People can make their own mind. Here is Lisisa playing Beethoven Sonata Op 57 "Appassionata" Mov3
Liszt - La Campanella — Alice Sara Ott
Khatia Buniatishvili - Rachmaninoff Piano Concerto No. 3, Part 01
Yuja Wang - Scriabin, Selections for Solo Piano
Many thanks for posting these. I've listened to them. The first sounded a little matter-of-fact and stodgy in places, acceptable in others, but not a performance that makes me want to listen again. The second I'd beard before - not bad. The third's the best I've heard from this artist but that's not saying much! I'm not impressed that she's doing more than struggling to play something that's standard repertoire and a kind of calling card for pianists (of course it is also a very great concerto indeed!). The last actually sounds like a pianist whom I'd be happy to listen to with some frequency; he appearance, however, is even more absurd than her playing is appealing! All just personal opinions, of course.
Piano teaching and technique went a long way since mid 20 century. Women can now tackle Rachmaninoff!!!!
Some of them always could!
While studying that many years ago teacher will not think twice of saying to a woman -pupil that she will get married and have children (implying that it is not that necessary to expend too much energy teaching her). And now both men and women play amazingly well.
Carfeul here! I'll never forget the late, great Shura Cherkassky in quite a late interview saying of modern pianists that "they all pay so well!". Hmmm! This isn't about "men and women" pianists, however, except to the extent that far more women have had far more opportunities to develop their pianistic skills in more recent times, but let's not forget such pianists as Carreño, Joyce, Loriod, Argerich and others (three of whom are no longer with us, of course). That kind of attitude from teachers was incredibly and unforgivably patronising; Dr Ruth Gipps encountered it on several occasions - we probably remember her today (if indeed we do at all) as a composer which seems to have been the area of her profession in which she invited the least number of such patronising brickbats, but as an oboist, pianist and (especially) conductor she had more than her fair share of these.
But let us finally and swiftly consign this nonsensical idea about "women musicians" to the garbage bin where it belongs, with the help of two fine composers - the late Elisabeth Maconchy, who once said that to her family and friends she is a woman but to her audience she is a composer and my compatriot Thea Musgrave who said that she is a woman and a composer but never both at the same time.
