Lang Lang’s Dazzling Season Debut in Symphony Hall: A Night of Dances and Bursts of Emotion

On the evening of Feb. 28, the world-renowned Chinese pianist Lang Lang took center stage at Symphony Hall, marking the first stop of the U.S. leg of his world tour as part of the Celebrity Series of Boston. His program, featuring works by Gabriel Fauré, Robert Schumann, and Frédéric Chopin, showcased his signature flamboyance, physical expressiveness and deeply individualistic interpretations — qualities that resonate particularly with younger audiences and newcomers to classical music. With Symphony Hall filled to capacity, Lang Lang’s performance transcended a mere recital, becoming a captivating spectacle of music, movement and emotion that was unified by the theme of dance woven throughout the pieces.

Lang Lang opened the evening with Fauré’s “Pavane in F-sharp minor, Op.50,” setting a contemplative and ethereal tone. The pavane, a slow and stately Spanish dance that gained popularity during the Renaissance, unfolded like a mirage under his hands. His delicate, almost hesitant opening of the piece gave way to a dreamlike expansion, evoking a sense of nostalgia and reflection, much like the processional quality of the pavane dance itself. Lang Lang’s sweeping hand movements accentuated the piece’s dramatic shifts, as if tracing the contours of an impressionist painting. Lost in the music’s dreamlike quality, he drew the audience into a hypnotic reverie, creating an atmosphere of quiet introspection.

Schumann’s “Kreisleriana, Op. 16” revealed Lang Lang’s mastery in contrasting moods and energies. The piece alternates between fast and slow, passionate and introspective, mirroring the emotional turmoil of E.T.A. Hoffmann’s fictional character Johannes Kreisler, as well as Schumman’s own fervent love for 19-year-old Clara, the daughter of his piano teacher. The first movement’s dynamically shifting pace was delivered with remarkable animation, his fingers flowing across the keys like water. In the second movement, Lang Lang embodied the essence of spring, his eyes closed as he turned to the audience, lost in a youthful, blossoming reverie. The music then transitioned to a contemplative movement that unfolded with a meditative quality, each phrase lingering in the air with a trance-like sensibility.

The final movement was a whirlwind of virtuosic energy, with Lang Lang’s dramatic gestures — sudden lifts of the hands, slight openings of the mouth, and sharply angled turns of the body — transforming the performance into a visual as well as auditory experience. At times playful, at others intensely conflicted, he captured the tension between rationality and sensibility.

After intermission, Lang Lang turned to a selection of Chopin’s “Mazurkas,” exploring the intricate interplay between the Polish folk dance rhythms and Polish traditional classical music. In Op. 7 No. 3, he evoked a liberating sense of freedom, infusing each ornamentation in the left hand with rhythmic playfulness. Op. 17 shimmered with nostalgia and imagination, its joyful rhythm painting a vivid scene. His performance of Op. 24 was particularly enchanting, with harp-like high notes and coloratura-like ornamentations imbuing the music with an air of wonder, as if he were dancing with the keys themselves. Chopin’s mazurkas are notoriously challenging, requiring not only technical precision but also a deep emotional connection to their blend of Polish folk traditions and classical sophistication. Lang Lang’s interpretation demonstrated both his mastery of the score and his ability to convey Chopin’s profound nostalgia for his homeland, Poland.

The evening reached its grand conclusion with Chopin’s “Polonaise in F-sharp minor, Op. 44,” performed with commanding strength and presence. Like the mazurkas, the polonaise is rooted in dance — a stately court dance that became a symbol of Polish resistance and independence during the 19th century. Lang Lang’s rendition unfolded with a battle-like boldness, each repeated note a firm declaration of resolve. At moments, he lifted his head, surveying the concert hall as if delivering an epic statement, his passionate outbursts brimming with courage. The middle section, a contemplative mazurka interlude, offered a dreamlike contrast before the piece surged back into the triumphant grandeur of the polonaise's conclusion. Lang Lang’s performance embodied a national, heroic spirit — patriotic, glorious, and pulsating with pride. The piece’s themes of resistance and national identity were moving, transforming Chopin’s music into not only a poignant auditory experience but also an uplifting message.

Lang Lang returned for two encores, each offering a striking contrast. Charlotte Sohy’s “Romance sans paroles” provided a delicate and lyrical interlude, while Manuel de Falla’s “Ritual Fire Dance” ignited the stage with fierce intensity. Here, Lang Lang’s theatricality reached its peak — he nearly bounced from his seat, his fingers flying across the keyboard in a dazzling display of fervor.

Lang Lang’s recital at Symphony Hall was more than just a showcase of technical brilliance; It was a profound immersion into the dramatic and emotional possibilities and sensibilities of music. His ability to channel the essence of each piece — whether through a subtle hand lift, an impassioned bodily gesture, or an exquisitely timed pause — cemented his reputation as one of the most charismatic and visually engaging pianists of our time. This concert was not merely a performance, but a masterful and emotional journey through sound, movement and spirit.

—Staff writer Dailan Xu can be reached at dailan.xu@thecrimson.com. Follow her on X @Dailansusie.