For 85 minutes, we sat silently in awe of the extraordinary talents of pianist Yuja Wang. With impeccable precision, under the baton of Simone Young, she delivered a flawless rendition of French composer Olivier Massiaen’s Turangalîla-Symphonie on the piano, showcasing her exceptional technical prowess, artistic interpretation, and profound comprehension of the music. This mesmerising performance unfolded last month at Milan’s prestigious Teatro alla Scala, creating an all-encompassing musical experience for the audience.
One of Messiaen’s most notable works, Turangalîla-Symphonie is considered by many to be a challenging piece. Scored for a large orchestra with a prominent solo piano part, it is known for its complexity in terms of orchestration, rhythm and harmony. The work incorporates unconventional musical instruments, such as the vibraphone and Ondes Marteno (an early electronic musical instrument).
Turangalîla is a term derived from Sanskrit that appears to have been coined by Messiaen. He described the piece as a “love song” and the work is known for its intense emotional and spiritual aspects. The word Turangalîla itself is thought to convey a sense of profound and ecstatic love, joy and liberation, which are themes that can be found throughout the symphony. In her performance, Wang skilfully maintained a perfect balance, ensuring that the piano’s sound was never overshadowed.
Presently, Wang commands the stages of the world’s most esteemed orchestras, solidifying her reputation as a celebrated international recitalist. Her musical repertoire covers a vast spectrum, from Bach to Bartók and beyond, all of which she approaches with an unwavering passion for artistic exploration. By seamlessly uniting exceptional musical insight with exceptional technical mastery, Wang consistently enthrals audiences, prompting critics to continuously seek fresh superlatives in their attempts to describe her performances.
Wang was named a Rolex Testimonee in 2009 at the age of 22. During a media briefing at the Mandarin Oriental, Milan, the day after her concert, she expresses her honour at being part of the Rolex family, noting that its Crown logo symbolises a king, which aligns with her last name, Wang, meaning “king” in Mandarin Chinese. She also highlights Rolex’s commitment to supporting the arts, particularly during her time at the Verbier Festival — a yearly international music festival held over two weeks, typically in late July and early August, in the scenic mountain resort of Verbier, Switzerland.
The opportunity for Wang to collaborate with Rolex arose as part of the Rolex Perpetual Arts Initiative. Wang feels incredibly fortunate as she reflects on the remarkable journey it has been. “Rolex, to me, symbolises timelessness, much like music. Just as Rolex tirelessly pursues perfection, musicians dedicate themselves to honing a piece until it achieves perfection. There’s also an emotional energy inherent in this pursuit, which is why I cherish the art of performing,” explains the pianist, who sports a Rolex Oyster Perpetual Lady-Datejust on her wrist.
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As an artist, Wang’s approach to her craft is intricately woven into her identity. For her, it is a way of life, and her playing is a part of who she is. It is akin to the fusion of technique and emotion, where life and performance become intertwined.
Growing up
Wang’s career has been remarkable for someone so young. To stay at the top, she invests a substantial amount of hard work, patience, and, of course, countless hours of practice. Born in Beijing in 1987, she started playing the piano at the age of six, which she believes allowed her to leverage the malleability of young minds. “When you’re young, the neurons connect differently. In a way, I didn’t miss out on anything,” she reflects.
Given her mother’s background as a ballet dancer, Wang’s first encounter with classical music was the enchanting Swan Lake ballet composed by Pyotr Ilyich Tchaikovsky. She recalls: “My mom’s a dancer. So the first thing I heard was Swan Lake by Tchaikovsky and it was so beautiful. She wanted me to be a dancer, but I was not interested so I pretended to really love the piano.”
Wang studied music at the Beijing Conservatory in China until she moved to Canada, and later to Philadelphia to pursue music at the prestigious Curtis Institute of Music.
Her professional trajectory commenced at the age of 15 when she clinched the prestigious concerto competition at the Aspen Music Festival, all while she was still a student at the Curtis Institute of Music.
Her breakthrough on the international stage arrived in 2007 when she performed Tchaikovsky’s Piano Concerto No 1 with the Boston Symphony Orchestra. The pinnacle of her career came in 2011 during her solo recital debut at Carnegie Hall in New York, where her rendition of Liszt’s Sonata in B Minor was hailed by The New York Times as “magisterial and dazzling”.
Life as a soloist
Wang says that travelling as a pianist can be challenging as finding a suitable piano to practise on can be difficult, unlike instruments such as the violin or cello. She requires specific conditions, such as the positioning and quality of the piano, and insists on having a good Steinway piano.
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However, she has learnt to adapt to her circumstances, developing a high degree of flexibility. She uses mental practice techniques, such as approaching the score in a conductor-like manner and focusing on understanding the music and its structure. This allows her to plan effectively ahead of time. When she finally has access to a piano, she will practise intensively for two to three hours, with occasional breaks.
Sometimes, she misses human interaction. “I had so many talented friends to play chamber music with... I already had a manager at 16, so I began playing in concerts from a young age. I also became very familiar with the concert life — where as a pianist, you travel alone a lot. This is very different for a conductor or other musicians — even string players may have a quartet — but it is very lonely for pianists.”
When she’s not performing at international concerts, she takes pleasure in reading and watching movies — she’s an avid fan of Wes Anderson, the quirky American filmmaker.
Will she ever be jaded with playing the piano? She answers: “My goal is to enjoy the process. And if something doesn’t become enjoyable, I do something else or I make it enjoyable or meaningful to make it fit my intention. To have the music fit the intention is a meaningful legacy to leave behind.”
For the young musicians who are striving to achieve excellence in their craft, Wang’s advice is that if you love music and do not make it about the ego, then go for it. “You’re doing this not for yourself. If you love music enough, it’s for the music. It’s for what you can do. I hate to use the word ‘sacrifice’ but we are working like slaves once we are on this road. My parents once told me not to be a musician but I like it...there is a calling for everyone. Just put your effort into it; give everything to it.”
Rolex Perpetual Arts Initiative
For more than half a century, Rolex has fostered excellence in the arts. It has partnered some of the world’s most talented artists and leading cultural institutions to help perpetuate artistic heritage, creating a link between the past, present and future. Through the Rolex Perpetual Arts Initiative, which encompasses music, architecture, cinema, and mentoring programs, the brand affirms its enduring dedication to global culture. In all these endeavours, Rolex champions artistic excellence and the transmission of knowledge to future generations, making a lasting contribution to worldwide culture.
Music, a vital component of our lives that transcends generations, holds universal connections through time. Rolex’s involvement in the world of music is marked by its exceptional relationships. In 1976, New Zealand soprano Dame Kiri Te Kanawa became the first Rolex Testimonee from the realm of the arts. Subsequently, other opera greats joined the ranks, including Cecilia Bartoli, Sir Bryn Terfel, Sonya Yoncheva, Jonas Kaufmann, Rolando Villazón, Juan Diego Flórez, and Benjamin Bernheim.
Rolex’s support for music extends beyond opera, encompassing classical music luminaries like Gustavo Dudamel and Sir Antonio Pappano. The brand’s Testimonees — Yuja Wang and Hélène Grimaud — have gained acclaim as piano soloists. Rolex also collaborates with popular music artists such as Michael Bublé and Anoushka Shankar, a leader in world music.
Rolex sponsors initiatives that nurture emerging young artists, including singers, conductors, and instrumentalists, such as Operalia, the Kiri Te Kanawa Foundation, the Vienna Philharmonic Academy, and the Herbert von Karajan Young Conductors Award.
Recognising the importance of partnering with prestigious institutions that provide a platform for emerging talents, Rolex has established collaborations with leading opera houses worldwide, including Teatro alla Scala, the Royal Opera House, the Metropolitan Opera, the Opéra national de Paris, Teatro Colón, and the Opéra de Monte-Carlo. The brand also supports performing arts centres like the National Center for the Performing Arts and the Elbphilharmonie.
Over the years, Rolex’s arts portfolio has expanded to include the Salzburg Festival and the Whitsun Festival, along with support for the Vienna Philharmonic’s New Year’s and Summer Night concerts. The brand also makes high-quality music accessible to a broad audience through its partnership with the leading streaming platform, medici.tv.
Music, history and architecture
Nestled in Milan’s Via Filodrammatici stands the unassuming yet beautiful Teatro alla Scala. Its unpretentious facade is a deliberate nod to the architectural style of its era.
During a special visit, a select group of international media had the privilege of exploring this renowned venue behind the scenes.
It is evident that Teatro alla Scala’s facade draws inspiration from neoclassical architecture, a prevailing style during the late 18th and early 19th centuries. Neoclassical design often emphasises clean lines, symmetry, and a sense of proportion, which align with the theatre’s elegant yet simple exterior.
The evening before Yuja Wang’s performance, we had the opportunity to watch her rehearse Olivier Massiaen’s Turangalîla-Symphonie at this prestigious venue. She followed in the footsteps of numerous Rolex Testimonees who have graced the stage — where Venezuelan conductor and violinist Gustavo Dudamel conducted his first Don Giovanni and Italian opera singer Cecilia Bartoli recently returned after an extended absence. Teatro alla Scala also attracts the finest stage directors, from Robert Wilson to Robert Lepage.
Nicknamed “La Scala,” which translates to “Theatre at the Stairway,” the theatre’s name stems from its location on the site of a former Gothic church called Santa Maria alla Scala. Established in 1776 under the patronage of Empress Maria Theresa of Austria, it replaced a previous theatre that was destroyed by fire. In 1872, it came under the ownership of the city of Milan. Its very first performance featured Antonio Salieri’s opera Europa riconosciuta, a dramatic tale of love, violence, and political strife spanning 38 scenes.
The primary focus of Teatro alla Scala has consistently been its opulent and grandiose interior. The theatre boasts lavish interior decorations, grand chandeliers, and exquisitely adorned boxes and galleries, creating a stark contrast with its unembellished exterior. The theatre’s current structure, inaugurated in 1778, is emblematic of classical architectural influences that characterised the period. The facade reflects the architectural tastes and trends of its time. Additionally, the facade serves a civic purpose, overlooking Milan’s central Piazza della Scala, contributing to the city’s architectural harmony.
Architecture enthusiasts will appreciate that the facade has remained relatively unchanged over the centuries, preserving the historical and cultural significance of the theatre. Proposed major alterations would likely face resistance due to its iconic status as a symbol of Milan’s cultural heritage.
While Teatro alla Scala is renowned for its exceptional opera performances, it extends its stage to ballet and symphonic concerts, including hosting the acclaimed La Scala Philharmonic Orchestra.
The theatre’s exceptional acoustics are attributed to the auditorium’s curved horseshoe shape, its relatively intimate size, and the choice of construction materials. Its acoustical prowess is such that even a hushed conversation on stage can be distinctly heard in the highest gallery.
Teatro alla Scala holds the distinction of hosting the world premieres of numerous famous operas, including Giuseppe Verdi’s Nabucco and La Traviata, as well as Giacomo Puccini’s Madama Butterfly. The theatre boasts a rich history of nurturing Italian opera.
Teatro alla Scala has been graced by performances from some of the most renowned classical composers, including Mozart, Beethoven, and Puccini. Its storied tradition and historic significance establish it as a cultural landmark in Milan and an enduring symbol of Italian opera.
