1.来源：ALLMUSIC.COM 内容比起乐评更像是专辑简介。
作者：James Manheim
When it appeared on the EMI Classics label in 2011, this album was notable for those tracking the gradual expansion of Chinese influence in the world of classical music and beyond: it did not originate with EMI but was licensed from China Arts International Limited. The enthusiastic applause he received in this live recording, made in 2010 at Beijing's acoustically strong National Center of the Performing Arts, is homegrown. Not that single-named pianist Yundi (formerly Li Yundi, and the child of two steel mill workers) was entirely a mainland Chinese product; he was partly trained in Germany, made his name as the youngest-ever winner of the Frédéric Chopin International Piano Competition in Warsaw, and later based himself in Hong Kong. But if there is a Chinese school as there used to be a Russian school, Yundi is of it. He has something of Lang Lang's muscular ability to set the terms of the musical atmosphere with confident bravura gestures. In a nearly all-Chopin program, his specialty, he grabs the listener's attention with a brilliant performance of a work that generally isn't high in the Chopin rankings, the Andante spianato and Grande Polonaise in E flat major, Op. 22. The sets of mazurkas and nocturnes later on in the program are equally compelling, with a sort of electric flow. Yundi manages to create a dazzling effect without overloading his playing with virtuoso effects. The overall effect is impressive, even if there are more poetic performances of the Piano Sonata No. 2 in B flat minor, Op. 22, with its familiar funeral march; Yundi contributes a little poem inspired by the finale that misses, as does his performance, its weirdly unsettling quality. There is a quite Chopin-like arrangement of a traditional Chinese melody, together with the Chopin Etude in C minor, Op. 10, No. 12 ("Revolutionary"), as an encore. Booklet notes are in English, French, and German, and CD versions of this release are accompanied by a DVD of the same performance, including two additional nocturnes.
当2011年这张专辑出现在百代唱片（EMI）古典标签中时，它因那些记录中国对世界，无论古典音乐界还是其他方面，逐渐扩张的影响而闻名于世：它并非出自EMI，而是由中国国际艺术有限公司发型。2010年，他（云迪）在现场录音时获得了来自国内人民的热情掌声，而这张唱片正是录制于那时，演出地点则是音效极佳的国家大剧院。云迪（曾用英文名为Li Yundi，父母皆为钢铁厂工人）完完全全是在中国大陆成长起来的钢琴家；他曾经一度赴德国深造，在华沙摘取国际肖邦钢琴大赛桂冠，成为历史上最年轻的冠军，之后又立足香港发展。但如果中国，和曾经的苏联一样，也有自己的流派的话，云迪定是其中之一。他的肌肉力度与郎朗不相上下，能够用信心充沛而大气磅礴的表达来奠定音乐氛围。而在演奏他最擅长的肖邦曲目时，他几乎是次次都能通过智慧的阐释来吸引听众，虽然所演奏的曲目可能不是肖邦作品中最受人推崇的，比如《安静的行板》《降E大调华丽大圆舞曲》（Grande Polonaise in E flat major, Op. 22）。之后的一系列马祖卡和夜曲也是暗流涌动，一样地吸引人。虽然没有过多的炫技，云迪仍然演奏出了梦幻的效果。整场演出效果令人印象深刻，虽然他在演奏肖邦的Piano Sonata No. 2 in B flat minor（以其中《葬礼进行曲》部分著称）时诗化的处理较多；在结尾的处理上，云迪的演奏丢失了那种躁动的特质，却又增添了一点诗意。返场曲目包括一段很有肖邦风格的传统中国曲目，以及一首肖邦的《**练习曲》（Etude in C minor, Op. 10, No. 12）。专辑书签涵盖英法德文，内有同样内容的CD与DVD格式光盘，包括额外的两首夜曲。

2.来源：Limelightmagazine.com.au 乐评。
作者：Phillip Scott，2011年5月
题目：CHOPIN: Piano Sonata No 2, Grande Polonaise, Live in Beijing (piano: Yundi)
Brilliant playing and poise from the Chinese pianist but not the last word in Chopin interpretation.
来自这位中国钢琴家的智慧演奏和自若风范，但并非对肖邦音乐阐释的定论。
Yundi – he left the ‘Li’ behind on his move to EMI – is the “other” Chinese classical pianist. A rival to Lang Lang, Yundi has a less hysterical fan base (although it is similarly vast) and a more sophisticated European sheen to his sound. Chopin is Yundi’s composer of choice, and this CD is devoted to a live all-Chopin concert given in Beijing in May of last year. The bonus DVD contains the complete concert, plus two extra nocturnes.
云迪，转签EMI时，他省略了英文名中的Li，是所谓“另外那一位”中国古典钢琴家。作为郎朗的竞争者，云迪的乐迷群体没有郎朗歇斯底里（虽然在数量上并不少于郎朗），他的演奏也更富有欧式的精致与微妙。在众多作曲家中，云迪选择肖邦来演奏，而这张CD也是他去年五月在北京的一场肖邦作品演奏音乐会上的录音。专辑中附加的DVD内容包括整场音乐会以及两首额外的夜曲。
There is no gainsaying the poise and evenness of Yundi’s technique. One example may be found in the fast scale passages towards the close of the Grande Polonaise Brilliante Op. 22: they are beautifully clear. The pianist throws himself with gusto into the tumultuous first movement of the Sonata in B-flat minor, bringing light and shade to his attack so the rapid repeated chords never descend into a bang-fest. The real test of this piece, however, is the infamous Funeral March. Here, and in other pieces where an inward quality is called for (like the E-flat Nocturne), Yundi see***iteral and uninvolved.
云迪自如而平和的钢琴技艺是无可置疑的。我们可以将华丽大圆舞曲（Grande Polonaise Brilliante Op. 22）近结尾处繁复的乐章作为例证：他演奏得十分清晰。在演奏降B小调夜曲（Sonata in B-flat minor）时，这位钢琴家投入了自己全部的热情来诠释第一乐章的激烈演奏，将光与影融入于他的演奏。正是这样，开端那些快速重复的和弦才没有退化成仅仅是对琴键快速而密集的敲击。而这首曲子真正考验人的，却还是世称《葬礼进行曲》的那部分。在这一段，以及其他需要内敛感情的曲目中（比如降E调夜曲[E-flat Nocturne]），云迪却表现得很平实，不够投入。
His playing is pretty in the march’s central D-flat major episode but the ache of nostalgia is absent. Perhaps the clarity of Yundi’s pianism works against him at moments like these, even though it is an asset elsewhere. Comparisons are odious, but there are many in this repertoire: you need only listen to Rubinstein or Arrau to hear what is missing. In short, brilliant playing but not the last word in Chopin interpretation.
在演奏进行曲中央部分的降D大调片段时，他的演奏很优美，但缺少了那种怀旧的伤痛。或许在演奏这样的曲目时，云迪在演奏时的清晰反而是一种缺点，尽管在演奏其他曲目时候，清晰是优点。虽然对钢琴家的比较令人反感，但在肖邦的演奏者中，可供比较的钢琴家实在是有很多：听听鲁宾斯坦或阿劳的演奏，你就会知道缺少了什么。简而言之，云迪的演奏堪称智慧，但却不是对肖邦阐释的落定之音。

LZ先更到这儿，要相信LZ会回来的。另外有什么需要翻译的乐评等可以不要客气的PM我，虽然不能保证不出错，翻译个大意应当还是可以的。

来艾特一下上次问有木有这个乐评的筒子@菠萝小泡芙

辛苦了，翻译得真不错，谢谢楼主。

谢谢亲。不过不知道为什么为评葬礼寻个uninvolved。。。明明很投入啊

谢谢露珠。。。

太谢谢楼主了。这场音乐会曾某些黑喷的一无是处。。。

顶

楼主辛苦，吧里就是需要这种正能量的东西

带图顶楼主~~
楼主好棒诶~！！

十分有用，不仅更贴近地了解了云迪，而且还锻炼了英文！！（）
楼中的那张图很带感，收了哟~

多谢楼主，楼主辛苦啦！