Review - Porgy and Bess (Gershwin), The Metropolitan Opera, 30 September 2019

Porgy - Eric Owens

Bess - Angel Blue

Crown - Alfred Walker

Sportin' Life - Frederick Ballentine

Clara - Golda Schultz

Serena - Latonia Moore

Metropolitan Opera Orchestra and Chorus

David Robertson (conductor)

James Robinson (director)

Porgy and Bess served as a good introduction for my first visit to the MET. Besides as an 'American' opera showcasing the talents of African Americans, it highlighted social and political issues that still happen nowadays including racial discrimination and the struggle of social outcasts in communities. Peter the honeyman summed up the injustice of police unsophisticated detective work, which wrongfully sent him to the prison, poignantly: 'De white folks put me in, an' de white folks take me out, an' I ain' know yet what I done'.

The use of spirituals and folk tunes connected the audience to a more down to earth music landscape, also the use of dialect mixed with slangs and expression of the time, in contrast to the seriousness and formalness deployed in the composition style of European operas. It was also a colourful tale of African American community, rich and complex, differentiated from Greek mythology or ruling class power struggle that dominated the topics explored in operas. Vocally the lyric emphasis placed more focus on tone beauty than big dramatic singing. These led to the debatable impression of Porgy and Bess whether as a Broadway musical or opera as such.

Despite the progressiveness and social relevance, this production by James Robinson was too 'comfortable' in contrast. The set made an impressive structure on stage turn table alike a fortress for the residents of Catfish Row. The stage light mostly set out a sunny day except the storm in act two. The outlook of the residents looked if they were having a bygone tea party than demonstrating the hardship and struggle in a vulnerable environment.

The dramaturgy lacked the depth in conjuring the tension and violence arose from emotions and even deceptions. Dramatically it left to the lead singers' own device in demonstrating the protagonists complicated and often uneasy relationships. Bess was the most complicated character of all, but this production put her in equal with Porgy, Crown and Sportin' Life. It reduced the focus on her vulnerability and bohemian character negotiating in a male dominant environment. Neither visually sufficient to suggest why Porgy strongly attached to Bess despite her fidelity.

Musically it was a fine evening began with a lovely rendition of 'Summertime' by Golda Schultz. When Angel Blue finally got her voice warmed up, the singing was more connected and tidy. The duet of affection exchanged between Porgy and Bess were beautifully executed. Though Eric Owen did not always match Angel's good sense of music phrasing when there were a few moments that he was saying than singing his line. The special augmented chorus sang nearly without any detection of vibrato and always carried the rigour and choral excitements when necessary. The orchestra accompaniment was tidy and responsive under the baton of David Robertson, who after a natural approach to the music than an overt dramatic rendition.

Photo credits: The Metropolitan Opera

Review - Mahler Symphony Nos. 2 & 9, Bruckner 7, Hong Kong Philharmonic Orchestra

Hong Kong Cultural Centre Concert Hall, 27 April 2019
Symphony no. 9 (Mahler)

Hong Kong Cultural Centre Concert Hall, 4 May 2019
Piano Concerto no. 20 (Mozart)
Symphony no. 7 (Bruckner)

Khatia Buniatishvili (piano)

Hong Kong Cultural Centre Concert Hall, 18 May 2019
Christus factus est (Bruckner)
Ave Maria (Bruckner)
Symphony no. 2 (Mahler)

Ying Fang (soprano)
Karen Cargill (mezzo-soprano)
Netherlands Radio Choir
Hong Kong Philharmonic Chorus

Hong Kong Philharmonic Orchestra
Jaap van Zweden (conductor)

These three performances made an ambitious showcase of the late romantic symphonies during Jaap's spring residence with the philharmonic. The augmented orchestra with extras in brass, wind and percussion reminded us the large orchestration deployed in the Wagner ring project before. It was a demonstration how the orchestra has progressed technically and musically under the baton of Jaap. The produced tone was often meaty and confident. Though sometimes it has its temperament of inconsistency at the recent indifferent rendition of Nutcracker for the Hamburg Ballet. When it is on top form and knowing the direction, it was left to a matter of interpretation and execution.

Among the three symphonies, Mahler's ninth symphony was the most progressive and sophisticated of all. The composer probably found the ultimate resolution to his long obsession of repeated emotional struggle between love and traumatic abyss since symphonies at the Wunderhorn period. Bernstein suggested the last movement a gesture of farewell to the world, yet I thought it was Mahler finally parting away from the emotional negotiations he had been seeking so long.

Jaap emphasised the emotional contrast by adding a sheer sense of dramatic intensity, but sometimes overdoing it that felt too deliberate for a theatrical drama. A sticky start to the moody opening of first movement that led to the rocking lyric theme being playing passionately. The first climax was a crushing devastation, and the following ebb and flow remained vigorously expressive. Effective dynamic and emotional contrast that differentiated the mysterious tiptoed like transition passage and the third reappearance of the rocking theme.

The next climatic point was explosive with a rich and bold sound body, which was different from the mysterious bare sound landscape that followed. It felt more wholeheartedly triumphant as the orchestra developed another exuberant climax, but quickly vanished by a crushing blow from the brass that hinting a sense of last judgement. The main theme turned melancholy and became a march. A rhythmically tricky duet for the horn and flute and concluded with a flute solo that depicted darkness loomed in the atmosphere.

The second movement switched the emotional focus to the bold and coarse Landler dance. Jaap's interpretation was bombastic, hurried and flamboyant. It felt sticky at first and gradually gained more momentum. The gallop carried the sheer energy and swinging wildly. An audible slip from the clarinets though. The wildness grew to fullness in the grotesque third movement. The wind playing gave a mad impression of chaos throughout the complex fugal passage. The tender entry of the solo trumpet changed the atmosphere to another bold and exciting climax midway before the final recapitulation of madness.

The tutti strings began the last movement with an outpour of emotions. The warm tone made a rather positive impression before reaching the reflective mid section. The texture became leaner that carried a sorrow sense, and further reinforced by the horns on sustaining the emotional ebb and flow. A calm transition was played by the wind quartet before pushing towards a climatic point. The brass fanfare reinforced the strings to announce the radiance of love without any further reservation of irony. Jaap seems interpreted with more hope than bleakness. Towards the spellbinding end, it was felt alike the composer had found a resolve to his long search of question between hope, love, loss and death.

Despite the tender touch Khatia demonstrated in Mozart's twentieth piano concerto was elegant and seamless, her adopted tempo felt too slow at times. The orchestra and Jaap instead wanted to get it going than indulging too much. Khatia's playing carried a dense tragic colour in the first movement. Her weight on the keyboard not aggressive and carried the weight of colours. The cadenza was dramatic in contrast from the subtle impression before.

She redeployed the soft touch in the tender introduction of second movement. Though the same dynamic for the tempestuous mid section undermined the growing sentiments. The recapitulation even felt like a lullaby. It was increasingly frustrating to hear her holding the excitement further for a mysterious impression in the last movement. The cadenza filled with sentiments that felt odd to rush the coda at break neck tempo.

Compare to previous two encounters of Jaap conducting Bruckner's 4th and 8th symphony, the 7th emphasised on blazing sound but not so much a musical narration. The strings made a majestic introduction yet the upper strings were not quite together with the winds. Beautiful flute playing in the wind trio followed by a tragic passage in the lower strings. A complex sentimental negotiation of a vast sound world between heaven and earth went on. The brass ended it on a confident fanfare to create a long chord of a full blown pipe organ.

A huge sound of the majestic theme began the second movement emotionally forward. A lyrical part for the strings to play in unison with richness. The crescendo led to a climatic peak accompanied by another glorious brass fanfare before resetting to a bare landscape. It ended on a solemn announcement by the horns with a flute solo leading to a delicate pause.

A wild but bold gallop started the third movement which culminated the intensity for an explosive climax. The ebb and flow of emotion was followed by a pastoral mid section which the main theme was more romantic driven. The recapitulation was unhurried and grand. The introduction of the last movement became more witty and optimistic at first. The brass fanfare put the melancholy dialogue between the woodwind and strings aside. There was even a hint of recalling Wagner's music painting of the Rhine river yet the under grow development felt random. In contrast, the thundering brass theme added more confidence and certainty to the triumphant conclusion.

In the next programme, two familiar motets by Bruckner were sung by the Netherlands Radio Choir prior to Mahler's 'Resurrection' Symphony. Though I was puzzled why the Philharmonic Chorus was not performing the motets together with the Dutch choir. Klaas Stok, the choirmaster of the Radio Choir, took a rather vertical approach to 'christus factus est' with a dragging tempo. The dynamic contrast was effective from the choir yet not a dramatic execution of the music. Klaas's conducting also did not help to get the parts together and there were some untidy corners. 'Sancta Maria' was emphasised particularly through the diction in the 'Ave Maria'.

The orchestra felt far more confident in the second symphony than the ninth symphony before. The lower strings began the first movement in rage. It made a contrasting picture of hell and heaven when the upper strings played the heavenward theme with warmth. The wild tutti gallop which followed shattered the sweet pastoral picture before. Gradually it developed to a triumphant climax until the violent passage returned once again in sheer intensity. The brass played the theme bold and full in contrast to the calm and tender closing.

The dance in second movement was gentle and gracefully played in a warm tone. Jaap took the tempo on the fast side to keep the waltz elaborate and optimistic. Nervousness returned in the third movement and, despite carrying the forwardness in momentum, the upper strings were not tidy in the note heavy passage. The melancholy gallop culminated to a wild and explosive climax, which the percussions effectively built up the theatrical intensity. Karen Cargill phrased the fourth movement poetically yet the orchestra was not that responsive to her deployed rubato. Her diction was sometimes cloudy and a rather bright timbre for the part.

The musical narration of last judgement to resurrection was vividly portrayed in the final movement. After a brief recapitulation of the opening of the first movement, the brass announced the judgement theme steadily. The majestic impression left no room for cliche and a heavenward glimpse was gloriously rendered. In contrast, the tutti devastation that followed was crushingly loud and wild. The brass reinforced the climax continuously with explosive intensity until the chorus hushed entry. The combined choirs were uncertain at first with Zweden's conducting but grew more confident when the orchestra joined. Ying Fang sang with a clarion clear timbre and complimented Karen very well in their duet. The excitement was hold back until the final exultation, which was gloriously rendered for the ultimate salvation. 

Review - Madame White Snake (Long), 2019 Hong Kong Arts Festival

Madame White Snake - Susannah Biller
Xiao Qing - Michael Maniaci
Xu Xian - Peter Tantsits
Abbot - Gong Dongjian

The Hong Kong Arts Festival Chorus
Hong Kong Children's Choir
Hong Kong Philharmonic Orchestra
Lan Shui (conductor)
Michael Counts (director)

For the second year, the arts festival continued the western opera adaptation of a well know Chinese Opera libretto. In terms of staging and technological employment, this production of Madame White Snake was more sophisticated than last year grandiose attempt of The Dream of the Red chamber.

The highlights include a projected white snake lurking on an umbrella opened by Madame White Snake after meeting up her lover Xu Xian for the first time. Her transformation between between human and snake prior to Xu Xian confrontation with drugs was also beautifully portrayed. The projection of a mountain scene with falling snow was vividly displayed. The epilogue would have been a success in conjuring a stormy scene, but the choreography failed to demonstrate the intense battle between the abbot and Madame White Snake. There was also an awkward moment when Madame White Snake struggled to wear her wedding dress on stage and left me bewildered what was going on.

Musically it was a mixed affair which the first half showed much composition interest. Despite an exciting parts for the orchestra, I thought the vocal effect during the first quarrel between the abbot and Madame White Snake was rather silly. The Puccini like music passage in the fourth act felt less attractive probably due to the lack of dynamic contrast. Even so, the tender lyric coda made a moving end to an intense evening.

Biller took some time to warm up her voice as the her timbre felt rather coarse at first. Though as her vocal body became fuller and more legato, the singing excelled as the evening went. Maniaci carried a good vocal projection as countertenor but I found his diction style rather cloudy, especially not very clear with the articulation in consonants. Perhaps due to the theatre dry acoustic and positioning in the pit, the diction of festival chorus was not clear too and also sometimes underweight while singing against the orchestra. The choir also had a difficult job to read the music in mostly very dim environment. The positioning of the children's choir before the pit was therefore more ideal with the benefit of more refreshing parts to sing. Members of the philharmonic orchestra under the direction of Lan Shui did an excellent job to keep the music momentum and energy going.

2019 Hong Kong Arts Festival - Cloud Gate Dance Theatre of Taiwan 雲門舞集, 24 Feb 2019

Retrospectives of Lin Hwai-min's Works:
Highlights from Moon Water, Bamboo Dream, Portrait of the Families, Cursive, Pine Smoke, Wind Shadow, How Can I Live On Without You, Rice and White Water.

Cloud Gate Dance Theatre of Taiwan 雲門舞集
Lin Hwai-min 林懷民

Lin Hwai-min can be regarded as the Pina Bausch of the East but his choreography approach is different from Bausch. The opening scene reminds us that Lin finds movement and gestures in the form of Chinese character 'Yong', where fluidness of strength and motion merge with harmony. The visual refinement was exemplified in Pine Smoke and White Water by the elegant moving mediation of qigong. Though I found the visual impact more effective in the 'thousand characters' from Cursive, where dancers intertwined in the sea of calligraphy projected on the stage. The dance technique also emphasised on inner strength through gentle movements than an athletic display.

Lin also employed many aspects of Taiwan into his creations. The portrait of the families commemorated the disturbing white terror period with emotional imaginary in the backdrop. Excerpts from How Can I live On Without You made a two folded opposite: 'coincidence' celebrated the light hearted cha cha dance in a nostalgic reminiscence, though Lin portrayed 'the unspeakable secret' as a tense hallucination that sanity seems falling apart. 'Rice' celebrated the rural landscape alike a romantic portrayal of the agricultural community and countryside nature.

Moon Water instead took an artistic approach to connect expressions and the music by Bach. Whereas the black angel from Wind Shadow emphasised the distinctive black feather outlook for a visual curiosity. The highlights gave a sense of how Lin progressed in his works over the year and demonstration the diverse inspirations he had. Yet for artistic excellence and visual indulgence, I preferred serious works such as Pine Smoke and Cursive more. Perhaps as a tour production had its limitation in displaying the original full theatrical effect such as in 'Rice'. The company was well rehearsed and the transition between scenes were seamlessly executed.

Review - Xerxes (Handel), Deutsche Oper am Rhein, Webcast

Xerxes: Valer Sabadus
Arsamene: Terry Wey
Amastre: Kataina Bradic
Aridoate: Toben Jürgens
Romilda: Heidi Elisabeth Meier
Atalanta: Anke Krabbe
Elviro: Hagen Matzeit

Chorus of Deutsche Oper am Rhein
Neue Düsseldorfer Hofmusik
Konrad Junghänel (conductor)
Stefan Herheim (director)

Serse is well known by the opening aria 'ombra mai fu', though arguably I found the music less memorable than other Handel's operas like Alcina, Rinaldo and Giulio Cesare. Most arias were short and towards functional. The plot is also complicated and more twisted than a triangle love saga. The jealous royal brothers, Xerxes and Arsamene, fought against each other for the hand of Romilda, who also quarrelled with her sister Atalanta for Arsamene. Amastre disguised as a soldier in the camp of Ariodate and awaited patiently to regain the affection of Xerxes.

Instead of highlighting the vicious and fiery character, Herheim's staging presented the opera from a humorous approach and amused the audience with baroque gestures. The elaborate costumes of gold and red feathers wore by Xerxes with erotic cock piece made an over the top impression. The clumsy outlook and exaggerated behaviours of Ariodate and Elviro recalled those scandalous characters in Hogarth's The Rake Progress. Atalanta's attempts on encouraging a furious Xerxes to execute Romilda by gun and arrow shootings, canon firing and stabbing was the most entertaining part of the evening.

Herheim's approach made the acts of bloody quarrel and sexual advance a light hearted affairs than the emotional seriousness that it could have been. The employment of a rotating stage with one being the main elaborate platform flanked by two side stages also made a spectacle of stage machinery. Elaborate period scenic designs made the reference to the baroque stage technique, whereas the dramaturgy with exaggeration kept the interest on.

The boyish looking Valer Sabadus portrayed Serse as the patronising ruler who had no sympathy towards the others. His tessitura was comfortable in the high vocal range with a pretty timbre that very much ideal for lyrical arias such as the ombra mai fu. Though compare to other singers, his vocal body was relatively small and lacked the dramatic rigour in "Crude Furie degl' orridi abissi". Another countertenor, Terry Wey, sang in a more forward vocal style. He singing carried more emotion and urgency to the vocal colour.

I rather enjoyed the full bodied mezzo singing from Kataina Bradic that had the projection and vocal excitement. Like Terry Wey, Heidi Elisabeth Meier and Anke Krabbe were more forward in their vocal style, which suited to the sisters' fighting spirit and their exaggerated actions. Toben Jürgens and Hagen Matzeit gave the humorous portrayal of their characters effectively. Under the direction of Konrad Junghänel, the Neue Düsseldorfer Hofmusik injected much instrumental excitement and momentum to the rather not so elaborate music scoring. They clearly enjoyed the theatrical interaction with the singers and made this production a success in all way.

Review - Joyce DiDonato in War & Peace, Hong Kong City Hall, 16 January 2019

Scenes of horror, scenes of woe from Jephtha (Handel)
Prendi quel ferro, o barbaro! from Andromaca (Leo)
Sinfonia from Rappresentaione di anima e di corpo (Cavalieri)
Chaconne (Purcell)
When I am laid in earth from Dido and Aeneas (Purcell)
Pensieri, voi mi tormentate from Agrippina (Handel)
Tristis est anima mea (Gesualdo)
Lascia ch'io pianga from Rinaldo (Handel)
They tell us that your mighty powers from The Indian Queen (Purcell)
Crystal streams in murmurs flowing from Susanna (Handel)
Da Pacem Domine (Part)
Augelletti, che cantate from Rinaldo (Handel)
Dopo Notte from Ariodante (Handel)
Encore:
Par che di giubilo from Attilio Regolo (Niccolo)
Morgen (Richard Strauss)

Il pomo d'oro
Maxim Emelyanychev (director)
Joyce DiDonato (mezzo-soprano)
Manuel Palazzo (dancer)

This recital was my fourth experience of live performances by Joyce DiDonato, and especially personal in terms of programming and presentation. It served as a personal reflection of her anxiety by the recent and current progression of world politics and social agenda. A liberal agenda is in the air protesting Donald Trump for his disrespect to woman's rights and retreat from international corporation. Nevertheless Joyce is optimistic by the future and believes through cultural exchange peace can always be found and share joy together.

The design of this recital is an anthology of varied works by different representing composers, particularly from the Baroque period, to construct an opera of operas in the context of the principle theme 'war and peace'. A raging introduction was given through a doom telling prophecy from Handel's oratorio 'Jephtha' and suicidal madness from the lesser known opera Andromaca by Leo. Dido's lament and Agrippina's curse displayed the revengeful character in torment. A display of twisted humanity and abnormality turned norm during war, betrayal and slaughter. Lascia ch'io pianga from Handel's Rinaldo concluded the first half on a subtle sentiment.

The second half instead focused on music painting and tranquility from Handel's oratorio Susanna, and again the opera Rinaldo where a singer enjoyed a duet with the recorder imitating bird singing. The two athletic arias from Handel's Ariodante and Niccolo's Attlio Regolo were left towards the end for a technical brilliancy fireworks. The evening ended on a moving and forward looking note with the ethereal 'Morgen' by Richard Strauss.

In conjunction with the Baroque spirits, the inclusion of a dancer on stage, special lighting effects and imaginative video display, tasteful gowns designed by Vivienne Westwood added the flamboyant dramatic effects that very much celebrated. Though it took some time for Joyce and the ensemble to synchronise in the first half. Maxim Emelyanychev attempted to display his multi talents both directing from the keyboard and even playing the cornett, but some weird continuo moment especially in Lascia ch'io pianga that disturbed the pure and still impression that the singing aimed for. 

Joyce's vocal condition was also not in the best form as the tuning went noticeably flat in Dido's lament, and lacked some energy in sustaining the runnings during the athletic arias. Though her sheer emotions, vocal richness and stage presence rectified the shortfall. I also felt the recital as a whole was beautifully rendered and a lot of thoughts put into the presentation format. Most importantly the message and courage she made through this project showed an established artist can bring hope to the masses in this ever more divided world.

(Photo credit: Premiere Performances of Hong Kong)

Review - Les Huguenots (Meyerbeer), Bérénice (Jarrell), Tristan und Isolde (Wagner), La Traviata (Verdi), The Paris Opera

Les Huguenots (Meyerbeer), Opéra Bastille, 1 October 2018
Marguerite de Valois - Lisette Oropesa
Raoul de Nangis - Yosep Kang
Valentine - Ermonela Jaho
Urbain - Karine Deshayes
Marcel - Nicola Teste
Le Comte de Saint-Bris - Paul Gay

Andreas Kriegenburg (director)
Michele Mariotti (conductor)

Bérénice (Jarrell), Palais Garnier, 2 October 2018
Titus - Bo Skovhus
Bérénice - Barbara Hannigan
Antiochus - Ivan Ludlow
Paulin - Alastair Miles
Arsace - Julien Behr
Phenice - Rina Schenfeld

Claus Guth (director)
Philippe Jordan (conductor)

Tristan und Isolde, Opéra Bastille, 3 October 2018
Tristan - Andreas Schager
Isolde - Martina Serafin
King Mark - Rene Pape

Kurwenal - Matthias Goerne
Brangäne - Ekaterina Gubanova
The Young Seaman - Nicky Spence

Peter Sellars (director)
Bill Viola (video)
Philippe Jordan (conductor)

La Traviata, Opéra Bastille, 5 October 2018
Violetta - Aleksandra Kurzak
Alfredo Germont - Jean‑François Borras
Giorgio Germont - George Gagnidze

Benoît Jacquot (director)
Giacomo Sagripanti (conductor)

(Tristan und Isolde)

A big thank you to all that has been following this blog since October 2015. Hopefully more reviews on opera performances and lifestyle too such as a recent champagne sampling of 28 labels.

For the hundredth post, a review of four opera performances I saw at my recent revisit to the Paris Opera. The question of 'loyal to whom' is certainly the common theme that these operas dealt with the question of identity. Social belonging and public duty disrupt the relationship of the protagonist and their love ones. Death is also inevitable in the end but not necessarily a sad ending.

In Les Huguenots, Raoul and Valentine belonged to the rival groups of Catholics and Protestants. Their affection for each other saw them together yet did not escape the religious massacre. Valentine's death served as a poignant reminder to her father that the slaughter came at a painful cost despite attempts to stall the escalation.

There were more complications in Bérénice that Tito tormented by the state rejection of a foreign queen and his affection for her. The love triangle relation with Antiochus as a friend and in knowledge his affection for Bérénice added further headache to the dilemma. Bérénice's frustration by Tito's indecisiveness followed by the hopeless situation showed the three bended to the wheel of the state.

The forbidden love between Tristan and Isolde betrayed the state as the latter supposed to be the wife of King Mark. Their death was a release from the loyal obligation and reunited in after life. Giorgio rejected Violetta because of her social status despite her love for Alfredo was genuine and deep. Her death released her from the unhappy life yet a loss to the Germonts.

In terms of staging, Andreas Kriegenburg's set was the biggest with a mobile structure alike many recent productions. The mass crowd deployed in his production of Rheingold for Munich reappeared at the court of Marguerite. Though as a whole the dramaturgy followed a narrative approach and seems so relax that lacked a build up towards the cruel massacre in the final scene. It did not carry the looming intensity nor effect like his Soldaten.

(Bérénice)

It was my second time to see Bill Viola's video filming as backdrop in Tristan and Isolde. Though I felt the screen size used in Paris was smaller than my first viewing at Birmingham. The artistic filming style gave more fluidness to the background than the often slow motion or even static stage choreography. There were some memorable moments such as the candlelit scene, the underwater shot and the naked male ascended in pouring rain. Some might find the filming distracting and too suggestive while the singers were on stage. Though the problem seems to be Sellar's choreography for the singers rather basic or even random than incorporation them into the film.

However, Benoît Jacquot's production of La Traviata was the most unimaginative of all four. The set was so economically presented that the stage looked rather bare with Violetta's bed station alone. Act three when Violetta and Alfredo confronted at the salon gathering was the only part more interesting to look at. If it was not the music excellence, the evening would have been rather boring to sit long.

The best of all was Claus Guth's production of Bérénice, which had more depth and visual interest. The presentation as a psychological thriller realised the tension, emotional conflict and surrealness vividly. It added the dramatic intensity in displaying the protagonists' vulnerability and torments. Alike Les Huguenots and Tristan und Isolde, there was a lengthy negotiation as the emotional states evolved. Even though it could be tedious and frustrated as the characters seem never able to make up their minds.

(Les Huguenots)

Musically, the male choral parts were magnificent in Les Huguenots, especially the tenors that never seems tired to nail all those top notes and gave a wall of sound that filled the hall with a lot of vocal excitements. At short notice, Lisette Oropesa sang far more successfully than Yosep Kang. Oropesa met the vocal demand with ease, technically confident and also had the sweetness in her timbre. Whereas Kang struggled with the tessitura and he was not comfortable at all in the high vocal range. Diction was also sloppy, and his singing lost the flexibility and brilliancy as he displayed in Lucia di Lammermoor at the Deutsche Oper Berlin few years ago. I was more impressed by Ermonela Jaho, who not only technical brilliancy but also showing Valentine's torment and agony in full.

As a brilliant actress and singer, Barbara Hannigan showed how frustrating and despair of Bérénice in her quarrel with Tito. With Bo Skovhus and Ivan Ludlow, their music phrasing and acting were very natural as if the roles had been sophisticatedly studied and well prepared.

Endless vocal energy from Andrew Schager as a full blooded Tristan. Yet he approached the role alike Siegfried was sometimes overpowering and lacked the dynamic contrast. His counterpart Martina Serafin had mixture of results in her execution of Isolde. She was rather wobble by employing too much vibrato, and sometimes struggled to keep the intonation and even sustaining a phrase. Her vocal energy lost after a rather presentable act one and the rest seems too much for her to handle. Rene Pape was an experienced veteran in the role of King Mark. Though probably due to the staging he and Ekaterina Gubanova seems lacked the attention and merely a singer on stage without much impression. Nicky Spence as the seaman showed vocal promise and worth future listening for his confident and commanding timbre. Though it was annoying that a member of the audience applauded inappropriately after the cor anglais beautiful solo in act three.

Besides Ermonela Jaho, Aleksandra Kurzak also impressed me by her effortless singing and wonderful portrayal of the vulnerable Violetta. Her creamy timbre sustained the vocal smoothness and momentum. Jean‑François Borras managed to match Kurzak's vocal confidence and the audience seems unfairly gave him less appreciation. I was less crazy about George Gagnidze as Giorgio as his voice showed tears and lacked the warmth and body I had in mind.

The Paris Opera orchestra knew the music very well and responded to the ebbs and flows in all four operas. In Tristan und Isolde the orchestra especially kept the music flowing while ably to adjust the tone colour to match the emotions. They shaped the music effectively with a wonderful sense of direction. It was definitely the best orchestral interpretation I encountered in live and kept the evening more memorable than the vocal cast.

(La Traviata)

Review - Symphony No. 7 (Mahler), Hong Kong Philharmonic Orchestra, 17 November 2018

Symphony No. 7 (Mahler)

Hong Kong Philharmonic Orchestra
Jaap van Zweden (conductor)

Among all the symphonies by Mahler, I felt the seventh musically most complex and experimental. This performance by HKPO was the second time I heard the symphony in live and like any revisit one was still awe by each new discovery. Jaap took a rather slow and steady tempo for the introduction of the first movement. It felt rather heavy and lacked forwardness. Though I was impressed by the bright and bodied from the brass and caught up more momentum as the orchestra galloped more. The thematic development was almost abstract to an extent and nothing fixed. It became a thick and raging gallop as the music piling up texturally.

In contrast, the picturesque image of lake and natural landscape were more apparent in the quiet passage. It was also more romantic and sentimental than before. Though the focus turned away to a sombre funeral march played by the lower strings and brass. It then grew into a flamboyant explosion of thematic repetitions, which the orchestra gave a weighty and dramatic built up. The climaxes were emotionally driven and wild howls thundering along to shake the world in sheer intensity.

The second movement instead turned to melancholy and recalling the wunderhorn symphonies. Texturally lighter with some hints of humour but sarcastic the same time. It felt alike a spirited ride in the countryside while waltzing along. The depiction of an unsettling night with cow bells and melancholy dance felt rather enigmatic.

There was more urgency and abstraction to the scherzo of the third movement. The dance patterns grew more grotesque and energetically motivated. Jaap let the music to lead the shape as the orchestra sailed the continuous change of musical shapes. It did not lose the energy and sustained the rhythmic activeness throughout. Though the thinking seems lacked some depth despite being musically driven.

Finally the strings and winds could play with more warmth in the scenic fourth movement. A gentle serenade to an extent but underneath increasingly nervous and unsettling. The ebbs and flows of emotion swelled, which the lyrical dance theme negotiates with sentiments. It was not a wholehearted happiness but a sudden surge of inner excitement.

The beginning of the fifth movement marked by the triumphant and majestic gallop that gloriously rendered. Jaap took a rather swift tempo to allow the orchestral excitement exploded in fullness. Structurally the last movement was more classically orientated and square in phrasing. The brass fanfare was decorated by elaborate winds' descant. It was another explosion of thematic and rhythmic experimentation, which culminated to madness with different parts clashing into a chaos. Yet it was Mahler in exuberant mode at the recapitulation of the opening triumphant theme by stamping hard and wildly driven. A virtuosic part for the timpanist with the orchestra built towards an explosive and  intense conclusion. Most impressive performance as a whole and still amaze me that HKPO is continuing to perfect their playing.

Review - Angel's Bone (Du Yun), 2018 New Vision Arts Festival, 11 November 2018

Mrs X.E. - Abigail Fischer
Mr X.E. - Kyle Pfortmiller
Boy Angel - Kyle Bielfield
Girl Angel - Rosie K
Vocal ensemble - Rachel Kwok, Law Tsz-ying, Dominique Chan, Eleanor Chu, Keith Pun, Guddy Chan, Irwin Chan, Caleb Woo, Carlos Li

Hong Kong New Music Ensemble
Daniela Candillari (conductor)
Michael Joseph McQuiken (director)

The spectacular stage effects, which employed in this Asian premiere of Angel's Bone, were most impressive and a much desirable upgrade from the first performance at New York City in 2016. it gave the staging a chic outlook by using multimedia effectively. The use of revolving stage, simple furniture sets, sophisticated light designs, artistic projections and fluid choreography allowed a seamless and flowing performance. Proportionally it also made a spacious visual impression even the stage size is not particularly big.

The flexibility and progressiveness that this production successfully delivered serve as a good example for local opera companies to learn from than the clumsy unimaginative dramaturgy that has been prevailing. It has also demonstrated that chamber opera production, whether contemporary, classical or baroque, allows the repertoire list to expand and more mobile to be catered at smaller theatres.

Despite no printed programme was given except an online one, the story seems relatively straightforward to follow. Two shaken angels were taken into a religious driven household but terrified by the threatening Mr X.E.. The discontented Mrs X.E. desired to be socially glamorous than being an obedient housewife. She gradually seek comfort and satisfaction from the boy angel, yet the close affection got her pregnant. The girl angel was tormented by encounters with strangers and with the boy angel both emotionally broken. They were eventually thrown out by a raged and disgusted Mr X.E. at the discovery of his wife's infidelity. Mrs X.E. continued to struggle and begged for forgiveness to no avail.

Alike Elektra, it was a progression of mad house scenario. The domino effects of psychological break down and desperation culminated to a gripping and intensive end. Yet sentimentally I did not find the protagonists deserve the emotional pity. The narration was heavily bombarded by the emphasis on broken minds and driving to madness as with Mr X.E.. There were emotional corners when Mrs X.E. pleaded for redemption but lacked a convincing reason.

I also only realised the angels association to human trafficking and their abuse after reading the programme. At first the chanting, mention of annunciation and virginal conception in relation to Mrs X.E. and the boy angel were more apparent of a surreal psychological crisis. The use of amplification is debatable and it could have been less heavy to allow dynamic contrast and accommodate tenderness.

Under the direction of Dnaiela Candillari, the musical performance was dramatically rendered and sailed through some tricky music corners effectively. It was a great opportunity for local sourced musicians to showcase their talents along an international casted lead singers within a progressive stage experience. More is certainly welcomed in the future.

Review - Die Zauberflöte (Mozart), La Monnaie, Webcast / 28 September 2018

Sarastro - Gabor Bretz
Tamino - Ed Lyon
Queen of the Night - Sabine Devieilhe
Pamina - Sophie Karthauser
Papageno - Georg Nigl
Papagena - Elena Galitskaya
Mononstatos - Elmar Gilbertsson
Three Dames - Tineke van Ingelgem, Angelique Noldus, Esther Kuiper
Two Priests / Guards - Guillaume Antoine, Yves Saelens
Three Boys - Sofia Royo Casoka, Tobias van Haeperen, Elfie Salauddin Cremer

La Monnaie Symphony Orchestra and Chorus
Antonello Manacorda (conductor)
Romeo Castellucci (director)

Castellucci's directorial approach to Magic Flute was radical as expected but it came to an unexpected conclusion. It was far from the very entertaining 'brought smile to the face' production by Barrie Kosky, nor the psycho thriller taken by David Hermann for the Flemish Opera, and certainly not as a children's introduction to opera.

Instead the binary theme, light and night, in the respective ideological camps were focused in this production. Under the effect of jet lag, at first I thought the man, who attempted at destroying the lone fluorescent lamp in darkness, an act of vandalism from the camp of the queen of the night. The first half was presented in an extraordinary setting of Baroque grotto, designed and built by Michael Hansmeyer, as Sarastro's Palace of Light. Singers were in their elaborate white lace costumes came to stage in a compose manner. Though the oppression to treat the moors like Mononstatos as servants eventually triggered rebellion that finished the first half in chaos.

Fluid and awe-inspiring choreography, yet the same time it felt very controlled and symmetrical. The perfection in harmony and beauty made one wondered by its purpose, or what the veil was hiding. There was no spoken dialogue but only the musical part retained. Up to this point, I could not wonder was the director trying to please the die hard traditionalist, who prefer visual comfort and their indulgence in literal understanding of the opera. Though that would be odd as it was ignoring the humorous aspect, and so far the staging had no emotion but only a surreal and hallucinated impression. Perhaps it was also demonstrating the righteous and virtue of Tamino turning away from the queen's revenge plan and admission to Sarastro's temple?

The answers were gradually unfolded in the second half in relation to motherhood, blindness and injury. Breastfeeding was shown and the produced milk was saved into the cylinder of the fluorescent lamp. It justified why the queen of the night as mother to Pamina wanted to protect her daughter from Sarastro, who only laid rules and boundaries than showing affection for her. Five blind women told the audience they embraced blindness as a condition not illness nor suffering. Hope and motivation could still be found and realised even in darkness. The bias associated to night/darkness were unjustified and wrongfully labelled. Light actually could also be harmful than a beacon of guide as the tale of the five men told their tales of suffering severely from associated accidents. The challenge in the temple were obstacles and only love brought Tamino and Pamina together and showed the way forward.

So the conclusion seems to be the queen wow the ideological argument because of her more human qualities by more able to express the rawness of her emotions, whereas Sarastro's logical and the upholding of moral dimension only brought a dull stability and even 'darkness' that undermined the human qualities as portrayed in the first half. The pretentious behaviours at the elaborate palace had no soul and could not compare to the workers that experienced life difficulties and obstacles. Yet I thought Papageno came with the best conclusion that the conflict between ideological camps nothing but a disillusioned dream. Only embraced both 'light' and 'night' then one would be rewarded in true happiness as in his union with Papagena.

Though setting Magic Flute as a conceptual framework it nonetheless undermined the entertaining and humour aspects. The uniform style deployed in the costume styles too left no room for a distinctive identification of the lead roles. They were nothing more that a soundtrack or music box playing tuneful catchy music. The sung text formed the basis of ideas to toy around but the narrative story telling was deprived from any attention. That might be why I did not find the singing particularly memorable.

Yet Georg Nigl carried more distinction in his character portrayal of Papageno and gave more dramatic colour to his singing. Sabine Devieilhe nailed the top notes without difficulty and met the vocal expectation as queen of the night. Both Ed Lyon and Sophie Karthauser gave a smooth and sweet singing impression. Gabor Bretz's timbre was not so dense for Sarastro and adopted a more swift tempo than grudging along in the stately arias. The Monnaie orchestra had again demonstrated improvement to their tone quality and gave more shape to the music. It gave a spirited playing under the direction of Antonello Manacorda.

Review - Purcell and Handel, La Nuova Musica and David Bates, La Seine Musicale, 29 September 2018

Purcell: airs and dances from King Arthur, Fairy Queen, The Tempest
Handel: arias and dances from Il Pastor Fido, Terpsicore, Alcina

La Nuova Musica
Anna Dennis (soprano)
David Bates (director)

La Seine Musicale adds another new performing art complex to Paris after the Philharmonie. It locates on an island on the river Seine at the outskirt of Paris. The building design as a whole is spacious, tastefully decorated and comfortable. Good balance in terms of the hall acoustic and the right size for capacity. Instead of symphonic concerts, it focuses on Baroque performances and this concert by the La Nuova Musica makes a good introduction.

Despite signs of illness, Anna Dennis gave a tender and elegant rendition of 'fairest isle' from Purcell's King Arthur. The legato maintained and displayed a variety of vocal colours later in 'If love's a sweet passion' from the Fairy Queen. She gave an emotional account of 'The Plaint' also from the Fairy Queen, which recalled the same sentiments expressed in Dido's lament.

The dances were generally jolly, flamboyant and in a quick gallop. It began with an oboe driven dance swinging along followed by a majestic pastoral dance in the second movement. The third was a dialogue between violin and oboes whereas the final movement was a virtuosic display for the solo violin.

Though I thought the harpsichord could be added to give more contrast and support to the ensemble. Dennis sustained a bell like tone in her singing and being dramatic with the running to the top notes. It concluded with an emotional aria, Ah mio cor, from Handel's Alcina after a gallop to realise the torment.

Review - Orchestre de Paris, Philharmonie de Paris, 27 September 2018 & 4 October 2018

27 September 2018

The Coriolan Overture (Beethoven)
Violin Concerto No. 2 (Widmann)
Symphony No. 6 (Beethoven)

Carolin Widmann (violin)
Daniel Harding (conductor)

4 October 2018

Overture to 'Beatrice and Benedict' (Berlioz)
Piano Concerto No. 2 (Prokofiev)
Symphony No. 7 (Beethoven)

Igor Levit (piano)
Thomas Hengelbrock (conductor)

I never learn from the past and still attended the concert under jet lag. A strong coffee would have been useful to stay awake than dosing off. Nevertheless, the first concert experience at Paris Philharmonie was not that satisfying and there were some noticeable hiccups. The orchestra gave an explosive start in Beethoven's Coriolan overture. It carried the intensity to drive the tension in full until descend to a quiet end.

Widman's second violin concerto began with a minimalist gesture by using 'cor legno', which used the back of the bow hitting the strings. Short random notes made further abstract impression and then disrupted by a violent crescendo from the lower strings.

Harmonics were employed to start the second movement mysteriously in a surreal timeless landscape. A more lyrical line for the violin to indulge on lush romantic themes but the orchestral accompaniment was atonal on the other hand. It carried more emotional towards the end of the movement in a bright and raw tone.

An energetic charge kicked off the last movement with a busy part for the solo violin. It quoted the beginning of the concerto briefly before bursting in hurry again. The nervousness and violence built towards a bizarre and explosive coda like a boiling kettle.

In the Beethoven's sixth symphony, Daniel Harding's big gesture conducting style seems to be in opposite of the orchestra's playing being elegant and fluid. He made noticeable groans that one felt rather disturbing for the audio appreciation. The arpeggios were kept light and displayed the colourful scoring effectively of a cheerful pastoral scene in the first movement. The second began tenderly with the strings playing with mute on. It created a raindrop impression while keeping the music flowing softly. The wind solos were sweet in tone and able to show the dynamic contrast. Though the dialogue between the flute and clarinet went rather wrong that it took some bars to rectify and get back together.

The gallop before the storm was better coordinated that sustained the rhythmic forwardness. It reached sheer intensity at the stormy passage which was dramatically rendered and again displayed the contrast in colours and dynamics. A rather swift tempo was adopted for the aftermath fifth movement, which Harding probably preferred as a light quick dance. It certainly kept the momentum flowing and very bright colour from the brass. The coda was regal and stately concluded.

Hengelbrock's conducting was different from Harding by being less expressive and controlling. Yet there was some uncertain moments in Berlioz's overture that he let the orchestra to lead the direction. The playing at first lacked the swing of a dance but the strings played the lyrical theme beautifully. Bright tone during the gallop and the tutti playing gained more forward momentum. It finished energetically with sheer excitements.

Structurally Prokofiev's second piano concerto was more upheaval and stormy than the third piano concerto. A dreamy start to the first movement by the solo piano negotiating between ebbs and flows of subtle emotions. The virtuosic passage was a flamboyant dance attempted to break the mysterious atmosphere before retreating again. The quietness created a blurry coastal scene afar that echoed the calm beginning. It was disrupted by the orchestra thundering entry. In contrast to the tender touch before, Levit added more weight and intensity to build up the crescendo throughout the symphonic like solo passage.

The second movement was more straightforward for the audio appreciation with the music galloping in haste and rhythmically energetic. Like many other works by Prokofiev, the dotted rhythm dance gave a more muscular and weighty impression to the third movement. It was like a drunken Russian dance that swung bizarrely to a violent climax, yet not grotesque or sarcastic. The coda was surreal and dreamy again with soft chords on the solo piano. Levit sustained the curiosity with delicate touch and clarity in his playing.

A dramatic beginning to the last movement alike a beast storming in and showing emotions in full. It was answered by a quiet passage that recalling an old Russian folk tune in tenderness, which Levit kept the legato sustained for a long line. Though the violent presto did not leave much room to indulge on emotions, instead sheer wildness and madness marked the conclusion.

The hall acoustic enhanced the textural clarity and dynamic contrast in one of the all time favourites, Beethoven's seventh symphony. A subtle opening followed by a majestic and robust gallop to the first movement. Dramatically it was exciting and rhythmically energetic. Hengelbrock employed a rather swift tempo for the second movement and shaped the music like a dance. Rhythmically active and carried less musical sentiments. The winds' solo lines flowed into one another seamlessly and effective in dynamic contrast.

Energetic gallop opened the third movement that sustained the forward momentum and kept the music flowing. Even at quick tempo, the dynamic difference was observed and not losing the activeness in sound. The brass played the fanfare in bright tone and triumphantly. It continued into the flamboyant dance of the fourth movement with no gap. Tempo was on the swift side that carried a lot of energy into the gallop. It built up to an explosive climax at the conclusion and the strings enjoyed the dialogue among parts, which without surprise earned an enthusiastic reception from the audience.

(Photo credit: Orchestre de Paris)

Review - Turandot (Puccini), Opera Hong Kong, 12 October 2018

Oksana Dyka (Turandot)
Alfred Kim (Calaf)
Valeria Sepe (Liu)
George Andguladze (Timur)
Sammy Chien (Ping)
Chen Chen (Pang)
Chen Yong (Pong)
Apollo Wong (Mandarin)
Alexander Chen (Emperor)

Edge 'n Pointe Dance Centre
Opera Hong Kong Chorus and Children Chorus
Hong Kong Philharmonic Orchestra
Paolo Olmi (conductor)
Michael Capasso (director)

For its 15th anniversary celebration, Opera Hong Kong puts out a lavish production of Turandot that heavily decorates with gold and red, auspicious colours for prosperity and happiness in Chinese culture. John Farrell's stage set looks grand and would have satisfied those after an elaborate visual spectacle. The opera topic also feeds those fascinate by imperial China from the past as drama topic with a touch of western opera.

Yet the narrative approach, for all things look bright and beautiful, is naive and uninspiring by dressing up with a comfort blanket than addressing some questionable aspects. Despite the director's claim of not creating a faithful historical realisation and some kind of European perspective, the purpose of costume style for the crowd and ministers resembling stock characters in Pantomime is unclear. With Venetian long nose mask, Panama hat and slim fit disco glitter shirt, Ping Pang Pong seems more at home if they are at a broadway show. Whereas the lead characters are in some sort of traditional Chinese costume mixing with middle Asia outlook that not really defining their roles among the crowd. These all feel like a random visual twist yet no insight reflects by the dramaturgy nor any directorial indication. Although adding dancers enhance the mobility of the choreography, the routine is mostly conventional with many 'park and sing' moments for the singers and the chorus.

Capasso is also more concerned about the scene locations than, more importantly, exploring Puccini's dilemma on Liu and Turandot. In this production, Liu's innocent sacrifice feels rather sudden since there are not many moments to support why she is so determined to keep the secret for Calaf. Whereas Calaf is no hero but a forceful predator to make Turandot succumbs to his knees for the love union that so bizarrely celebrates. While male dominance and power progression are presented, the women are left to be a subordinate body and obedient to the populist demands that bend them to their knees. The mise-en-scène lacks the level of insight and depth, neither entirely success in its visual spectacle portrayal as explains above.

Yet the most problematic part I found was the conductor Paolo Olmi, who did not really able to get the orchestra and singing on stage together until the third act. His window washing conducting style not able to give a clear indication to keep the everyone together but uncertainty instead. There were moments that he followed the orchestra rather leading them the way, which resulted in some dangerous corners for the singers as how to synchronise with the orchestral playing. The busy trio by Ping Pang Pong went ahead of the orchestra for several bars in act one. The oboe solo sounded always behind during Liu's tender solo 'signore, ascolta!'.

Turandot's riddles for Calaf were rather unnaturally sung and Oksana Dyka did not quite knowing how to finish a phrase while the orchestra dragged behind. She managed to secure the top notes with ease but her timbre sounded grainy and thin in body. Her portrayal of Turandot felt rather unimaginative than the icy tough impression I would have in mind. Alfred Kim possessed a more powerful voice with the energy to sustain his lines in full, which helped the orchestra to stay more together with he was singing. Though his lower range nearly disappeared like Valeria Sepe that resulted in some inaudible moments.

Sepe carried more warmth in her timbre and her less forceful singing style suited the tenderness in Liu's part very well. George Andguladze was rather muddy in his diction and not really connecting the vocal lines. The three local singers for Ping Pang Pong coordinated more successfully in act two than the confusion they had in the first act. The chorus might have a hard time with the director from some rumour I heard, yet one did not find they had a difficult choreography to master. Diction was marginally clear and the tenors sounded rather thin on the top. Perhaps due to tiredness the choral energy dwindled slightly after two evenings, the blending was good but dramatically underwhelming.

(Photo credit: Opera Hong Kong)

Review - Edo de Waart, Hong Kong Philharmonic Orchestra, 15 September 2018

Overture to William Tell (Rossini)
Saxophone Concerto (John Adams)
Symphony No. 2 (Brahms)

Hong Kong Philharmonic Orchestra
Timothy McAllister (saxophone)
Edo de Waart (conductor)

It was an interesting to hear how the orchestra responded to its former music director on the podium again. The cello solo employed a broad tempo to begin the overture with a lot of vibrato in rich tone. A quiet start to the storm section before exploding into a full thundering climax. Though under a steady tempo the impact was not as terrifying as expected. Beautiful duet between the cor anglais and flute during the pastoral scene. The closing gallop was tidy and majestic, also effective accelerando geared towards a triumphant close.

John Adams's saxophone concert felt alike a busy rhythmic exercise for the soloist. Fragmented patterns jointed jazz and blues together for a hurry and restless ride. The brass kept the momentum going but hard to tell where the music was sailing to. At reaching the middle of the first movement then the orchestra played without the soloist. The dreamy transition was enigmatic yet the saxophone solo had a more lyrical part than previously. The music landscape became flatter and calmer before returning to fierce gallop, and then retreated to a quiet end.

The second movement dominated by syncopated patterns and stayed vigorous on momentum. It was a tight dance in irregular phrases but also abstract as to where the music was heading to. Timothy McAllister sustained the energy throughout in his playing and kept the music flowing naturally. Though the dynamic and emotion contrast were more able to display in his encore.

The orchestra kept the dawn awakening like introduction to Brahms's second symphony flowed with a warm gentle tone and not too weighty in body. Neither aggressive at the climatic exuberance and stayed bright with a lot of legato to sustain the line. Though whether to do with de Waart's conducting style, the winds sometimes felt a fraction behind the strings. Tempo was rather laid back for a gentle and unhurried gallop at the end of the first movement.

The cellos began the noble theme of the second movement in a mellow warm tone that gave a tender and sunny impression. A misty respond from the winds against the emotional outpouring from the strings. Yet as in Brahms's style sentimental negotiation never reach a full answer but hold back by the recapitulation of the noble theme. The tragic sentiments gained more weight before resolving to a quiet end.

The winds began the pastoral scene of the third movement with a busy strings' part underlaid. Rhythmically it gained momentum yet carried more lyricism within.

An explosive start to the last movement in an energetic gallop. The transitions felt rather enigmatic though, which the lines would have been more effective if there was an aim than a mere shape. The majestic theme was passionately rendered in a warm tone. After a long negotiation the music finally located the end in certain with a glorious triumphant conclusion.

Review - Jaap and Joshua Bell, Hong Kong Philharmonic Orchestra, 8 September 2018

Academic Festival Overture (Brahms)
Violin Concerto (Sibelius)
Symphony No. 41 "Jupiter" (Mozart)

Hong Kong Philharmonic Orchestra
Joshua Bell (violin)
Jaap van Zweden (conductor)

Like the season opening performance before, a festive symphonic overture is programmed for an uplifting start. Though the orchestra was too energetic throughout Brahm's Academic Festival Overture, and as a whole it felt lacking character and essence. Jaap probably felt the swift tempo would keep the momentum going than dragging along. Yet already restless than being mysterious at the tip toe like beginning. By reaching the first triumphant climax then the orchestra was more stable and let the music sang. Despite displaying the tonal contrast, it galloped in hurry and occasionally lost in details.

The first violin began Sibelius's Violin Concerto with a spellbinding pianissimo and set the stage for the solo violin. Bell's playing produced a sweet rich tone with clarity, but his bowing did not always have the smoothness to sustain the long line and sometimes felt abrupt. He approached from a sentimental perspective by employing a lot of vibrato. His playing was passionate and expressive on the ebbs and flows of emotions, rather than holding back the sentiments in stillness. Despite a challenging part to play, tuning on the double stops were noticeably a hit and miss Whereas the orchestra strings seems holding back their response to avoid being overpowering. Interestingly, I thought there was a brief moment alike the motive of Siegfried's assassination from Wagner's Götterdämmerung towards the end of the first movement.

Bell began the second movement beautifully on the lush expressive violin part, yet the horns' accompaniment did not sound convincing. Occasionally I felt Bell put too much weight on the bow that it felt too rich and sticky than allowing his playing to flow more. The orchestra achieved more charity and locating its voice in the tragic response. Yet the syncopated section not really able to build up the climax despite effective dynamic contrast.

A busy start into the third movement for the solo violin part, but Bell was driving the tempo so much that his phrasing not quite grasping the shape of the polonaise dance. Tuning was very good with the harmonics and not so with the arpeggio climbs to the high positions. As a whole I felt mixed by Bell's playing, but after learning from friend's past experience, Bell could have been experimenting different approaches than giving a  straightforward interpretation.

I had not been impressed by Jaap's Mozart in the past but what he achieved from the orchestra on the "Jupiter" symphony changed my mind completely. Finally a more relaxing tempo was adopted for the first movement and the playing was very polished. Perhaps the violins could employ more accents in the down bow to give more rhythmic excitement than only sustaining the elegant impression. Contrast in tone colours at counterpoints was effective with beautiful tone at the majestic recapitulation. A flowing elegant impression was made at the beginning of the second movement. The sadness and solemnity at the tragic transition seems a reference to earlier piano concertos by Mozart. Later the landscape became smooth with a sweet and clean tone, while being sedate and slightly sentimental. The third movement became an elegant and majestic dance in thicker texture than the movement before. The orchestra was very responsive and immediate with the gallops in the last movement that kept the momentum forward. The brilliancy of Italian opera fanfare like section was effectively realised. The bright tone gave the dance like movement a flamboyant touch. The final gallop was energetic with the sheer rhythmic excitement that gave more audio satisfaction than the first half.

(Photo credit: Hong Kong Philharmonic Orchestra)

Review - The 45th season opening performance of Hong Kong Philharmonic Orchestra, 1 September 2018

Overture to the Abduction from the Seraglio (Mozart)
Violin Concerto (Stravinsky)
Symphony No. 2 (Rachmaninov)

Hong Kong Philharmonic Orchestra
Leila Josefowicz (violin)
Jaap van Zweden (conductor)

The overture to Mozart's exotic opera Die Entführung aus dem Serail is supposedly a lively curtain raiser by including a large battery of percussion with the strings and winds. Yet the philharmonic orchestra seems more indifferent to that idea and gave a lukewarm account in its rendition. Jaap took a steady tempo that aimed for refinement than after a dramatic interpretation. The strings particularly lacked dynamic contrast nor making the colour to enrich their playing. A friend thought perhaps to do with the orchestra being too big than the right formation, but I felt the heart and mind were not in place.

The orchestral playing was certainly more passionate in the Stravinsky and musically carried more contrast and interest. An energetic introduction was given between the winds and solo violin that felt alike a colourful country scene. Despite the two domains have different rhythmic patterns, Josefowicz executed the big jump on positions with ease and sustained a flowing impression in her playing. The music became more nervous and less optimistic in the second half of the first movement.

A melancholy or even bizarre start to the second movement by the solo violin. The music became rather abstract with the irregular music patterns and fragmented parts. Sentiments dominated the third movement and longer line in a phrase than previously. The main theme by a trumpet and two flutes made a tragic calling, but not knowing where the music was heading into than thematic repetition.

The last movement was more certain started with a syncopated gallop. A busy part for the solo violin while the bassoons provided the rhythmic backbone. Josefowicz sustained the energy in her playing with clarity, maintained the beauty in tone colour and allowed the music to breathe. The rhythmic patterns are ever changing and include some reference to Bach. Later even a reminder to the Rite of Spring as the music went tribal and exuberantly driven towards the end.

I was unsure at first whether this performance of Rachmaninov's second symphony would be as memorable as the one in the previous edition of Hong Kong Arts Festival by the Oslo Philharmonic. The climaxes is alike an endless musical orgasm from the start til the end. Though the beginning of the first movement is supposedly more gloomy and mysterious than the rest. Yet the philharmonic orchestra played with a warmer tone than the chilling landscape in mind. Romanticism already culminated in full swing even at the early climax. Lush strings' playing sustained the contrast in the ebbs and flows of emotions, but not as flowing as desired. The stormy transition also lacked the tension and bleakness. Only at reaching another big climax the sheer intensity gained weight. The return to the romantic theme was sweet and passionately driven, also more clarity among the strings. Interestingly the brass sounded rather like a military band at the closing of the movement.

Tempo for the descending start to the second movement was on the swift side and kept the momentum forward. Though more majestic and steady in its emotional response. The tempestuous gallop in turn was thundering throughout but not overtly wildly driven.

It took the orchestra some time to calm down than being restless in the sweet and tender opening of the third movement. Andrew Simon's clarinet solo was spellbinding and paced very well in the long line of phrase. The dialogue between oboes and cor anglais along rest of the orchestra carried a lot of energy in gearing towards another climatic peak. Calmness returned at the end yet the strings' playing not as silky and flowing as expected. Sentiments were felt again from the ebbs and flows of emotions.

An energetic start to the festive introduction of the last movement, but clarity and togetherness were not that effective among the strings. The outpour of romantic lushness was given in full and gloriously rendered. The transition from the nervous passage back to the brilliant opening theme was intense and filled with sheer excitement. The crescendo built into a majestic and triumphant lush conclusion. It certainly came close to the breathtaking impression I had previously.