李云迪四月二十八日晚在纽约林肯中心爱丽丝杜莉音乐厅获得一次又一次热烈掌声，他征服了挑剔的纽约音乐爱好者，独奏音乐会取得了巨大成功。 　　 　　一袭中式黑衣，一头蓬松的长发，二十三岁不到的李云迪飘然走上舞台，俨然一位有着独门绝技的武林高手。落座，凝神屏息，轻抚琴键，音乐响起，一招一式颇具大师派头。在一个多小时的演奏中，李云迪为听众献上了莫扎特《C大调奏鸣曲》、舒曼《狂欢节》、肖邦《大波兰舞曲》以及《诙谐曲第二首》。这位来自中国重庆的演奏者用东方人特有的敏感细腻和年轻人澎湃的激情倾情演绎了这些经典曲目，每一曲毕，听众均报以热烈掌声和尖叫喝彩。 　　 　　一位从波士顿专程赶来听李云迪演奏的华人音乐家说，李云迪的演奏技艺更趋成熟，并且已超越单纯地技术层面的展示，在某些方面已体现出钢琴演奏大师级水准。 　 　　李云迪目前还是德国汉诺威戏剧音乐学院一位学生，但他在二00二年就与美国著名的哥伦比亚艺术家管理公司签约。李云迪近年来在欧洲的演出活动十分频繁，从去年起，他开始了他的北美市场拓展，本次纽约独奏音乐会是他北美地区十四场巡演中的一场，也是他第二次在纽约举办独奏音乐会。 　　 　　美国波士顿炎黄艺术会是李云迪纽约演出的组织者，该会会长蒋红女士告诉记者，早在两周前这场音乐会的票就已告罄。今天整个音乐厅座无虚席，从下午开始，场外就有许多人举着纸牌求票。在演出结束后，众多听众在音乐厅前厅排起长队等候李云迪签名。而去年李云迪在波士顿的一场演出中也出现一票难求的现象。显然，李云迪在美国受到了意想不到的追捧。

加油

YUNDI LI

我不说什么了

=)他要和Neuhaus的徒弟学琴了=）值得期待！！！

看几篇纽约演出后的评论吧=）大部分是好的评价=）

MUSIC REVIEW; Pianism at the Poetic End, Not the Physical

By ALLAN KOZINN Published: April 28, 2004, Wednesday At least in the short term, handicappers in the piano world are likely to think of Yundi Li as the anti-Lang Lang, in the way that Serkin was the anti-Horowitz.

Both Mr. Li and Mr. Lang are Chinese and 21, and both began to dazzle audiences when they were teenagers. They are also signed to the same record label, Deutsche Grammophon. But where Mr. Lang has established himself as a firebrand whose performances are wrapped in a lively and sometimes over-the-top physicality, Mr. Li deals in a more poetic, deeply considered pianism, delivered without extraneous gestures and body language.

One thing Mr. Li showed in his New York recital debut at the Metropolitan Museum of Art on Saturday evening was that thoughtful interpretation can be every bit as virtuosic and exciting as the showier variety.

Mr. Li won the gold medal at the Chopin International Piano Competition in Warsaw in 2000, so it was natural that Chopin had pride of place on his program, with the first half devoted to the four scherzos. There were surprises and individual touches from the opening bars of the B minor Scherzo (Op. 20), the first in the set. Where other pianists often rest a foot on the sustain pedal in the opening, letting Chopin\'s ascending figuration coalesce as a vibrant haze, Mr. Li kept his sound unusually dry and unclouded. This was ear-catching and slightly odd at first, but it was impossible not to admire the clarity of texture that this approach produced.

That clarity remained a hallmark of Mr. Li\'s playing throughout the recital, and it invariably illuminated works that -- like the scherzos and the Liszt sonata, in the second half -- are heard so frequently that a listener can mistakenly assume that they hold no more mystery. The Liszt, which is the centerpiece of his most recent recording, was vividly characterized and presented more as unfolding Faustian drama than as an extended, abstract fantasy.

Striking, too, was the balance of freedom and literalness in Mr. Li\'s readings. His tempos were extremely flexible, often on the brisk side, but he lingered where the music demanded a more supple, singing tone. The mercurial Scherzo No. 4 in particular benefited from this fluidity, which gave equal weight to its flightiness and its stretches of wrenching, melancholy writing. And where Chopin and Liszt provided a bar of rests or even a shorter rest within a bar, he invariably used the silence as a dramatic element, not just as a pause.

For his encores Mr. Li played two Liszt showpieces, \'\'La Campanella\'\' and the \'\'Rigoletto\'\' Paraphrase, each with an inviting combination of delicacy and muscle. Between them he offered a set of rippling variations on \'\'Sunflowers,\'\' a Chinese folk song.

CLASSiCAL MUSIC REVIEW; Youth and Passion, Chopin and Dionysus

Yet Mr. Li\'s solo recital on Thursday night at Alice Tully Hall showed him to have a healthy streak of the Dionysian, too. The opening of Schumann\'s \'\'Carnaval\'\' was so wild as to seem a positive Bacchanal; and Mr. Li\'s virtuosity was coupled, not to say tempered, with youthful energy, some emoting and a couple of errant notes.

Mr. Li looks and sounds young. With fuzzy hair and concert attire that managed to look slightly disheveled, he briefly acknowledged the fervent accolades of a preponderantly Chinese-speaking audience before he sat at the keyboard and nonchalantly produced playing of prodigious talent and still-developing maturity. You couldn\'t fault his finger work or the musical understanding that created deliberate idiosyncrasies, from his rubatos to his mining of inner voices to the point of near-discord. You could, however, fault the hard, jangly tone of the Steinway he was saddled with, even if it gave a bit of fortepiano flavor to his clear, lucid account of Mozart\'s Sonata No. 10.

It was odd to find Mr. Li\'s playing at once effusive and a bit hollow. \'\'Carnaval\'\' in particular blended subtlety with romantic excess, and seemed a work in progress. Chopin has had a central role in Mr. Li\'s career. He won first prize at the Chopin International Piano Competition in Warsaw in 2000; Chopin was the focus of his most recent Deutsche Grammophon disc; and works by Chopin occupied half of this program (with the B-flat minor Scherzo replacing the scheduled \'\'Rhapsodie Espagnole\'\' by Liszt). This piece and the \'\'Andante Spianato and Grande Polonaise Brillante\'\' were confident, able and virtuosic. But as he relaxed into his encore (\'\'Sunflowers,\'\' a Chinese piece) and took his final bows with a sense of duty discharged, one thought, appreciatively, that he will continue to get better as he grows up.

CLASSICAL MUSIC REVIEW; Young People Strut Their Stuff

By ALLAN KOZINN Published: April 6, 2005, Wednesday

The American Youth Symphony, a Los Angeles training orchestra for musicians between 16 and 25, is celebrating its 40th anniversary this season, and among its festivities was a visit to Carnegie Hall on Saturday evening. The program was, as such programs tend to be, a carefully rounded demonstration of the orchestra\'s strengths.

Led by Alexander Treger, the orchestra\'s music director, the program opened with Lera Auerbach\'s \'\'Dreams and Whispers of Poseidon,\'\' a new work written for the ensemble. Ms. Auerbach, at 30, is an eloquent composer who handles an orchestra easily; in fact, for this picturesque score, with its contrasting sections of churning depths and lighter, harp-tinted dreaminess, she calls for some unusual additions, including a theremin, a musical saw and an expanded percussion array. Her language is accessible and often lyrical, but it is also invitingly sophisticated, and it yielded a work that unquestionably evoked the imagery of the title.

Mr. Treger led the orchestra in an appropriately vivid reading, and then let his players relax a bit in Chopin\'s Piano Concerto No.1. Here, the orchestral component was supportive if undistinguished. But the real focus was Yundi Li\'s fluid reading of the solo line. Mr. Li is a poetic player with a sensitive touch (but also ample power when he needs it), as well as an ear for textural clarity and an impeccable sense of line. Those qualities, notable on his handful of recordings for Deutsche Grammophon, served the Chopin perfectly.

With the spotlight to itself again, the orchestra gave a superb performance of the Tchaikovsky Fifth Symphony. Jenny Kim\'s rendering of the French horn solo in the second movement was note-perfect, and her colleagues among the brass and woodwinds contributed some admirably robust ensemble work. The orchestra responded to Mr. Treger\'s brisk tempos with all the energy and precision a listener would expect of a fully professional ensemble.