By Robert D. Thomas
Pasadena Star-News/San Gabriel Valley Tribune/Whittier Daily
A shorter version of this
article was first published today in the above papers. See the end of the post
for several additions to the printed piece.
Summertime often becomes silly season, even in the
supposedly serious realm of classical music. Consider, for example, the case of
“The Little Orange Dress” (aka, “The Little Red Dress” — some have called the
dress red but I think it was orange).
Last month, Yuja Wang walked onto the stage of Hollywood
Bowl to perform as soloist in Rachmaninoff’s third piano concerto with the Los
Angeles Philharmonic. The 24-year-old native of Bejing is an electrifying
talent who can blaze through octaves and runs with breathtaking speed, as she
amply demonstrated during her Bowl performance (her hands were moving so fast
that they appeared to be a blur on the Bowl’s video screens). My review is
However, what caused a great deal of notoriety wasn’t how
she played but what she wore: what has now become known as “The Little Orange
Dress.” Ms. Wang is a slender, attractive woman and her attire wouldn’t be
unusual on any street in any American city these days, but when she walked
onstage at the Bowl, she created quite a stir from those in the audience.
What led to the most commotion on the Internet wasn’t so
much the dress but that two professional critics in attendance commented on it
in their reviews. In my review I wrote, “It also may (or may not) be worth
mentioning that she came on stage last night wearing the shortest dress I’ve
ever seen a female pianist wear, an orange sheath that elicited gasps from the
My colleague, Mark Swed in the Los Angeles Times, devoted four paragraphs of his review to Ms.
Wang’s attire (LINK — which includes a photo). The line
most frequently quoted was: “Her dress Tuesday was so short and tight that had
there been any less of it, the Bowl might have been forced to restrict
admission to any music lover under 18 not accompanied by an adult.” It should
also be noted Mark devoted the next few paragraphs to her performance, which he
called “downright magical.”
The debate in the classical music blogosphere has centered
around whether it’s appropriate for a music critic to comment on “non-musical”
things, such as attire (Lisa Hirsch, a San Francisco-based Blogger who writes
under the nom d’computer of “Iron
Tongue of Midnight,” offers a listing of several of the Bloggers/reviewers
One she listed was Anne Midgette, the well-respected music
critic of the Washington Post, who
wrote a lengthy post on the issue (LINK). The others,
including the comment threads of responders, make for interesting reading. My
attitude (as expressed in several comments to posts) is that attending a
concert is both an aural and visual experience and something like “The Little
Orange Dress” was worth at least a mention — my guess is that many in the
audience can’t remember today how well she played but they certainly remember
the dress. If you agree or disagree with my stance, feel free to post a comment
weighs in on the issue HERE and the L.A. Times has a separate article on
concert dress that includes an interview with organist Cameron Carpenter HERE,
along with three photos of “The Little Orange Dress.” Carpenter’s sequined tee
shirts and jeans are undeniably part of his total concert package and are often
mentioned in stories and reviews.
music critic of the Orange County
Register (who didin’t attend the concert), offers his comments HERE.
MORE FROM THE WEB:
Anne Midgette offers
a good basic primer on contemporary music for those who wonder how to get into
this genre. There’s nothing earth-shaking in her assessments and you may not
agree with all of them but I found it well worth reading. MORE
CK Dexter Haven
has begun a new Blog entitled “All is Yar” and he has an interesting post on
the subject of guest conductors HERE.
(c) Copyright 2011, Robert D. Thomas. All rights reserved.
Portions may be quoted with attribution.