This performance on Liszt's La Campanella is by China-born pianist Lang Lang. Being a Chinese, in my opinion, Lang Lang possesses the kind of character of showmanship, or in another words-flamboyant style. Lang Lang as we all could see his stage presence is one that honestly captures my attention as I would be very curious to see what he is going to do next; his body language just simply tell me that he is just going to do something that is not conventional.
His articulation was very clear, and very well managed despite the many running passages. For instance, a 3:16 to 3:33 all his notes were very well articulated and crisp clarity was maintained.
Lang Lang has also observed much of the details as written by Liszt, except a few parts of interpretation. For example, at 4:00 to 4:44 he did a very obvious accelerando, speeding up the music quite a bit. Moreover the last three chords at the end of the music, there are quavers rests in which Lang Lang didn't observe, instead just played the three chords in continuity progression. In my opinion, this was to attract the attention of the audience; rather than playing so strictly to what was written on the score by Liszt himself, Lang Lang chose to differ, he played the theme of this music gradually getting faster and at the part Animato (4:27-4:44) he played it with so much intensity and at a very accelerated speed. All these features of Lang Lang was to attract the attention of the audience, adding colour and variety to his interpretation.
My impressions of this performance is that Lang Lang has successfully brought out the theme of this music, and I could imagine many variety of bells of different sizes ringing due to his wide variety of dynamics.
In this performance, music critics also gave their thoughts about the image of Lang Lang and his playing. John von Rhein, music critic for The Chicago Tribune, described one performance as ''unacceptably willful.” And he loved ''strutting his stuff''. Anthony Tommasini, chief music critic of The New York Times, found his exuberance in both performance and body posture exaggerated and tasteless. Earl Wild, the American pianist, in a New Yorker interview, was dismissive of all the publicity and called Mr. Lang ''the J.Lo of the piano.'' (http://topics.nytimes.com/top/reference/timestopics/people/l/lang_lang/index.html)
Also there are also critics against Lang Lang’s virtuosity. “……however, when Liszt is being the showman, Lang Lang’s extreme virtuosity keeps removing the music’s soul” The Times, 3rd September 2011.
“His talents are most generously indulged, however, in the Paganini study "La Campanella", a showcase of effusive flurries, sudden shifts of mood and rippling trills sweeping the entire length of the keyboard, all delivered with a restrained but dashing brio.” The Independent, 8th September 2011
However not all critics are against Lang Lang, there are some critics that appreciated his playing.
“His approach to the piano is predominantly affectionate and respectful. While capable of producing massive sounds, he very seldom loses tonal control; indeed, his tone is frequently seductive.” BBC Music Magazine, November 2011
“...His stealthy tempo for "La campanella" allows for a super-glitter and articulacy that even the most seasoned pianist might envy….” Gramophone Magazine, Awards Issue 2011.
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