Review - Symphonies Nos 1-9 (Beethoven), Hong Kong Cultural Centre Concert Hall, 11, 18, 27 November & 4 December 2015

Symphonies Nos 1-9 (Beethoven)

Soprano - Zhou Yuqian
Mezzo Soprano - Deborah Humble
Tenor - Charles Reid
Bass - Kwangchul Youn

The Chorus of the National Centre for the Performing Arts, Beijing
Hong Kong Philharmonic Orchestra
Conductor - Jaap van Zweden

The Hong Kong cycle of the Beethoven Symphonies in the past month was another landmark development of the Philharmonic Orchestra. The strings sections had improved in tone colour and body of sound since Jaap van Zweden took over the directorship since 2012. Though tiredness sunk in as the week progressed and the musicians' stamina were tested. The wind sections did not always maintain the same consistency and responsiveness in playing as the strings which resulted in some untidy corners. The phrasing of music was good generally and in style to the textures of each symphony. I was relieved that Zweden did not repeat the heavy handed execution of Mozart's Symphony No. 40 few months ago with controlled conducting style and employed overpowering dynamics. He knew the road map mostly well enough of navigating the band through the marathon. His conducting style certainly worked better with certain symphonies but not a solution for all.

The cycle first began with the eighth symphony followed by the third, which supposedly to mark the contrasting themes during the composer's midlife creative period. The orchestral playing in the eighth delivered the warmth and a lively pastoral image with an Italianate flair. The strength of Zweden's conducting was that he allowed the space for the music to sing and breath, but never drag and maintained the level of momentum with a rather brisk tempo. It was a satisfying start, but later using the same approach on the third symphony, I felt it ignored the underlying ideology. The playing was polished and fine but made no contrast made in the produced tone and tempo spacing. One wondered where was the image of Prometheus, the mystical hero expressed as resistance to tyranny, when the funeral match sounded ever so positive without the feeling of lament or suffering. A monumental creation of a hero with great sentiments was not necessary but the outlook and philosophy should not be in absence. Neither the conductor nor the orchestra seems to grasp the thinking but only to structure the work just like the rest they came across.

The same problem continued with the Pastoral symphony in the following week, which the drawing board for programmed symphonies happened to be the weak point for the conductor and the orchestra. The playing was neat but it lacked a direction. The absence of momentum resulted in sluggish dialogues between sections and as a whole failed to craft the structure, despite some beautiful passages from the flautist. When the heart was not in place, one could hear the produced tone colour from the strings sounded bland and dull. It was not disastrous but created a misconception among the audience that the symphony failed to make a strong impression as the seventh during interval. Neither should both works be compared easily since the Pastoral symphony stood on its own to emphasise the rare tranquillity and calm mental state of the composer, instead of the tempest and thunderstorm came under the conflictive inner emotions.

By contrast, the seventh symphony in the second half was a success and brilliant as always. The orchestra was at home here. Varied tone colours, energy, phrasing and musical direction were all in display. It created the sense of drama and excitement that marked the characters of this symphony. After the confident and highly spirited first movement, the band gradually built up the pace from the solemn match in the second movement before reaching the climatic exultation in the last movement, which one felt the composer wholeheartedly thrilled about. Zweden's conducting also transformed that he knew where to indicate the orchestra and achieved the desired effects. The only minor problem was the trumpets occasionally under the pitch and I wondered whether it was necessary to use the German rotary ones than the usual B flat type.

The next instalment brought the second, fourth and fifth symphonies together. Besides being a stamina test to play three works in the same evening, more importantly, the compositional progression that Beethoven linked his suffering from deafness with inner emotional struggles. Both the second and fourth had a mysterious sombre like introduction before the return of optimism. Not so much in the style of some late Haydn's symphonies, but signs of the composer's depression battled against the effects of hearing impairment were there. By the last movement of the fourth symphony, showers of semiquavers at break neck tempo seems to suggest the composer not in the best of psychological state. After years listening to various performances of the fifth symphony, it was the first time I felt the work was not a natural triumphant for the composer to overcome the problem of hearing loss, but instead a forceful personal statement to hold the vulnerable mind together with a desperate optimism. On the other hand, the composer eventually found his 'voice' in the symphonies from the struggles and sufferings.

On the performance side it was the evening that the Philharmonic Orchestra managed to maintain the same consistency throughout their playing despite the physical challenge, and Zweden knew the three works well enough to provide a clear guide with his conducting. The woodwind section was also at their best form in this cycle with many fine playings and the presence of an intimate musical dialogues that not often the case. It was not surprised that the first violins gradually showing signs of tiredness with one or two tutti moments being fractions behind from the rest. Otherwise, musically it was an inspiring evening and the tale centred around the composer being vividly realised.

The final instalment was on purpose a contrast between the early and late periods of the composer's compositional style, but both the first and the ninth symphonies were also revolutionary in musical form and language. The first was not so much different in characters from the eighth. The Italianate warmth and pastoral image at harvest time summed up a happier time for Beethoven at his youthful years. The traditional first movement structure was placed in the last movement instead whereas the bold passionate opening movement echoing the styles of Mozart's late symphonies. Just like the eighth, the musical texture and tone colours worked very well to the core produced sound of the orchestra. The playing was never aggressive or overpowering and retained the sense of elegance and beauty that fitted perfectly into the pastoral scene. The band seems natural of its musical dialogues and Zweden was visibly pleased with the result at the end of first half.

The ninth symphony often only remembered by rousing choral passages in the last movement but what made it differed from other symphonies were the harmonic texture and structural progression. The first movement no longer in the shadow of classical period that major and minor keys interwoven together. Scherzo formed the second movement followed by an expressive and tranquil Adagio in the third movement. The tempo Zweden took in the first two movements were rather robust and swift. He pushed the orchestra to produce the momentum alike mounting on a chariot, and there were corners I felt the orchestral playing being unsettled and even sounded angry. Despite a rich body of sound resulted from the darker tone on the strings, the playing of the first violins made a raw sound that lost some of the silkiness it produced before. The NCPA chorus was fine in vocal volume and intonation, but mostly only vowels could be heard and difficult to make sense of their diction. The soprano soloist Zhou Yuqian was a last minute replacement and just about to match her colleagues in the quartet. I would still prefer to hear Deborah Humble and Kwangchul Youn singing other pieces in slower tempo than the machine gun like vocal sections of this symphony. Zweden's energetic conducting also caused some uncertain entries that the soloists were not together with the orchestra. Here the stirring coda felt to be an earthy celebration of ideology Beethoven believed in since Eroica Symphony but not quite the culmination marking the groundbreaking expression of the musical form.

Overall, I felt very inspired by this Beethoven cycle and the orchestra should congratulate themselves how much it had progressed all this years to achieve the current standard. Though more works need to be done on the brass and woodwinds to match the quality and consistency among the strings if it aims to improve further.

Review - The 12 Cellists of the Berliner Philharmoniker, Philharmonie, 19 October 2015

Heitor Villa-Lobos - Bachianas brasileiras No. 1

Gabriel Fauré - Sicilienne from the Pelléas et Mélisande Suite

Gabriel Fauré - Berceuse from the Dolly Suite

Heitor Villa-Lobos - Bachianas brasileiras No. 5

Astor Piazzolla - Lunfardo (arr. for cello ensemble by Harold Noben)

Astor Piazzolla - Libertango (arr. for cello ensemble by José Carlí)

Astor Piazzolla - Revirado (arr. for cello ensemble by David Riniker)

José Carlí - Estampas de Palermo: No. 3 La Diquera (arr. for cello ensemble)

Astor Piazzolla - Adiós Nonino (arr. for cello ensemble by Julio Medaglia and Jacques Ammon)

Astor Piazzolla - Soledad (arr. for cello ensemble by Ludwig Quandt)

Horacio Salgán - A Don Agustín Bardi (arr. for cello ensemble by David Riniker)

Astor Piazzolla - Escualo (arr. for cello ensemble by David Riniker)

Astor Piazzolla - Tres minutos con la realidad (arr. for cello ensemble by David Riniker)

Soprano - Anna Prohaska

Dancers - Laura Fernández and Daniel Orellana

Originally I thought to mark the last night of my first stay in Berlin with a chamber concert would be a tame end, but the performance turned out to be one of the most enjoyable musical evenings. Items on first half of the concert were more in the category of 'serious music' and French influenced. One would need to concentrate and understand the musical language, but also to appreciate the beauty and unique harmonic structure by Villa-Lobos. In contrast, the second half focused more on rhythmic movements and melodic tunes. The music were sophisticated in its own way and never pedestrian neither hints of vulgarity. The arrangements for cello ensemble were appropriately selected and retained the sparkles and virtuosic display. On the programme Fauré's Sicilienne and the fifth set of Villa-Lobos Bachianas brasileiras were most familiar to me. When I heard Piazzolla's Libertango and Adiós Nonino, I felt ignorant not to take notice of the foremost Argentine Tango composer before. The majestic tone of the cellos enhanced the beauty of musical colour and emotions . The twelve musicians were technically superb by demonstrating a diverse tone colours in their playing, also maintained the momentum and musical shape. Anna Prohaska was spotted on with the intonation and the timbre to match the exotic colour in Bachianas brasileiras No. 5, but I was not too convinced by her diction and slightly lacking the drive of emotion in her singing. The dancers gradually unleashed the fireworks in passionate movements as the second half went on. The tango 'flair' in the music came to life visually and the dazzling outfits added a variety of colours onto the stage. As a whole, it was a well planned concert with the delights of musical discovery.

Review - Nabucco (Verdi), Deutsche Oper Berlin, 17 October 2015

Nabucco - Dalibor Jenis

Ismaele - Attilio Glaser

Zaccaria - Liang Li

Abigaille - Francesca Mondanaro

Fenena - Ronnita Miller

Oberpriester des Baal - Marko Mimica

Abdallo - Gideon Poppe

Anna - Nicole Haslett

Chor & Orchester der Deutschen Oper Berlin

Conductor - Ivan Repusic

Director - Keith Warner

My previous and also the first live experience of Nabucco was Daniel Slater's production at Flemish Opera in 2013. The directorial approach focused on the moral question of greed and the public against those in power with reference to the Occupied Wall Street movement. The relevancy to contemporary affair was effective at the time but I agreed with my friend that this staging by Keith Warner would probably stand the test of time. The main focus was on Christian philosophy in the old testament that cast out the false idol and turned to one God or would be punished. Warner saw this opera alike a 19th century oratorio regarding religious moral dimension than the double message to rebuild a nation from broken states. When Nabucco putting on the gold mast and claimed himself above god, he suddenly became mad and unable to prevent the coup d'etat by Abigaille claiming the throne. Though he represented the one with righteous when regained senses, repent his sins by liberating the Israelites from execution and acknowledged their faith. In contrast, Abigaille not only lost her regal status but too late to repent and casted out from Jerusalem. Although she did all the wrongdoings, there was a degree of sympathy that one would realise the situation forced her to make all the bad moves and as a daughter of the slave. There was also a silent role in this production probably a representation of God himself.  An elderly man first pushed the steel structure apart to reveal the interior and disappeared when the Israelites began to congregate at the invasion of Babylonians. He reappeared when Nabucco claimed to be greater than God and pulled out a barrier while the monarch was punished by turning into a mad king. Towards the end he shut the structure when Abigaille was banished. 

Compare to the stage set of Lucia in previous evening merely as a backdrop, theatrically this production created the dramatic intensity and attentions to bring out the central theme of each scene. At the beginning, we saw a large erected moveable structure made by steel to represent the great walls of Jerusalem. The smoke effect coming from the top with stage lights created a dense and heavy atmosphere, which further attracted the audience curiosity to find out the secret behind the wall. Interestingly, the Israelites all wore black in the fashion of late 19th century except the Kohen, who wore Bukharan kippah but strangely a scarf instead of tallit with black stripes. Leaving the accuracy of religious clothing aside, the Jews here were portrayed as a close group that saw anyone did not turn to their belief as outsider, and men particularly as fanatics praying around the wall of a black room fervently, which was probably a reference to the temple of Jerusalem. The throne of Nabucco sat inside a watch tower with a stair and gold paint on the wall. The outlook stood out from the dark stage, also the simplistic and stylish appearance was effective than any attempt of historical replication of a throne room. The hanging ropes in the execution scene with Israelites sat in rows awaiting their death sentence sent down the emotion of fears and chilling atmosphere in an execution room. The key success I felt altogether was the seamless scene change that the gigantic sets could move in different ways without losing the dramatic flow, and the display of stage machinery was a spectacle that not many opera productions could manage. 

In this performance the male soloists were better than ladies with the singing. Dalibor Jenis's timbre had that darker tone colour than normal baritones that enhanced the vocal richness with a good projection. His musical phrasing was appropriately executed and one of those singers I would want to hear again in future. His physical outlook and acting also suited to the portrayal of Nabucco as a young and troubled monarch in this production. Liang Li was also looked ideal in the role of Zaccaria as priest to the Israelites. Good vocal projection and the singing was not forceful but pleasant as a bass. Francesca Mondanaro was a good actress by giving an intense display of conspirator claiming the throne of Nabucco for her own defence and the subsequent downfall as a rejected ruler. Though her singing deteriorated as the evening went on with intonation problem on high vocal register and not a voice to listen long. Attilio Glaser was better but her role had only one aria to showcase and did not make much an impression. The chorus delivered a heartfelt and beautiful account of the chorus of Hebrew slaves. Generally the choir was secured with intonation, lesser vibrato and delivered the body of sound to fill the house. Ivan Repusic was less controlling with his conducting than Filippo Sanjust. Even so, the orchestral playing did not lose any signs of energy, the tempo change between scenes were natural and not abrupt. The accompaniment never overpowered the singers in volume and being responsive to the conducting.

Review - Lucia di Lammermoor (Donizetti), Deutsche Oper Berlin, 16 October 2015

(Production photo from a previous performance in 2009)

Lucia - Pretty Yende

Enrico - Marco Caria

Edgardo - Yosep Kang

Arturo - Attilio Glaser

Raimondo - Marko Mimica

Alice - Irene Roberts

Normanno - Jörg Schörner

Chor & Orchester der Deutschen Oper Berlin

Conductor - Daniel Cohen

Director - Filippo Sanjust

Among all the opera productions I saw in Berlin, this staging of Lucia by Filippo Sanjust first premièred in 1980 was the most conventional. A predominantly older generations turned out in the audience was not a surprise. It was the kind of evening for connection to the past and 'comfortable' if one rather passive with theatrical experience. At the overture, we saw the painted image of a pale white Lucia in the midst of darkened cloud surrounded by stage curtains. An open field followed with rest of the scenes shown under the high ceiling with a gothic interiors. The clothing fashion was continental orientated at the time of 1600s but we hardly saw any kilt or tartans. The stage sets reminded me the bygone practice of using big cardboard historic informed sceneries, 'park and sing' stage choreography with relatively pale yellow dim lighting. 

(Production photo from a previous performance in 2009)

To put the debate of historical accuracy aside, which probably would go nowhere, scenic wise it might look grand as background, but it did not build the dramatic atmosphere connecting to the emotions and tensions as the opera progressed. The opening scene of Enrico and his knights congregated on an open ground was more a demonstration for rousing chorus than telling why Edgardo was so unwelcoming and revenge in atmosphere. Lucia and Edgardo meet up did not have that secretive impression with the yellowish stage lights maintained the same level throughout. Lucia argument with Enrico in a grand hall was more a vocal duet display than adding the tension and trauma of a disagreement. Edgardo forcing his way into the castle was the only dramatic part with swords displaying in mass and tension between rivalries and false jealousy. The stage light was so dim in the mad scene that one understood the focus was on Lucia dressing in white but none of the oppressed atmosphere when this poor woman was driven to madness, agony, hatred and eventually self destruction. Again Edgardo's suicidal last scene was more a routine display that did not connect devastation to action point, while the appearance of chorus around the royal tombs looked odd as a whole. These were not the fault of the principals or chorus as the dramaturg had made the best out of them being mobile and moved around as much as the choreography could allow, but the limitations of an outdated routine and concept. Thus, this production should have sent to storage in museum than staying on the repertoire list.

(Production photo from a previous performance in 2009)

Fortunately, the musical side was one of the best evenings I experienced this time in Berlin to compensate the theatrical disappointment and boredom. I never heard of Pretty Yende or Yosep Kang until this performance, and their singing made an outstanding impression, particularly in the mad scene and Edgardo's suicide. It is probably quite rare, to my knowledge and opera experience so far, that currently not many bel canto singers could match the purity and smoothness in tone like Yende and Kang. The singing sounded effortless and their timbre and tessitura fit into the part very well. Yende particularly had a beautiful timbre that very pleasant for the ears wanting to hear more. Appropriate coloraturas were employed and not overdoing. On terms of diction, I would say Kang was more Italianate than Yende and one did not need the surtitles to identify the words. Though Yende was more natural with acting and Kang seems too gentle for a passionate Edgardo. The only coordination issue Yende had was with Marco Caria, which the tempo in the duets was not quite together and resulted with hesitation. The flute solo in the mad scene was exquisitely played though I would still prefer the glass harmonica for that unique delicate tone colour. Daniel Cohen's tempo was the most robust among all the conductors I saw this trip and the orchestra was very responsive to his conducting. The orchestral playing kept a good momentum to build up the intensity throughout the evening that enhanced the connections between musical numbers. The only downside was came from the predominantly aged audience, when a sequence of coughing throughout the hall distracted the concentration on spell bounding singing during the mad scene. An update on the staging might have overcome all the problems I dare say.

(Yosep Kang in the front)

(Pretty Yende)

Review - Vasco da Gama/L'Africaine (Meyerbeer), Deutsche Oper Berlin, 15 October 2015

Vasco da Gama - Roberto Alagna

Selica - Sophie Koch

Ines - Nino Machaidze

Nelusco - Markus Brück

Don Pedro - Seth Carico

Chor & Orchester der Deutschen Oper Berlin

Conductor - Enrique Mazzola

Director - Vera Nemirova

This stylish new production of Vasco da Gama from Deutsche Oper had done justice to this underrated grand opera by Meyerbeer from his late years with many beautiful musical moments.

Nemirova's staging showcased the machinery and exotic elements of an operatic spectacle, which captivated the audience in 19th century, and examined the aspects of religious conservatism and cultural conflicts. On stage a large erectable platform in half moon shape surrounded by wooden structures alike a boat skeleton in the rear and small white ship sculptures at the front. The upright platform turned into a stylish atlas alike a starry night to echo the set period of the age of discovery, while Ines in an sailor outfit singing passionately her affection and longing the return of da Gama. Though we know from the costume of soldiers and council members that the Nemirova had forwarded the time into the later half of 20th century than 16th century. Da Gama was wearing a T-shirt and camping trousers alike a modern explorer than the painted figure with square beard and an overgown. At the royal council meeting we saw the grand inquisitor representing the conservative church figure with ultimate power. He rejected the suggestions of further exploration from Don Pedro and da Gama as heretic moves against the will of god, and exercised his authority to make the council condemned the returned explorer into jail with his slaves, the disguised Indian princess Selica and her servant Nelusco. The jail scene was where the usual complicated relationships evolved in many opera stories: da Gama missed Ines but she married Don Pedro to secure his release, whereas Selica was secretly in love with da Gama though not knowing her servant Nelusco was also in love with her. Towards the end we saw a group of foreign dressed people took the ship sculptures away and signifying the new exploration team to India under Don Pedro was underway.

My only reservation on Nemirova's execution of the first half was that many background details in the sung text could only express through singing but no demonstration theatrically. The tale of Da Gama past with Ines before leaving her for exploration to India, followed by being the only survivor of a shipwreck incident and returned to Portugal with Selica and Nelusco had a lot to tell. Olivier Py's production of Il Trovatore for Munich few years ago provided a fine example of how the present and past could be shown simultaneously with a grand stage set. I believe the change would make the theatrical presentation more interesting visually and a better understanding of the plot.

The staging and directorial approach eventually found its ground in act three and four, which were also the high points of this opera. The aspect of religious imperialism was dealt with in the choral scene of act three, where the chorus saw Selica was dressed/ made into a nun while singing their prayers to St Dominic. Some reviews were bewildered by the approach as the prayer asking for safe journey, but the saint himself had been debated whether being the first inquisitor of medieval time. Nemirova probably making an implicit reference that the exploration marked the European colonial conquest, particularly the difficult history of missionaries forcing the locals to abandon their beliefs and converted. The shipwreck scene and attacks by locals was another problematic corner in the original tale that such short changes could only happen in opera performances. I was in favour of the solution used in this production that the locals turned into terrorists with machine guns, a reference to the modern Somali pirates, and killed their captives to mark a stirring end of act three. The opening of act four was a spectacular display of tribal weapon dance with festive colourful floral garlands, a contrast to the solemn and gloomy court meeting early on in act one and two. Not much elaborate staging could be done in the last act as the three lead singers sang their long farewell arias, except the beautiful floral centrepiece and Selica in traditional dress marked herself out as the 'heroine' of the story to save the life of Da Gama and forgiving Ines, which spared them from the revenge of Nelusco. There was no definite stop in the ending as we saw the foreign dressed people brought Selica away and Da Gama walked across the stage looked as he continued his explorations.

The style of Meyerbeer's composition in this opera assigned many long beautiful arias for the protagonists but the heroic and dramatic moments left to the chorus. Roberto Alagna had fully recovered from the cold he suffered at the premiere and at the age of 52 his vocal quality had not diminished. I thought he sang rather well and suitable for this opera in French. His timbre also had grown with more warmth and darker compare to the silvery and bright tone during youthful years as Don Carlo I remember from a video recording. Sophie Koch was as good as she sang the role of komponist in Ariadne auf naxos I remembered last year in Vienna. Her projection and intonation was the best of all with the right timbre and tessitura for the role. Nino Macchaidze might not have a beautiful tone as Koch but she sang with smoothness without signs of strains. Although she was not always secured with intonation, the warmed up voice displayed the best side of her singing in act five. Their acting skills were fine and not static, which emphasised a lot of on the facial expression by showing the change of the emotion in the sung text. Seth Carico had a lovely baritone voice that being smooth and the richness in vocal colour, but made a lesser impression on acting even though probably not much he could do in the role of Don Pedro. Enrique Mazzola maintained a good musical direction in tempo and phrasing. Polished orchestral playing with good balance between parts. The tempo was more on a broad sense but not dragged. I would be happy to watch this opera again if changes will make to the production in future.  

Review - Les Contes d'Hoffmann (Offenbach), Komische Oper Berlin, 14 October 2015

Hoffmann 1 - Uwe Schönbeck

Hoffmann 2 - Dominik Köninger

Hoffmann 3 - Alexander Lewis

Stella / Olympia / Antonia / Giulietta - Nicole Chevalier

La Muse / La mère d’Antonia - Alexandra Kadurina

Lindorf/Coppélius/Le docteur Miracle/ Dapertutto - Jens Larsen

Andrès/Spalanzani/ Pitichinaccio - Ivan Tursic

Cochenille/Crespel/Peter Schlémil - Alexey Antonov

Choir, Extras and Orchestra of Komischen Oper Berlin

Conductor - Daniel Huppert

Director - Barrie Kosky

This new production of Offenbach's unfinished opera by Barrie Kosky was the one I felt most inspiring and well executed during my stay in Berlin and musically there were many high points.

Since there is no final version of the opera, Kosky production focuses on the psychology and illusions of the protagonist himself. Unlike others, there are three Hoffmann in this production. The spoken role plays by Uwe Schönbeck is a reference to Kleinzach, who is ugly and deform in outlook, believes he will meet the beautiful actress Stella from the theatre even until in the coffin at the end. Although on stage, he acts as is watching with us in theatre with commentary in German on the sequence of tales. The Hoffmann, sung by the baritone, in first half plays the mad lover after the robot Olympia despite blindly believes she is a real human being. The tenor sings the other one in second half, who is already the lover of Antonia and later falsely believes Giulietta in love with him but a set up only. In the middle of the stage there is the moveable platform to maximise the effects of characters and surroundings in Hoffmann's fantasy/madness/nightmares. They represent his experience of desires, frustrations, conscience, joys and pains from the affections for the imagined lover. The evil Lindorf, or devils in different forms, is not the one causing the downfalls/failures of Hoffmann in the three love tales, but a harsh voice in the head condemning himself with consequence. The muse is his imagination of being youthful, motivations to be in love but also conscience when things should stop and look back into the reality. 

                   

 

The chorus is the ever changing group of spectators reinforcing the madness of the scenes and watching Hoffmann as he walks near to the death trap each time. Kosky skilfully articulated the deform and ironic aspect in each scenes with the chorus portraying as drag queens, hardcore partygoers, killers of Antonia with violin bows and the evil masked crowd. The stage evolves from a sewing workplace to produce robots, then dancehall until the coffin is brought to put a nail in all madness at the Venice tale. In the opening scenes of first and second half the tone is already set for followings, as we see Hoffmann in the midst of drinking bottles and later playing the violin alone frantically, and combining with dim chilling stage lights. Dark humours receive a particular attention on the theme of each tales. Though one cannot not decide strongly whether to feel pity for Hoffmann misgivings, or he simply not deserve any sympathy because we are watching him as a cycle of madness instead of a trapped human being. As the audience we have a good laugh from the bizarre demonstration of Olympia with long limbs and facial expressions from the cupboard. Whereas the death scene of Antonia is emotional and tragic before we come to the final part to see how Hoffmann is punished and tricked. All these come to the conclusion that Hoffmann is a victim of his obsession.

Nicole Chevalier was outstanding in the role of Stella/Olympia/Antonia/Giulietta both as singer and actress, which I would want to hear more from her in future. Let alone doing all four roles by herself, rarely a singer could act so well, sing competently to meet all the technical challenge with the right timbre. Her rendition of the 'doll song' by Olympia had a lot of fun with exaggerated facial expressions, while nailing all the top notes accurately and not a sign of strain. She was also adaptable to the change of character by presenting a vulnerable Antonia in negotiation between passion and survival. There were also many moving musical moments as she sang the arias in part two beautifully. In terms of singers for Hoffmann, I preferred the baritone Dominik Köninger than the tenor Alexander Lewis. The former had a warmer and more beautiful timbre for the ears to enjoy, also smooth and natural in phrasing the lines. Uwe Schönbeck should be credited for his portrayal of Hoffmann as an old aged lunatic. He captured the mental anguish and deform physical expression vividly while maintaining the irony and humour at the same time. Alexandra Kadurina made a youthful and energetic muse but mixed results on the vocal side. I enjoyed her timbre with a darker colour, but her intonation and smoothness in singing were more secured in solo arias than duets and recitatives. Jens Larsen made the evil figure Linhorf alike a Mafia boss in outlook with good vocal projection but his voice was more a baritone than a bass. The chorus lived up to their reputation after being voted choir of the year by opernwelt. Not only they sang well with good intonation, vocal volume and good on the French diction, but also excellent in acting and dancing. The men particularly had a lot to do and wearing a dress did not stop to them to go wild in dancing or exaggerated gestures playing the violins, at the death of Antonia, while unleashing the sheer vocal impact. The chorus built such a climax in the cabaret scene towards the end of first half that no productions I known of could have captured the irony, craziness and excitements so successfully. The orchestra delivered many musical excitements and exquisite solo playing especially at the opening of part two. Daniel Huppert maintained a good musical direction and no hesitation to push the ensemble for climatic moments when necessary. As a whole, I would like to watch it again in future and another triumph from Komische Oper. 

Review - Tosca (Puccini), Staatsoper im Schiller Theatre Berlin, 13 October 2015

Tosca - Anja Kampe

Cavaradossi - Marcello Giordani

Scarpia - Michael Volle

Sacristan - Jan Martiník

Staatsopernchoir, Kinderchoir & Staatskapelle Berlin

Conductor - Domingo Hindoyan

Director - Alvis Hermanis

I rather reluctant to watch Tosca again because inevitably I would make comparison to the stupendous performance at Covent Garden back in 2011 with a starry cast, Jonas Kaufmann, Angela Gheorghiu and Bryn Terfel, conducted by the wonderful Antonio Pappano. It was a hard act to follow and this performance from the Staatsoper confirmed my worries.

For any first timer watching Tosca or for an opera experience, Hermanis production would sufficiently serving the purpose to tell the tale with a twist. Except the Te Deum scene, the stage visually divided into two levels: a colourful cartoon by Kristine Jurjane of the opera at the time of Napoleonic war was projected on the upper part, while we saw actions and singers dressed in the fashion of Puccini's time at the lower part. The concept itself was interesting but the dramaturgy did not make it attractive nor inspiring. The stage set had its limitation that actions confounded to the centre and the sides were for exits and entering only. Stage lightings were almost at the same level throughout the evening, and no blood spilled when Scarpia was stabbed by Tosca or Cavaradossi being tortured. The cartoon provided the locations of where different scenes took place in Rome but not really enhancing the visual impact or beauty. Not many furnitures were employed, even the paintings were shown in the cartoon, which made the set looked rather tame and empty. The Te Deum scene was the only part with a visual scene change that utilising the stage with a large chorus to form the procession, while Scarpia cursing from the last row of a church pew. Though the torture scene was an understatement as we saw Cavaradossi rather alive afterwards.

Thankfully Michael Volle and Anja Kampe acted well to save this dull staging from an ultimate boredom. The stabbing scene was intense and Michael Volle made a more terrifying Scarpia than Bryn Terfel. He captured the characteristics of Scarpia very well being a cunning torturer and crude womaniser but also bewildered by Tosca's motive. I also preferred his timbre with a fuller and darker tone that the singing resonated in the hall very well. Anja Kampe was better with actions than her singing. She had the right tessitura, but the timbre lacked the warmth and not being smooth with the phrasing. I felt she better stick with the German repertoire than Italian ones in terms of diction. Jan Martinik was specially mentioned because he was the most well sung Sacristan with a voice pleasant for the ears, phrasing was natural and being comfortable with the vocal range. Marcello Giordani replaced the indisposed Fabio Sartori as Cavaradossi. He certainly looked older than the part in compare to the one portrayed by the cartoon. Not a bad actor but I did not enjoy the switching of registers as he went up in the higher vocal range despite the intonation was secured. The sustaining of long notes sounded quite an effort and hard sometimes for the ears to enjoy. Domingo Hindoyan's conducting was serviceable to keep the ensembles more or less together but still negotiations over tempo in many corners. He would need more live experience to sharpen up the skills. As a whole, this was probably my least enjoyable musical evening in Berlin.

Review - Symphonies 1 & 3 (Beethoven), Philharmonie, 12 October 2015

Berliner Philharmoniker

Sir Simon Rattle

I never heard an interpretation of Beethoven third symphony with the same depth alike a Bruckner symphony until this performance by the Philharmoniker, but too much energy in the playing of first symphony for my taste. Last time I heard the Philharmoniker in live was 2010 at the BBC Proms. The Royal Albert Hall acoustic just about to the contain the sheer impact of sound, but this time even with finer acoustic in Philharmonie and a smaller force, one sometimes could feel the sound filled the hall so full that any more would lift the roof off. This was the case with Beethoven one that the instrumental attacks, especially strings, too much or even aggressive aiming for the rhythmic punch. I could understand the brisker tempo would shape the dance rhythmic patterns effectively and sound more interesting, but as a whole the band seems being a restless beast unleashing a lot of energy. Only in the second movement, Andante Cantabile, the calm returned between storms and more poetic playing to give a glimpse of beauty and elegance in the music. The musicians probably took the youthful nature seriously but it was still a work under the shadow of late symphonies by Mozart and Haydn. There could be dramatic moments but not yet with tempest and thunder.

Rattle never lingered on climatic moments or juicy tunes and focused more on transitions between passages. Some interesting results with the phrasing that in the first symphony one felt the musical direction was pushing too hard for the finishing line, in contrast, it worked very well for the structure and musical texture of the third symphony. The longer line of a phrase and expressive passages worked in advantage with the orchestra. The atmosphere changed in the second half that the playing allowed more space and interactions between sections were more intimate. The emotion in the funeral march movement was never over pour but the body of sound resonated in the hall with such level of depth, which one felt very moved as the symphony progressed from shadow to triumphant climax before returning to lament and sorrow. The produced colour captured the dramatic transitions very well that one would see and sense the inner emotion of the composer on the image of his 'hero'. A romantic outlook but still fresh and vivid. One could claim the composer had found his sound in the third but also to remember the first symphony was an accomplished work if with the right execution. As a whole, a memorable performance to remember.

Review - Die Meistersinger von Nürnberg (Wagner), Staatsoper im Schiller Theatre Berlin, 11 October 2015 & 18 October 2015

Hans Sachs - Wolfgang Koch

Sixtus Beckmesser - Markus Werba
Veit Pogner - Kwangchul Youn
Eva - Julia Kleiter
Walther von Stolzing - Klaus Florian Vogt
Magdalene - Anna Lapkovskaja
David - Stephan Rügamer

The Masters - Graham Clark, Gyula Orendt, Jurgen Linn, Siegfried Jerusalem, Reiner Goldberg, Paul O'Neill, Arttu Kataja, Franz Mazura, Olaf Bar

Staatsopernchoir & Staatskapelle Berlin
Conductor - Daniel Barenboim
Director - Andrea Moses

I watched this presentation of Die Meistersinger twice over two weekends. Despite Hans Sachs was a historical figure and the embedded ideologies more than a century old, Moses agreed with the progressive and insightful thinker on the nature and attitude towards the ever changing construction of German identity. At the 25th anniversary of the reunification, forward looking to a peaceful reunified Germany and celebrations of arts would forge the new identification, if one could agree Hans Sachs's vision of 'green and pasture land' in the end. It was a bold message though instead of feeling sorry for the turbulent and painful past that it should be honoured and welcome the future. This was a direct contrast to the post war years, which the cultural and national approaches on war crimes, the division of East and West Germany mostly in an apologetic and pessimistic tone. Andrea Moses skilfully interwoven the developments of German identity into the opera but I felt the spirit of positivism was naively optimistic in the conclusion.

To be fair, Moses should be credited for her insights by relating the characters with some prominent social attitudes in modern Germany. Walther is those who avoid associating oneself with traditions or celebrations of the nation, whereas David struggles to defend traditional values and challenged by his schoolmates/colleagues. The masters are a conflicting group that the younger ones surprisingly more conservative, sceptical and critical than the elders. Sixtus Beckmesser is the victim of himself that smugness and being hypocritical but no originality led to his humiliation at the song contest and the scuffle on St John's eve. The apprentices are rebellious hoping to be free from rules and in act two they transform into the drunken punks except David. Eva is probably trapped being a feminist but the same time submissive to her father's will. Smoking cigarettes is her rebellious expression of being not the 'perfect' daughter and a complicated relationship with Hans Sachs and Walther. The director probably making the point that modern youths are less experimental and forward thinking compare to the generations grown up in cold war years, but being a rebel against the establishment is a feature any time at the tender age.  

On the macro level, the directorial approach is more critical politically and complex. The church scene at the opening shows us a priest resembling the figure of Martin Luther, who employed the identity of German as a unifying race in his church sermons at the time of Holy Roman Empire. The priest also represented Moses's three perceptions of the church: the never ending collections from clergyman for whatever purposes, the church cannot prevent the outbreak of social tensions in act two that the priest, also the night-watchman praising god, becomes the victim of the fiasco. When the priest handing out musical notes for public to praise Hans Sachs in act three, I thought it was an implicit reference of the church supporting the allegiance of a leader instead of the one god during the time of Nazi party rose to power,

The master's guild is a fancy institution for the great and good of society meeting in a stylish modern room, which the illuminated Mercedes Benz logo on top of Europa center office tower in the background. Wealth, status and wellness are on display but the masters generally behave as if they never get away from pretentious traditions. The underlying message seems to be that established institutions need to stop profiting from their wealth and convention practices, but to modernise, invest and adopt a more liberal attitudes to help with the development of the youth.

Then it comes to the roles of nation with the German national flag hanging on one side of the stage as a connotative symbol. The masters emphasizes their beliefs, values and associations with the state as Pogner reminded his fellows in act one while holding the flag. The punks in act two not only being rebellious students but also the anarchist group in contrast to David who is the odd one holding onto the flag. Law and order are constantly in a difficult situation with those challenging the establishment, and not 'cool' if you defend it. When Walther and Eva hiding under the flag while Beckmesser making the serenade, it is as if people will keep away from the problem and only come closer to the state under its protection. Then later the young couples rejoicing their union before leaving Hans Sachs shop for the song contest, individual affections come first for each other instead of thanking the nation as they drop the flag on the floor and hug each other. I guess here the celebration of love and promising future to become a master put the personal priority before the opportunities given from the state. It is an uneasy notion because the modern society focuses on individual achievement than a collective success.

The riot on St John's eve (Johannistag) at the end of act two and the reconstructed city palace of Berlin, in the background of song contest, are the highlights of ongoing public disputes on the identity question. In the fiasco we saw supporters of the west and east Berlin football teams, far left and far right followers, gay right campaigners, pro Russian group, clubbing crowds, the masters themselves and religious practitioners went into a chaotic fight with each other. It is a statement of turbulent past that still shadow and in memory to many this day. In contrast, the pretty crowd in front of the palace seems too proud and over joy to celebrate a prosperous nation, traditions and leader worshipping. We see two Arabs as the guests of honour in the masters' party, which suggests the palace rebuilding project is a flaw that the nation does not have the wealth and kowtowing to foreign funds.

Musically I thought my second experience was much better than the first. What really made the cast stood out was the clarity in diction and individual voices blending with each other in tone colour and the right flows in dialogue between passages. The orchestra was more in tune, especially tutti at the beginning of the overture, and phrasing had improved that Barenboim seems to get around with the musical direction. There were less coordination issues between the orchestra and singers as before the band noticeably dragged the tempo so much that the singers struggled to pace the singing. Klaus Florian Vogt got the prize song mostly correct compare to the previous weekend which he had trouble to fit in the words and stumbled for few bars before settling in. Some works must have been done to resolve the problem during the week as he and Barenboim were still negotiating over the tempo on my first hearing.  I have to agree with my friend that Vogt did not always match the beauty in timbre as his many other colleagues. His vocal projection might be the best but sometimes lacking the smoothness and sounding harsh in the higher vocal range, particularly with the 'i' vowel. Wolfgang Koch was probably the best sung Hans Sachs I came across. Beautiful timbre with the right tone colour that never too bright and forceful in the singing. He did not have that much trouble like Vogt with the tempo and skilfully overcome the problem that made the tempo issue less noticeable. Markus Werba was consistently well sung as Beckmesser and acted the role very well to fit the directorial approach appropriately. Stephan Rügamer in the role of David was more secured during my second hearing with better control on higher vocal range and improved on vocal projection. Kwangchul Youn sang the role of Pogner very well in terms of intonation and diction, but I was not convinced that if the tessitura truly exhibited the best of his voice. Julia Kleiter had the right timbre for the part of Eva and her singing was fairly secured that complimented other voices very well. Anna Lapkovskaja also delivered a more pleasant tone the second time with the desired smoothness and more precise with the notes. The masters consisted several veteran singers including Siegfried Jerusalem, and for the first time I felt they made the impression that many other productions failed to do so. This is also the uniqueness of Moses productions that all the minor roles have a more significant role to play in the performance. The chorus was also on a better form being more secured with intonation, unity in diction and put out a magnificent display of the choral passages. It marks the change in vocal style that singing works by Wagner could also achieve beauty, volume and clarity without heavy vibrato and barking.

Review - West Side Story (Bernstein), Komische Oper Berlin, 10 October 2015

Maria - Alma Sadé
Tony - Johannes Dunz
Anita - Sarah Bowden
Riff - Robin Poell
Bernardo - Mate Gyenei
Chino - John Baldoz

Conductor - Kristiina Poska
Staging - Barrie Kosky, Otto Pichler

The dazzling stage set and well executed dramaturgy by Barrie Kosky made a fitting update of arguably the most well known musical by Leonard Bernstein. The sheer energy and sophisticated dance choreography were memorable. It built the momentum and kept the dramatic flow successfully from a symbolic gang rivalry through basketball and freestyle dance competitions to the climatic 'Romeo and Juliet' death scene of Tony. Varied sizes of silver balls were employed to present the stage as a theatrical showcase alike quality talent shows on television. Interestingly, the Jets in their streetwear outfit that did not appear to be as aggressive as their rival. In contrast, hunky dancers with naked tattooed upper body marked the Sharks. Kosky probably not suggesting the difference in outfit mark the class difference but rather the group identity to distinguish itself from the other. These all created a sense of modern relevancy and made the visual impact.

Though I felt second half was slightly tame compare to the first. Although the focus shifted from two sides to the intimate relationship of Tony and Maria, but the darkened bare stage and only a bed in the centre seems more in line with the classic demonstration of a tragic ending, and somehow lacking the creativity we experienced first half. The neutral drug store could have been created in some scale instead just a bench selling groceries. Though it was probably constrained by the turntable stage and thus the theatrical concept itself had a certain limitation. Even so, it was a powerful ending that the gangs saw their deeds had done the damage and sufferings to those dear to them and themselves. Yet we would never know whether reconciliation ever take place as the curtain fell when the group saw the death of Tony.

It was an interesting experience to hear the dialogues in German whereas the singing in English. Nothing wrong with that and a good attempt by a native German cast tried to get their American accent as close as possible. My only reservation was most dropped the 't's and Kosky as an English speaker could have guided the fellow singers to improve the diction. Johannes Dunz as Tony was probably the best with accent and singing. Alma Sadé was dramatically convincing as Maria but her intonation was not always secured. Robin Poell and Mate Gyenei impressed me that they could sing well while dancing at the same time. John Baldoz was slightly tame compare to the rest both acting and singing despite the good look. The orchestra was musically the best of all and maintained a good direction in the music making. The percussion units were highly impressive by their rhythmic precision and elevated the dance moments with musical excitements. The amplification of the strings did no harm and maintained a good balance on the sound system. It is definitely worthy to mark the 25th anniversary of the composer's death with this fitting update.

Review - L’Elisir d’amore (Donizetti), La Monnaie, Cirque Royal (Brussels), Webcast

Adina: Olga Peretyatko
Nemorino: Dimitry Korchak
Belcore: Aris Argiris
Il dottor Dulcamara: Simon Orfica
Giannetta: Maria Savastano

La Monnaie Chorus and Symphony Orchestra
Conductor: Thomas Roesner
Director: Damiano Michieletto

Among the three productions by Michieletto I have encountered until now, this co-production of L’Elisir between Teatro Real in Madrid and La Monnaie is his most effective and entertaining work. The splendid execution of dramaturgy and a strong musical side made a convincing modern adaptation of a village saga in the Basque Country to a beach party at the seaside of Italy, with a possible reference to Rimini coast. In contrast to the dark soil surface and eerie atmosphere in Idomeneo for Theater an der Wien and Guillaume Tell for London Royal Opera House, the sandy beach under the orange stage lights dominated the circular stage in L’Elisir. A bar bearing the name of Adina sits on one side, the orchestra in their beach going outfit on the other with an observing tower hoisted a green flag above and palm trees in the middle.

In first half, the director was probably suggesting that the beach, where supposedly a place for relaxation and fun, would turn into a difficult public surrounding when affections went into the wrong end. The chorus played the role of beachgoers in sunbathing while we saw Nemorino, a staff at the Adina bar, gradually humiliated and mocked by the crowd as Adina rejected him for Belcore instead. Adina’s rejection was not merely a vocal display but one pity Nemorino when she dumped the teddy bear as a gift from him into the bin. Doctor Dulcamara’s entrance with his model girls and props to promote his energy drink ‘L’Elisir’ was effective and fun for a successful product propaganda. Though the special potion from Dulcamara did not help Nemorino to woo Adina and the misunderstanding went ugly. The raged Belcore threw garbage from the bin at Nemorino and with Adina, they gathered the crowd by pouring the canned beer onto him and even attempt to bury him in the sand.

The beach setting remained in the second half though more theatrically orientated. The focus was on the emotion struggles between Adina and Nemorino before they turned honest with each other’s affection. Michieletto skilfully interwoven the elements of modern party celebrations with the twisted love saga. We first saw a giant inflatable swimming pool in the shape of a wedding cake with wedded couple figures at the centre, and later filled with foams to make a bubble bath. The wedding night began with a stag party for Adina entertained by Go-go dancers but disrupted by an already drunken Belcore. He was more committed to the wedding but Adina hesitated and did not get into the celebratory spirit. Giannetta arranged other girls to seduce him probably hoping for a revenge. Though Adina falsely thought Nemorino was not that faithful when she saw other girls lured him into the bubble bath. It was only when she learnt the love potion Doctor Dulcamara gave to Nemorino, then realised his unchanged affection for her during the well known ‘Una furtive lagrima’, which sung from the rooftop of the bar. The end we saw Doctor Dulcamara left the drugs (Ecstasy perhaps) on Belcore’s beach sofa and got him arrested during the police raid of the beach party.

After the Zurich performance of Bellini’s I Capuleti e i Montecchi early this summer, Olga Peretyatko continued to impress with the smoothness in her singing and it was also the right role for her. Her timbre was very comfortable for the ears and not too bright in higher vocal register. No hint of tiredness throughout the performance and an impressive display of vocal fireworks with the coloratura. Physically she had an attractive outlook and successfully in portraying the role of Adina. Diction was not necessarily Italian enough but convincible to be understood. Dimitry Korchak might not have a big vocal volume and a radiant voice, though no sign of strain in the higher vocal range and phrased the music very well, which matched the impressive vocal display of Olga Peretyatko. He also captured the change of character emotions very well for the Cabaletta sections. It took some time at the beginning for Aris Argiris to warm up his voice for the warmth and depth. Otherwise, his physical outlook and gestures fit into the role of Belcore very well. Simon Orfica was highly impressive in those tongue twisting patter songs and his diction was probably the best of all. There were not many solo moments for Maria Savastano but presentable when she sang with the ladies in bubble bath before plotting against Belcore fidelity. The augmented Monnaie chorus was more youthful than normal and enjoyed themselves very much in actions, which lifted up the celebratory atmosphere and motion of this production. Intonation was also more secured than some other performances I had encountered but diction was not necessarily as good as the soloists. Thomas Roesner mostly got the orchestra and the soloists together but sometimes I thought his conducting did not help to provide the direction. Sluggish playing as a result that the orchestra sometimes a fraction behind the singers. In sum, this production worth future revivals for its new insight and making the comic elements vivid with modern relevancy.

A start

Few years ago, I started reviewing performances, mainly classical concerts and operas I saw in live or online, and shared it on my Facebook page. Since then, friends have been persuading me to send articles to local newspapers' editors in Hong Kong and hoping they will include in the weekly art columns. At first, I was not too keen on the idea that my reviews to go public since my writings still need to be polished, not to mention grammatical mistakes and the frequent employment of chinglish in sentence structures. Even so, one has to make a start and I am grateful to my friends whose kindly agreed to be my co-bloggers with much enthusiasm.

On surface the blog name makes an impression solely to do with operas, but opera as the art form itself comprises the variety and sophistication of musical composition, vocal technique showcasing and theatrical aspect. Thus, to employ the same concept, we will share our interest in music, travel, food, literature and many other things from time to time. Hope you will enjoy reading and following the blog.