也并不是每個人都在朝著同樣的方向延伸。管樂器的獨奏部分就像是在樂團的精心呵護下脫穎而出，十分珍貴。

整首曲子逐漸穩(wěn)定下來，大家漸入佳境。那靈感的云朵就猶豫地聚集在鋼琴的聲線下。在第四鋼協(xié)之后的狂想曲中，樂團呈現(xiàn)拉赫瑪尼諾夫作品理想的聲音：閃閃發(fā)光，氣勢恢宏。

《末日經(jīng)》（指的是狂想曲第七變奏）旋律出現(xiàn)的時候，費城交響的樂手就像貓一樣（我也不太明白這句話為什么這么表達）在彩虹般絢爛的旋律里大放異彩。第三鋼協(xié)的開頭寂靜地宛若初雪后的大地，王羽佳用最柔和的和弦仿佛雪地中的腳步聲。在第二樂章中，管樂如呼吸，靈活且自然，似乎想把她向上推進，而非將她淹沒在最后一小節(jié)中。

這一巔峰性的沖刺無疑展現(xiàn)了王羽佳鋼琴作品的耀眼光芒。這場音樂會還展示了王羽佳的另外一個特點：華麗的服裝，也許這次的服裝比以往任何時候都要好。

她為每一首曲子都精心挑選了一件不同的衣服和她經(jīng)典的高跟鞋，裹身裙是閃閃發(fā)光的紅色亮片、象牙白、森林綠和銀白色。更值得一提的是，她在演奏《狂想曲》時身著一件品紅色迷你裙，搭配了閃亮的護腿褲。（唉，返場的時候沒有換裝，下次一定?。?/p>

10年前還是15年前，王羽佳在音樂會的著裝選擇引發(fā)了爭議，所幸，這些爭議現(xiàn)在已經(jīng)平息了，我們可以集中精力關(guān)注這些選擇背后的快樂，也正是在周六，這些著裝完美地和這些令人歡樂的曲目本身交相輝映。我們欣賞目睹了這場音樂盛宴——這就是為什么，即使在這么多小時之后，我仍然感到興奮和輕松。和我看到的許多人一樣，我走出過道，走在街上，依舊在微笑。

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It was a momentous occasion as Wang played all five of Rachmaninoff’s works for piano and orchestra at Carnegie Hall for one show only.

Yuja Wang had different clothing for each of Rachmaninoff’s four piano concertos, and his “Rhapsody on a Theme of Paganini,” which she performed in a marathon at Carnegie Hall on Saturday.

After playing, with electric mastery, all four of Rachmaninoff’s dizzyingly difficult piano concertos and his “Rhapsody on a Theme by Paganini” on Saturday — the kind of feat for which the phrase “once in a lifetime” was invented — she would have been forgiven for accepting a sold-out Carnegie Hall’s standing ovation, letting those two and a half hours of music speak for themselves, and heading home for a bubble bath.

But this is a superstar artist as famous for what comes after her written programs as during them. At Carnegie in 2018, she responded to waves of applause with seven encores. Appearing with the New York Philharmonic a few weeks ago, she returned to the keyboard no fewer than three times.

So on Saturday, the audience hushed as Wang, after all she’d already done with the Philadelphia Orchestra and Yannick Nézet-Séguin, sat back down at the piano and played the “Dance of the Blessed Spirits” from Gluck’s “Orfeo ed Euridice.” It had the same freshness and tender lucidity that, in her hands, had lain beneath even Rachmaninoff’s densest, most ferocious fireworks.

She didn’t seem to have broken a sweat — neither on her face nor in her music-making, which had been calmly dazzling all the way through the final flourish of the Third Concerto at the program’s end.

To these scores’ vast demands she brought both clarity and poetry. She played with heft but not bombast, sentiment but not schmaltz. Her touch can certainly be firm, but not a single note was harsh or overly heavy; her prevailing style is sprightly, which is why the concert didn’t feel like eating five slices of chocolate cake in a row. In the 18th variation of the “Rhapsody,” the work’s aching climax, she began demurely and dreamily before adding muscle. But when the orchestra joined in, a point at which many pianists begin to pound, she refused to hammer.

She didn’t give the sense that she was pacing herself, either, over this very long stretch. With five breaks — two pauses, two full intermissions and one long, impromptu stop spurred by a medical emergency in the audience that interrupted the Second Concerto, the opener, just after the final movement had begun — the concert lasted about four and a half hours.

The program was flanked by the Second and Third concertos, touchstones of the repertory for the past century, and also included the youthful First; the changeable, big-band-inflected Fourth; and the playfully kaleidoscopic “Rhapsody.” The composition and revision of these five pieces extended almost from the beginning to the end of Rachmaninoff’s career, from the early 1890s to the early 1940s. (He was born 150 years ago this April.) But all of them share his unmistakable stamp: the sumptuous soulfulness, the soaring expansions, the restless rhythmic shifts and, of course, the alternation of fierce energy and intimate reflection in the piano.

Wang is nimble at that alternation, with power and accuracy in fast fingerwork and fortissimo chords — and, just as important, patience and elegance in cooler moments. Her pillowy chords at the close of the Second Concerto’s middle movement floated quietly into place, and she was shadowy but luminous before that piece’s ending romp.

Before the final plunge near the end of the Third Concerto, the piano takes one last, brief inward look. Wang shaped this passage with exquisite detail: the first two chords gentle, the next suddenly louder and surprisingly tough — tougher than she’d sounded in solo moments like this during the whole concert — before the rest of the phrase ebbed into mist. This handful of measures painted a whole situation and personality: vulnerable, strong, searching but not lost. It was as memorable as the blazing runs and octaves that followed.

The program’s first block, the Second and First concertos, might have involved shaking out some jitters over the momentousness of the occasion. Whatever the reason, there was a sense of audibly finding the right gear among Nézet-Séguin and this orchestra — which has a historical claim to Rachmaninoff, having premiered the Fourth Concerto and the “Rhapsody” before eventually recording all five of these pieces with him as the soloist.

The Second Concerto’s opening movement was unsettled on Saturday, and the balances seemed off: The strings, less rich than turgid, swamped the winds and often Wang. Rubato stretched the line, but everyone wasn’t always stretching in the same direction. Wind solos felt excessively manicured, to the point of preciousness.

But things gradually settled in. Apocalyptic storm clouds moodily gathered underneath the piano line in the first movement of the Fourth Concerto. And by the “Rhapsody,” which followed the Fourth, the ensemble had taken on the ideal Rachmaninoff sound: glittering and grand.

The Philadelphians were practically feline in the iridescent orchestration of the grim Dies Irae’s appearance in the “Rhapsody.” A shivering hush in the first movement of the Third Concerto was like a snow in which Wang made soft footsteps with the palest chords. In the second movement, the winds at the start sounded as flexible and natural as they had all day, and the orchestra now seemed to sweep Wang’s lines upward rather than smothering her in the race to the final measures.

That culminating dash had the easy sparkle of Wang’s best work. The concert also showed off, perhaps better than ever before, another defining feature of her performances: flamboyant clothes.

A lot of them. She wore, along with her typical very high heels, a different dress for each of the five pieces, with skintight fits and shimmering fabric in red, ivory, green and silver — and, most immortal, a magenta minidress for the “Rhapsody” paired with sparkling periwinkle leg warmers. (Alas, there was no costume change for the encore. Next time!)

With the controversy that greeted Wang’s attire choices 10 or 15 years ago now thankfully muted, we can concentrate on the joyfulness of those choices, which on Saturday were apt partners for these fundamentally joyful works. Virtuosity on this level, in material this ravishing, is elevating to witness — which is why, even after so many hours, I was left at the end feeling an exhilarated lightness. Like many others I saw, I drifted up the aisle and onto the street unable to stop smiling.