Review - Ozno, Haydn, Dvořák, Hong Kong Philharmonic Orchestra, Hong Kong Cultural Centre Concert Hall, 3 December 2016

Oikogneia, Book 1 (Ozno)
Sinfonia Concertante (Haydn)
Symphony No. 7 (Dvořák)

Hong Kong Philharmonic Orchestra
Michael Wilson (Oboist)
Benjamin Moermond (Bassoonist)
Jing Wang (Violinist)
Richard Bamping (Cellist)
Jaap van Zweden (Conductor)

Oikogneia consists of music fragments associate with the composer's family members, and subsequently orchestrated from the original MIDI version. The set has referenced to 20th century film music style but also quirky with originality. The first movement is alike a grand exotic ceremonial march similar like Rózsa's works for Hollywood Roman films. The percussions plays a prominent role to generate the rhythmic pulses while high notes for the woodwinds. It is loud in dynamics and finishes abruptly. A light hearted mood follows in the second movement alike the dance sequences of Bernstein's West Side Story, even to do with golf as described by the composer. The third movement is more conventional for being formal and square in patterns. Flourish from the brass while the strings play the melodic lines. The music has a vibrant colour and stays loud throughout, and again a sudden finish off with handclaps.

Rhythmic momentum marks the fourth movement with a narrower music range. The bass clarinet has its solo moment and with an impression of hurrying along the road. The fifth movement reminds the Japanese animation music in Miyazaki's works. Tutti moments has a relatively grandeur outlook and colourful playings from the percussions, with an enigmatic ending that nothing definite. More inward looking in the sixth movement like a military band retreating in distance. It gradually builds up to a slow dance follows by repetitive passages in the brass playing. The last movement is more varied and experimental than before. Glissando on the strings, follows by another Latin dance passage for the brass and percussions, then returns to some plain melodic woodwinds' playing. The music turns into a chase with syncopated rhythmic patterns excitedly marks by the percussions. The dynamic increases to fortissimo or more, with the brass gives a concluding lead and finishes abruptly like previous movements. The set is appropriately programmed to begin this performance, and desirably the rest will perform in future for a better understanding structurally.

After featuring the orchestra lead percussionist as a composer, Haydn's Sinfonia Concertante is an interesting showcase for the principal players of the upper and lower parts in strings and woodwinds. The first movement is regal and majestic in style. The orchestra was able to switch from the energetic Oikogneia into stylish and elegant for the Haydn. Fluid playing among the four soloists with the music flowed with direction and sweet in tone. The violin solo led the melodic line mostly but tuning was not secure as the range went up the fingerboard. The pastoral and sedate like second movement has the violin, oboe and cello take turns in solos. The ensemble achieved the right balance with the soloists and a ringing tone produced by the violin and cello in their duet. It was a pity though that the French horn was flat when finishing off the movement. Structurally the last movement is strange and fluctuated, which Haydn's experimental intention as an operatic showcase for instruments is a work in progress and rather indecisive on tonality. The solo violin was heavy on bow weight and far from producing the thrill of a coloratura flourish. A demanding climb to the very end of the fingerboard for the cellist and the tuning was far from ideal again. The bizarre format left a mixed impression and one not sure whether a future revisit is desirable.

Poor intonation in the horns' introduction of Dvořák seventh symphony, but the strings redeemed the disappointment with their full bodied tone and responded to the style change after the Haydn. The tragic impact would be even more devastating if more weight in the strings' playing. In turn, the produced sound was more suited in the positive outlooking expressive section. Confident horns' playing at loud dynamics, but the woodwinds dragged the tempo slightly and reduced the driving momentum. The crescendo to the climatic expressive moment carried the sheer dramatic impact. Though grainy tone in the horns did not make a refine coda when the music died away slowly. A polished sound from the woodwinds in the pastoral opening of the second movement, but the employed rubato not really able to phrase the music in the right shape and articulate the contrasting moods. In contrast, the strings were better in phrasing even though the tempo would need to be swifter. Beautiful playing from the woodwinds, except the horns, in the lyrical end.

The orchestra would need to dance more in the third movement instead of being rigid and heavy footed. Tempo was on the broad side, and the horns did not match the tone quality of the woodwinds and lower strings. A good bodied of sound from the strings but it could bite more to produce the wildness more effectively. The last movement was dramatically intense in a swift tempo. Brass and strings vividly produced the tempestuous effect and danced with the music in the lyrical expressive passage. The horns were at its best when playing loud in long notes. The contrast in dynamics ably to reflect the ever changing emotions in negotiation between the tragical sense against the heroic force galloping gloriously. The brilliancy sent the audience in enthusiastic reception but the middle movements would need a rethink for a more successful outcome. 

Review - Der Ring des Nibelungen (Wagner), Opera Australia at Arts Centre Melbourne, 21, 23, 25 & 28 November 2016

Wotan - James Johnson
Brünnhilde - Lise Lindstrom
Siegfried - Stefan Vinke
Siegmund - Bradley Daley
Sieglinde - Amber Wagner
Alberich - Warwick Fyfe
Hagen/Fasolt - Daniel Sumegi
Gunther - Luke Gabbedy
Fricka - Jacqueline Dark
Fafner/Hunding - Jud Arthur
Erda - Liane Keegan
Mime - Graeme Macfarlane
Waltraute - Sian Pendry
Gutrune - Taryn Fiebig
Loge - Andreas Conrad
Freia - Hyeseoung Kwon
Wood bird - Julie Lea Goodwin
Froh - James Egglestone
Donner - Michael Honeyman
Rhinemaidens - Lorina Gore, Jane Ede, Dominica Matthews
Norns - Tania Ferris, Jacqueline Dark, Anna-Louise Cole
Valkyries - Anna-Louise Cole, Dominica Matthews, Olivia Cranwell, Sian Pendry, Hyeseoung Kwon, Amanda Atlas, Nicole Youl, Roxane Hislop

Opera Australia Chorus
Melbourne Ring Orchestra
Pietari Inkinen (Conductor)
Neil Armfield (Stage Director)

To mount a ring cycle is a challenge both musically and staging wise. Besides assembling a competent troupe of musicians, the scale of the production also determines the underlying ideologies and styles. Neil Armfield's approach is not so much about extravagant display of stage machinery or colourful scenery nor making political statements, but as a stylish spectacle from a humanistic psychological perspective. The production sees genuine love and affection to rectify mistakes and overcome all perils. It is close to a plain narrative of the tale but still some twists in conceptual direction. The use of simple but effective theatrical elements also make a strong and precise impression of actions. A reminder that the ring is a piece of theatre on equal importance as the music. As a whole the staging style and concept is consistent, original and coherent. Musically the orchestral playing improved as the week went on and there were many magnificent moments. Overall the cast of singers possessed the right timbre, rose to the vocal challenge and some even exceeded the expectation.

Rheingold began with a crowd in circular shape moved slowly towards a direction on a revolving stage, and a large hanging mirror behind to reflect. It was as to create the river flow but also a reference to the ring turning alike the medieval concept of the wheel of fate. The circular movement reappeared many times again in various forms throughout rest of the cycle. The orchestra though would need more direction in its playing and the brass was particularly sluggish in tempo. The crowd stopped at the singing entry of the rhinemaidens, who wore an over the top stylish and feathered samba outfits. The trio's intonation was good but poor in diction that I hardly could distinguish the words, the tempo was also too broad for my preference. Warwick Fyfe's Alberich put the disappointment aside that he not only had an ideal vocal colour and the projection, but also being natural in phrasing the text and the music. He undressed and chased the rhinemaidens around but unsuccessfully. The crowd then brought out the gold coloured pom-poms, metaphorical representing the glittering gold of the Rhine, and spread across the stage. The revealing could have made more impact if a swifter tempo was used in the orchestral playing. Alberich's stealing of the gold saw him taking hostage of a young girl from the crowd and then darkness descended on the stage again. Though dramatically the idea seems tame to reflect the great loss instead of capturing the crowd with a big net or rope.

The scene of god's realm was weak in concept and would need a rethink for a more sophisticated presentation. The high point was Wotan's first appearance from the back door in a pitch black stage that gave an introduction in focus. However, he laid down on the floor and James Johnson made an elderly and soft outlook of the role. Although with the right timbre, his singing far from a ringing tone to fill the hall and diction was poor. He nearly missed an entry after Fricka warned of Freia to be taken hostage by the giants. It struck me odd that a Wotan did not have the physical nor the vocal authority. There were cases of stuffed animals in the backdrop but far from making the intended message. In turn, Jacqueline Dark's Fricka, in her gold dress outfit, was more comfortable with the vocal range and gave a fuller bodied tone. The orchestra again took a board tempo for the Valhalla theme that did not provide a direction where the music was sailing to.

Jud Arthur's timbre, as Fafner, had the richness and colour of a bass than Daniel Sumegi, as Fasolt, who was more baritone in his timbre. The giants were portrayed as a pair of mafia businessmen but not too rough in outfit. The stage choreography was rather static in a park and sing routine. Wotan stood motionless without any sign of decision to prevent the conflict. The rest only walked around and did not much, which was far from realising the tension and confrontation while bargaining with the giants. Andreas Conrad's Loge gave a promising start as a highly competent actor and well paced in his singing and the diction. Though he tried too hard to dramatise every phrase that resulted in missing entries later, also shaky tuning and even dangerously out of place with the orchestra. The coordination problem had caused the strings no intention in accenting the downbeats to maintain the rhythmic pulse. James Johnson only warmed up, when the gods stood under the spotlights at the front stage while Loge urged them to stay strong without the apples from Freia.

The orchestral playing and dramaturgy improved immensely since the descend to Nibelheim. The produced music danced and more energetically engaged. Alberich and Mime were very natural in their singing and clear with diction. The vocal projection were far better than Wotan in terms of body and volume. On the ground there were several stage doors and workers emerged from the holes but fearful of Alberich's power later in wild cries. The tricks of tarnhelm were cleverly demonstrated as a circus magic show with a feather girl holding the python on her neck. It was a more effective visual presentation than a video showing or mechanical replica of a snake. After Alberich being captured by tricking him into a frog, the three races, giants, gods and rhinemaidens, posed like sculptures on the turntable at the music ascend to god's realm. It was as if to remind us their inseparable connections with the ring and metaphorically resembled the wheel of fate again.

When workers brought gold blocks to stage for Alberich's ransom, Warwick Fyfe impressed very much again for his sheer vocal energy and momentum. In contrast, Wotan remained a vulnerable and incompetent figure than Alberich. The villain even dared to grab Wotan's staff and cursed the gods in return. There was also a strange moment at the return of Freia that she was with Froh than with the giants. Like Wotan's first appearance, Erda also entered from the small door in the rear.  Liane Keegan had the right colour and richness in her voice, but could not really project her voice into the hall. Sluggish tempo reoccurred when the giants appeared for ransom. Though I was impressed by the effort that the gold blocks being actually piled up to cover Freia. At the outset Fafner already decided to fight after the treasure than sharing. The killing of Fasolt was dramatically intense and the orchestra effectively reflected the brutality in their playing. Michael Honeyman's Donner did not have the rich and full voice for that dramatic calling of thunder. The brass playing could have given more in dynamics at the glorious conclusion. Otherwise, the troupe of feather girls, with rainbow pompom and glittering stage lights, made a highly effective and memorable scene of the god's entrance to Valhalla. The rhinemaidens and Loge were disappointed by Wotan's indifference while watching the ascend that inevitably brought the destruction later.

Hunding's hut alone on a revolving stage with snowing effect set the first scene of Die Walküre. The simple outlook made a pretty scene later as Siegmund and Sieglinde grown in love. The orchestral introduction would need to play more on the downbeat accents and the brass lacked direction in their playing. Horns were not confident at the forest hunting calls and shaky intonation as a result. The escalated tension between Siegmund and Hunding confrontation not really reflect by the indifferent instrumental playing. Bradley Daley, as Siegmund, sang with great passion but lacked the warmth. Higher vocal register was sometimes strained, notes were muddled up and being throaty. Even so, lower strings gave spellbinding playing when the Wälsungs met and fell in love at first sight. Good diction and secured intonation from Amber Wagner, who sang the role of Sieglinde. Jud Arthur continued to impress as Hunding this time with the richness in his timbre and a powerful voice to fill the hall. Though at the revealing of Notung and Siegmund's narration of the past, tempo remained relax and far from a passionate impression of the twins. Bradley Daley began to sound tired and not always able to sustain the vocal energy. The orchestra dragged the tempo even more at winterstürme and lost the focus in shape. Only Amber Wagner's beautiful singing redeemed from a disappointment by being tender and sweet in tone.

The second act was delayed by an hour due to a motor malfunction under the revolving stage. It was not a surprise though since the stage set was one of the most elaborate of the whole cycle. A multistorey circular runway dominated the stage with stuffed animals hanged within. Since there was only one way to descend or ascend, it reinforced the notion of a labyrinth that the gods were stuck without an alternative path. The animals probably represented deceased heroes being brought back to Valhalla but the visually not effective as backdrop only. The orchestra was far more dramatic than first act with a good momentum in directing the music forward. The Wälsungs first hurried down the runway followed by Wotan, but James Johnson's singing was still timid in terms of vocal volume. Lise Lindstrom, who made her debut as Brünnhilde in a full ring cycle, managed the athletic battle cry 'Hojotoho!' confidently but her voice needed some time to warm up. The timbre of Jacqueline Dark, as Fricka, had the colour of an aged woman but her vocal projection was less impressive than in Rheingold.

James Johnson projected more in the lower vocal register when Wotan narrated how he was trapped by promises while evils spread around freely. His image of frustration made a contrast to the cold and still impression in Rheingold. He flung his clothes off at the emotional foretelling of the god's doom and the Wälsungs, his children, to be killed. Exquisite woodwinds' playing during the scene change when the twins stopped for rest at their escape. Amber Wagner sang in a radiant tone at the highly dramatic nightmare passage but Bradley Daley far from matching her voice by lacking the desired warmth. The brass had more direction and energy in its playing but tuning was not always accurate. Lise Lindstrom's tessitura was comfortable in the higher vocal range during the dialogue with the orchestra winds, but James Johnson was again very thin in vocal body after Siegmund was killed.

The ride of the valkyries in act three was a military operation to retrieve the bodies of fallen warriors to Valhalla. However, the dramaturgy looked random that the crowd appeared rather lost on stage by walking around aimlessly. The impression did not match the sheer dramatic impact of the music. The voices of the eight valkyries complimented each other very well and delivered a powerful ensemble singing. James Johnson improved in vocal volume when Wotan arrived in rage of Brünnhilde defiance of his order, but diction remained muddy. The lower vocal register was problematic for Lise Lindstrom as her singing became rather grainy and not natural in phrasing. Towards the final scene of magic fire, the music was very moving with the tenderness and outpour of emotions as the father and daughter finally reconciled. A ring of fire in the middle of the dimmed bare stage was an effective and simple approach to realise Wotan's fatherly love to protect Brünnhilde.

My experience of Siegfried in live or on records so far were often with mixed results. The most challenging part I reckon was the final scene when the music style switched from a dramatic style to lyrical. Rarely singers could manage the changes evenly and also vocal stamina to last for four hours. In terms of staging, Armfield emphasized Siegfried as a play in the theatre. Mime's living room occupied the front stage with his workshop on the left and a bunk bed on the right. The tall white wall behind actually helped singers to project their voice with the hall acoustic. Previously in Rheingold and Walküre, the singing was often trapped within the stage. It was probably why the orchestra sometimes hesitated and sluggish as they struggled to hear the singers from the pit. This was no longer the case in Siegfried, which the orchestral playing had a much better sense in rhythmic flow and more energetic in momentum.

Stefan Vinke, as the protagonist, made a confident start vocally and being a native German speaker his diction was most naturally placed in the singing. Though Graeme Macfarlane's Mime did not match close that the phrasing were sometimes random and out of the place. Instead of an actual bear, Siegfried dressed up as one to scare Mime off and annoyed him after being accused of ungrateful to Mime's care since birth. Musically the heated exchange between the two was highly dramatic with the right ebbs and flows. The orchestra was very excited and confident in its playing that even ahead of the singers at various points. James Johnson's Wotan also projected better vocally with a fuller tone. Stage lights flickered as he quizzed Mime with riddles and threatened him with his staff to recognise his true identity. The orchestra made an impact in the crescendo until the stage flooded with lights and Mime trembled in fears. His introduction of fear later to Siegfried was intense vocally and the orchestra gave strong rhythmic pulse at the sword forging scene. Stefan Vinke had the vocal energy to sustain the heroic singing without any strain and most excited with the sheer impact. The highly dramatic orchestral playing put a brilliant end to act one and we saw Siegfried cut through the white wall to look for Fafner's cave. The audience went wild in reception.

An exaggerated facial expressions of a clown was projected on screen at the beginning of act two. The terrifying image of Fafner, as the music depicted, was wonderfully captured and realised. It was a brilliant touch than to recreate a dragon head, but a pity that one viewing only and later the rest happened behind the back of a theatre set in white. There were leaves scattered on the stage to evoke the forest floor, and tossed around by wind to imitate the dragon's breath. Though visually it looked underwhelming and not able to capture the sense of a haunted place. Warwick Fyfe's Alberich continued to impress with a ringing tone to fill the hall and very natural with the sung text. The amplification of Jud Arthur's rich and deep tone, as Fafner the dragon, achieved the right balance and effect in the auditorium.

However, Graeme Macfarlane dragged the tempo too much sometimes, and Stefan Vinke was not legato enough in the lyrical line of imitating the singing of wood bird on a picnic blanket. The scene of killing the dragon was not a spectacular fight, but a raw erotic impression when a naked and wounded Fafner in blood dragged out of the hole instead. The wood bird was in a plain dress only, which one questioned why not the Ziegfeld girl's outfit in Rheingold with elaborate feathers instead. Julie Lea Goodwin technically competent as a lyric coloratura soprano, but her tuning was insecure and dense in timbre than the preferred bell like quality. Towards the end, Siegfried positioned the bodies of Fafner and Mime next to the cave entrance probably as a show off. Stefan Vinke was more able to connect the long notes in the higher vocal register than the previous more athletic passage.

In act three, only the stage arch left with Wotan lying on the floor in the spotlight at first. Without the white wall to bounce the singing back like before, James Johnson's singing lost the projection again. The orchestra though continued to sound powerful in volume, especially the brass, and the computerised drum effect to imitate the sound of thunder made a dramatic sonic impression of what would follow. Erda appeared from the back door again after being summoned by Wotan but in a sleepy state. Liane Keegan did not have a big vocal body but her phrasing, diction and timbre were ideal. Despite the orchestra could have been more patience to avoid getting ahead of her, they played beautifully at Wotan's declaration of self destruction and Siegfried's challenge to Wotan was dramatically intense.

To realise the magic fire which protected the rock where Brünnhilde in deep sleep, light bulbs on the theatre arch came into full and a golden glittering curtain descended as Siegfried approached. The turntable spun the arch around slowly and made a highly theatrical transition to the discovery and awakening scene. A wood case containing Brünnhilde was revealed and a statue of her horse Grane was placed in the rear. Stefan Vinke captured Siegfried's cautious discovery vividly and his disbelief at first sight, before a passionate awakening of the first woman he met. Lise Lindstrom was more comfortable with the tessitura as the vocal register stayed high for the role this time, but she was heavy on vibrato and lacked the warmth in her voice. The orchestra made an emotional outburst of the love theme when the two exchanged their affections, even Brünnhilde was rather doubtful and negotiated the idea of her role change for a while. The theme of birdsong was tender and beautifully played and vocally the pair complimented each other in their duet. The sheer energy and music brilliancy of hailing to love made a resounding conclusion to the third part.

At the beginning of Götterdämmerung, the Norns were weaving an old styled theatre curtain in light blue. They had the right vocal colour and technically capable for the parts, but diction was muddy and individual voices not always pleasant to hear. The curtain collapsed as the thread broke and a house in skeleton was shown where Siegfried and Brünnhilde slept. The sunrise music was gloriously played by the orchestra and a ringing tone in Lise Lindstorm's singing at the wakening. Though the stage acoustic sucked the sound upward and made the orchestra difficult to hear the singer, which resulted a prolong negotiation in tempo. Stefan Vinke's upper register sounded hard for the lyrical passage and not the best moment to display his voice. The beautiful orchestral playing of the love theme rectified the disadvantage and the crowd appeared to celebrate the pair's strong affection for each other. They then evoked the river current with arm movements and danced at Siegfried's journey at the Rhine,which the orchestral playing was majestic and radiant. The group then pretended to imitate rowing together as the house spun and gradually became a slow community dance before disappearing into darkness.

The Hall of the Gibichungs was a gym with classical painting in the rear. Hagen in military uniform observed Gunther's and Gutrune's work out from behind. Daniel Sumegi, as Hagen, was more a bass-baritone as mentioned before and rather bright in timbre for the role of Hagen. He was dangerously ahead of the orchestra at the muscular call to signal Siegfried's arrival. Taryn Fiebig as Gutrune had a more suitable voice for the role but her projection was rather timid at first. Her singing opened up as passing the drink to dope Siegfried in her bright orange dress. Luke Gabbedy was more satisfied vocally as Gunther with the richness and depth in colour, also phrased the words and music more naturally. The swearing of blood brotherhood between Siegfried and Gunther was dramatically captured.

When the two went off to steal the ring from Brünnhilde, a lone light focused on Hagen, who sat in front of the house, plotting against with a gun in hand. Gutrune was more sympathetic to Hagen and gave him a kiss, which the two seems to share some affection for each other. It was not sure later whether she truly wanted to wed Siegfried or pretending as part of the plan. Brünnhilde was more patient and welcoming to Waltraute when she came to warn of the dangers. Lise Lindstrom took the tempo on a steady side but the singing still flow naturally and dramatic. Sian Pendry, as Waltraute, made a confident start in vocal volume and diction but the tuning became more shaky and losing the shape. The stage lights turned red when Siegfried took the ring by force from Brünnhilde and marked by wielding Notung in the air, which made the impression that she being raped by him. The orchestra though sounded tired at the end of act one and far from creating the devastating impact to finish off the first half.

A wedding tent instead dominated the second half and saw Alberich walked across the stage like a ghost. Hagen sat on a chair in the middle with the stage light gradually focused on him in a small spot. Warwick Fyfe's Alberich continued to impress for wonderful musical sense and the rich body in his singing. Daniel Sumegi tried to match Warwick Fyfe vocally and the dream telling scene of revenge was dramatically executed, but his timbre was baritone like and not always had the desired weight. Hagen then pointed the gun at the auditorium and stared at it to mark the killing weapon. He then assembled the men in tuxedos with guns like a gang meeting. The chorus delivered a magnificent wall of sound in their rousing call to war. It was matched by a muscular orchestral playing with the sheer dramatic impact from the brass. The entrance of the couples led to the standout of Brünnhilde, who smashed the wedding cake and pushed Siegfried to the floor in rage as he denied her accusations. Lise Lindstorm projected far better and more intense in her singing at the emotional outburst. The dramatic exchange between her and Stefan Vinke fitted their vocal style ideally for better control between the higher and lower registers. When she plotted against Siegfried with Gunther and Hagen together, a ringing tone in her voice and very bright with the top notes to create a strong impression of revenge. It made the cake cutting scene a chilling moment before the assassination scene happened.

The house in skeleton returned for the final act on the turntable and saw the rhinemaidens pulling feathers from their head gears. The irony of their boredom and lost the sense of living purpose after the ring being stolen triggered laughters among the audience. When Siegfried appeared, they went hide and seek around the house, but failed to attract nor convince him to give up the ring even in their flamboyant outlook. Their tuning improved and the singing had more shape as their voices warmed up. The offstage french horn also played Siegfried's hunting call more accurately than the one in the orchestra. The hunting scene was realised by an actual rifle shooting game on stage, which the repeated sound of gun shots captured the atmosphere of tension and insecurity of a killing scene. Gunther could not prevent Hagen to shot Siegfried after regaining his memories by drinking the antidote. Stefan Vinke's singing sustained with great energy and bold in vocal body. He approached the killing point as Siegfried broke away from illusion and a final resounding declaration of his love to Brünnhilde. The orchestral playing vividly captured that strong feeling of affections and emotional outpour. The ritual performed during the death march was unexpected as the men cleansed Siegfried's body, painted his face in white and he stood still in the centre covered by a black veil. It had effectively realised the solemn and grand image in the music that brilliantly evoked by the orchestral playing.

Taryn Fiebig carried more emotions in her singing as Gutrune gradually learnt the death of Siegfried. In the stage rear we also saw Brünnhilde slowly walked across as the sung text said she went to the Rhine for the final preparation. Hagen shot Gunther when he was blamed for the assassination, but terrified by the illuminating ghostly figure of Siegfried when the veil was removed. Lise Lindstorm began the immolation scene in the stage front but rather heavy on vibrato. The lyrical ascend lacked the smoothness and warmth at first, though she phrased the words poetically and took her time by employing rubato appropriately. The climb to the higher vocal register was confident and sang gloriously. The crowd laid flowers around Siegfried and he was joined by Brünnhilde after she gave the ring to the rhinemaidens. Alberich and Hagen tried to approach it but stopped. In the end, edges of the wood structures were in flames on the revolving stage with the couple at the centre under the spotlight. The funeral pyre was visually spectacular with the crowd sitting in rows watching from behind. The orchestral coda was transcendental to mark this very memorable and emotional finale.

(Photo credits: Jeff Busby, The Website of Opera Australia)

Review - Wagner, Schumann and Mendelssohn, Hong Kong Philharmonic Orchestra, Hong Kong Cultural Centre Concert Hall, 5 November 2016

Prelude to Act One and Good Friday Music from 'Parsifal' (Wagner)
Piano Concerto (Schumann)
Encore: Second movement from Nocturne op. 9 (Chopin)
Symphony No. 5 'Reformation' (Mendelssohn)

Hong Kong Philharmonic Orchestra
David Fray (Piano solo)
Constantin Trinks (Conductor)

In this survey of three iconic German composers from the romantic period, the selected works all distinctively have a progressive contemporary outlook but also referencing music around or before their time. Both Mendelssohn and Wagner include the 'Dresden Amen' as a musical expression of faith. The Reformation Symphony takes a dramatic approach on romantic ideology, which expands from solemnity and darkness to a confident triumph. In Parsifal, redemption is the ultimate goal through thematic examinations of the grail, holy rituals and resisting temptation. Leitmotifs give a music illustration of the symbolism and underlying ideologies. Despite Schumann's piano concerto not religious in nature, many lyrical themes are hymn like. It is also quirky in style and rather invert looking in compare to other piano concertos of its time, which often focus on technical showcase with big gestures.

The challenge in performing the prelude from Parsifal is how to keep the music in shape at slow tempo and without losing the direction. Constantin Trinks employed a broad tempo but well paced and never drag. The orchestral playing was noble and majesty by producing a transparent texture. A pure and clean effect with the desire projection from the trumpet solo. Quality woodwinds playing by making a beautiful tone and sensitive to dynamic changes. The produce sound had a level of depth and magnificent playing from the brass on the grail theme. Though the orchestra lost the focus in the more fluid flowing Good Friday Music. It still maintained a beautiful sound but lacked certainty in phrasing and shapes. The score arrangement was also not helpful with a lean texture, and the absence of vocal line did not give an idea where the music was heading but only recurring themes. Horns fell short from matching the radiant tone produced by their colleagues and some shaky tuning. Only at the redemption theme direction regained with the woodwinds' dialogues being sweet and tender. The music spoke for itself with its beauty and emotions.

David Fray's playing was gentle and polish in Schumann's Piano Concerto, but the impression lacked a character and the employed dynamics often too soft for the acoustics. One hardly could distinguish the left hand part and the produced sound lacked presence. Despite one could sense the momentum flows, strangely it far from providing a clear navigation. One could argue that the composer emphasized on beauty and adopted an introvert solo part for his wife Clara's premiere back then, thus, a lighter weight on the keyboard touch. Though I felt the soloist should still be prominent to an extent so the texture could be heard clearly and phrased the music more. Despite a minor coordination issue in the third movement noticed by my friend, the orchestra accompaniment was more spirited and gave more bites in their playing to generate the rhythmic impulse. The phrasing created more shapes and contrast to keep the listener interested. Cellos were hearty and passionate in the expressive theme of second movement. Both the first and third movement the orchestral playing was more effective in bringing out the emotions. Only the virtuosic coda of the third movement that the pianist caught my attention for the technical showcase in display.

Constaintin Trinks continued the good work with the orchestra and rarely a rendition of Mendelssohn's Reformation Symphony so brilliantly and exciting. Brass made a confident opening of the first movement but woodwinds' transition was mysterious and uncertain. The strings driven tutti then gave a dramatic ebb and flow of the fiery and tempestuous passage. It was highly responsive to the conductor's indication for accelerando and captured the wildness vividly, before a smooth return to the solemn recapitulation. The second movement has some reference to Beethoven's symphonies but also the fairy's dance from incidental music to Midsummer's Night Dream. Trinks had successfully drawn the orchestral playing to dance with the music. Strong rhythmical momentum and the sheer contrast in dynamics sustained the intensity. Expressive playing from the strings at the third movement to pour out the emotions even the music was dark and serious. Trinks appropriately took a rather brisk tempo in the last movement to keep the music flowing with energy. Beautiful woodwinds' playing of the chorale theme with the brass and lower strings. The band also delivered a muscular body of sound but not too dense. The dance passage was majesty and confident with a strong direction. Sectional dialogues at the fugue was articulated clearly with a good crescendo up to the triumphant ending. It would have been a perfect conclusion if the trumpet did not slip on tuning at the final climax.

Review - Matsukaze (Toshio Hosokawa & Sasha Waltz), New Vision Arts Festival, Hong Kong Cultural Centre Grand Theatre, 23 October 2016

Matsukaze - Miwako Handa
Murasame - Jihee Kim
Monk - Douglas Williams
Fisherman - Kai-Uwe Fahnert

Vocalconsort Berlin
Sasha Waltz & Guests
Hong Kong New Music Orchestra
David Robert Coleman (Conductor)
Sasha Waltz (Director and Choreographer)

One highlight of Human Requiem back in March was the spellbinding choreography by Sasha Waltz & Guest, which effectively revealed the inner truth of Brahms's Requiem I reckon. Audience and performers went on an emotional theatrical journey from death to afterlife, before arriving an imaginative glimpse of the eternal dwelling. The city is fortunate again to receive another highly regarded contemporary opera production by the same company. A testament of quality and intellectual stimulating staging that allows creativity, inspiration and beauty at its fullness at the theatre. In contrast to the ideology underlines in Human Requiem, Matsukaze follows the concept of Noh plays by contemplating memories and emotions between life and death. The yearning for passionate feelings will eventually fade and vanish, than reaching any spiritual comfort or redemption. Though the pain and the impression of being trapped within space is to be remembered and retold as a tale in romanticism.

In this production, the dance aspect is as equally important as the music. It is a physical expression of abstract emotions and also marking atmospheric characteristics. The sound of waves and theatrical fog set the first scene at the coast in the night. Dancers' arm movements resemble the pressing weight of the tempestuous sea on the shore. The silent lone girl in black surrounds by a dancer doing tai chi, which gives a visual demonstration of inner psychological yearning. The eerie music style creates a sense of uncertainty at a haunted space, especially the bass drum rolling increasingly hard and loud. The dance choreography is increasingly more exaggerated by bigger arm gestures. Atmospherically unsettle and disturbing up to the monk's chanting that provided the background. Various dancers in pairs or groups move across the stage were not an imitation of ghost, but flashback in memory lane without a time sense. The vocal ensemble in circular shape symbolically form a speaking old pine by singing 'ar', and gradually change into a human wall to resemble the tree branches. A woman in white then very slowly pulls a giant web across the stage forward for the next scene.

Metaphorically the web is a memory cage, which the sisters trap themselves into by lamenting past affections for the nobleman. He dies after leaving them for the capital, which the plainsong dialogue between the fisherman and the monk provides the background. Though the net is also emerged as fishing nets when masked dancers pull long ropes alike out from the sea with the chorus emerges from behind. Nothing out of ordinary and symbolism of objects are created from elements in the related nature. Glockenspiel playing evokes small bells ringing along with the sound of water drops, while darkness descends as the stage lights fade. The music become more spooky and chilly when ghostly figures of the sisters descend. Dancers climb around the screen but stuck within an area like insects trap in a spider web. The chant like music texture and atonal in style make a cold and emotionless impression with a moonlight effect illuminates in the background. Eventually the sisters vanish again in the dark, and dancers move like in the shape of frogs on the screen. It creates a pictorial sequence of nature awaking for dawn.

The fantasy seamlessly turn into a more realistic state under this extraordinary sequence of nature and time. The framed wooden structure of a house replace the screen with a soft wooden house floor. Though dimmed light remain to keep the haunting sense of the place. The monk is supposedly to question the sisters in the house but sings from the orchestra pit instead. This provokes the question of whether any is real or just a dream, even a physical space is in place. The music develops more contrasting dynamics, wider vocal range and more emotions engage. Drums and gongs produce violent musical effect to imitate wild gust and stormy seaside. The spinto soprano gives many wild cries at the high vocal range and dancers in open arms posture to plead.

All add to the weighting message that Matsukaze cannot fling off her persistent desire for the return of her lover, despite her sister Murasame warns of the danger that she will fall into false imagination. A masked dancer carried a pole with a hat on it then forms the illusion, follows by a passionate dance duet to capture the intense love and feelings. Dancers also regroup into the shape of branches and more colourful than before. The exuberance of expressive emotional outpour inevitably come to an abrupt end when a shower of needles from the pine tree drop onto the stage. The monk awakes from the surreal state of mind while chimes' ringing return. In the end, water drops replace the music gradually and conclude with a lone girl walks very slowly towards the audience before vanishing in the dark.

Graphical surrealism is undoubtedly the highlight of this production, and elevates by a highly effective dramaturgy to present symbolic or metaphoric aspects at a natural sequence. The dance choreography gives a visual demonstration of the psychology and feelings with an expressive outlook. Music on the other hand delivers the dramatic audio effect in conjunction to the visualisation of senses and theatrical atmosphere. The four soloists are vocally capable with the right timbre and range, though diction is more audible on vowels than articulating the words clearly. Orchestral playing phrases well under the baton of David Coleman and never in the danger being out of shape. All contribute to a coherent and awe-inspiring staging that memorable in many ways. It is a shame though a poor turnout in the audience despite a vigorous marketing campaign in public beforehand. Conservatism, the lack of cultural curiosity and backwardness in artistic knowledge still prevailed unfortunately.

Review - Mahler & Mozart, Hong Kong Philharmonic Orchestra, Hong Kong Cultural Centre Concert Hall, 20 October 2016

Violin Concerto No. 4 (Mozart)
Encore: Presto from Violin Sonata No. 4 (Ysaÿe)

Symphony No. 1 (Mahler)

Hong Kong Philharmonic Orchestra
Tianwa Yang (Violinist)
Jaap van Zweden (Conductor)

This is my first concert of the new season by the philharmonic orchestra, also a start to the two years long Mahler cycle. Like many previous programme featuring late romantic symphonic works, Mozart occupies the first half for a conservative choice instead of offering works from the second Viennese school or later. Any dissonance and experimentalism is shelved on the wall for the sake of comfort. Moreover, Tianwa Yang is a technical orientated violinist than on lyricism, a mismatch I reckon for Mozart's fourth violin concerto which greatly emphasis on exquisite tone quality. Acoustically at where I sat under the balcony, the general tutti sound from stage seems rather distance but the raw quality of the first violins' playing were also noticeable. Zweden took a rather swift tempo for a fluid orchestra introduction in the concerto and balance with the soloist is well controlled. Despite Yang's rather exaggerate posture, her playing produced a pleasant tone and could have employed more hairs to sustain the legato than accenting so abruptly. Though the tuning in the double stopping entry at the first cadenza was shaky and the technical display was styled beyond the classical period. 

In the second movement, Yang should employ less vibrato and smoothen the tone on the bow, which was detached and heavy handed on position changes. Intonation was often insecure and some awkward phrasing that the music increasingly went out of shape. The second cadenza sounded more like an improvised one with the harmonic progression went very distanced, before turning to an abrupt coda that took the orchestra by surprise. Although the third movement is more well suited to her technique, the bow attacks were rather aggressive with too much weights. The final cadenza again a technical showcase but ended with an upward climb to the highest finger positions seems an incomplete finish. She was more in home territory showcasing an impressive encore of the presto movement from Ysaÿe's fourth violin sonata. 

The philharmonic orchestra had delivered many quality and memorable performances last season, including the Beethoven's symphonies cycle and Bruckner's fourth symphony. Though whether this time to do with limited rehearsal time and preparing a tour to China, the rendition of Mahler's first symphony required more thinking and bites for a more successful outcome. Zweden's conducting was rather metric in the mysterious opening, which resulted an angular reading of the music than a natural progression. The joyful pastoral section would need more space to breathe and sing than rushing it through, whereas rather slow tempo for the bird calls' dialogues among the woodwinds. The transition to the dark and solemn part was more success in tempo control and produced that mysterious feeling than a tragic overtone. Though later some intonation problems among the horns, trumpets and clarinets, and that the produced sound was often muffled. The recalling to the pastoral image also needed to dance more, and the orchestra lacked the weight in sound body at the muscular transition. The triumphant coda was polished and solid enough to redeem from a lesser impressive start.

The ländler dance in the second movement would be more effective, if the orchestral playing was more wild and gave more attacks than being careful. The waltz was on a steady side too that it did not quite drive the momentum forward. The volume was appropriately double at the recapitulation but the horn section would need to give more than holding back. Tempo was right for the funeral march in the double bass solo at the beginning of the third movement. Woodwinds were too nice though that lacked the bites to articulate their entries and made the dynamic contrast. In turn, the lyric section was dreamy enough and polished. The muted trumpets would also need to move more than dragging the tempo at the recapitulation, which the spell for a fading march was somehow lost into the attaca of fourth movement.

The long crescendo in the violent opening of the last movement made an impression and structurally clear. Though Zweden adapted a very broad tempo in the first emotionally expressive passage, which the music was in danger losing the effect of emotion outpour. Even so, the orchestra finally came together at the mysterious return to the violent stormy part. It produced the sheer dramatic impact and unleashing the energy with depth in its playing. The horn produced a magnificent sound at the triumphant climax along with the energetic percussions. Tempo changes for the second tender and expressive moment was more accurately captured and better phrased. Though the crescendo would need to sustain more and in volume for the contrast. Poor horns' tuning again at the transition before reaching the triumphant conclusion, which the music spoke for itself to display all brilliancy.

(Photo credit: HKphil website, Jonathan Ng)

Review - Otello (Verdi), Opera Hong Kong, Hong Kong Cultural Centre Grand Theatre, 16 October 2016

Otello - Carl Tanner
Desdemona - Valeria Sepe
Iago - Matias Tosi
Cassio - Chen Chen
Emilia - Samantha Chong
Roderigo - Frankie Liu
Lodovico - Gong Dongjian
Montano - Sammy Chien
Herald - Frankie Fung

Opera Hong Kong Chorus and Children Chorus
Hong Kong Philharmonic Orchestra
Maurizio di Mattia (Director and Lighting)
Gianluca Martinenghi (Conductor)

To commemorate the 400th anniversary of Shakespeare's death, Opera Hong Kong mounts a new production of Otello, which is one of Verdi's most dramatic and musically progressive grand operas. The winged lion of St Mark, a notable symbol of Venice, makes a bold visual image on the safety curtain. The new staging by Mattia, in collaboration with Rome opera, attempts to bridge convention stage directions with conceptual approaches of psychology and atmosphere. Though as a whole the idea far from a developed one that often being random, inconsistent and far from making a statement.

Instead of a black and white imagery, lightning effects along orange-red-blue stage lights do not make an effective representation of the opening stormy scene. The choir choreography at first is alike a chaotic revolution scene than a nervous observation of the naval battle from afar. Neither circular blocks that dominate the centred stage are unable to create the physical sense of a public space but only tall structures. The quasi Islamic costume and drunken actions have some similarities of the pirate town portrays in the Hollywood blockbuster Pirates of the Caribbean. The outfit of Iago also resembles captain Jack Sparrow in the film. Whether the director is suggesting the two are similar, Iago is supposedly a more cunning and terrifying figure. The silenced dancers, later as metaphorical representation of evilness and temptation, are introduced as seductive figures during the celebration of military victory.

When the blocks turn into an oval courtyard with a hanging city gate in act two, it becomes a rather gentle and soft as backdrop, not really able to produce the platform for Iago's declaration of revenge and sinister remarks. The dance choreography is entertaining to see and captures the pastoral rhythmic movement of the music, but far from portraying the bad spirits that probably in mind at first place. The stage direction is then at the basic level with the chorus forming a cardboard human wall. It may be an opportunity to display a full and happy choir with children members, but the dramaturgy is lost that not realising the atmospheric change in line of Otello's diminishing faith, poisoned mind and jealousy towards Desdemona. The purpose of a man dies after kissing a woman, behind a transparent screen at the beginning of act three, is again unclear except foretelling the tragic outcome. Though the stage set should be credited for its beautiful appearance of the evening as Otello's exotic decorated study, with Islamic lanterns and a hanging crucifix. Upon the arrival of Lodovico, the Venetian ambassador, his outlook with powdered wig and silver coat strangely recall the presentation scene of silver rose by Octavian in Otto Schenk's staging of Der Rosenkavalier.

Reference to classic stagings continues further into the last act with ballet blanc, which silenced figures wear veils and dress in full white bell shaped skirts. This leaves us to puzzle whether these are spirits or supernatural beings congregate in a murder scene and if their purposes are spectators or metaphor of death. The murder and confession moment is also dramatically underwhelming. The bedroom stage set is atmospheric on its own, but the dramaturgy far from creating the crushing emotional breakdown of Otello before his suicide. Singers seems on their own device in figuring out the death sequence than delivering a natural progression.  In sum, the staging can be more coherent and focus without too much references since any directorial approach is to articulate and develop the key aspects. It also needs to develop a style of its own than a mixture of borrowed ideas.

Acoustically the grand theatre is not that dry, but the projection of produced sound does not carry to the hall in full even I am hearing eight rows away from the stage. The orchestra does not produce the wall of sound at the suppose violent and tempestuous passage in the beginning, though the chorus is heard more prominently in terms of balance. Throughout the performance, voices of the adult choir blend well together with a healthy vocal volume. Diction fares better at tutti moments and long vowels, but the men hurry at the heavy texting passage in act one, which results a sudden drop in vocal volume and untidy entries.

Among all soloists, the dramatic tenor Carl Tanner as the protagonist is vocally most consistent and technically capable. A full tone with the sheer body of sound and projection. Many thoughts put in phrasing and diction is convincing enough to sound Italianate. His voice never sound tired, ably to sustain the energy and comfortable with the tessitura throughout. There is a differentiation in his vocal colours that make it interesting to appreciate and enjoy. Although some coordination issues with the orchestra in the beginning of act three, that is quickly rectified and back in place again. His role portrayal is a classic one to display the war hero in jealousy, rage and nervous breakdown, but the stage direction does not help to make a strong impression is unfortunate.

One have mixed feelings for Valeria Sepe, who sings the role of Desdemona. Her voice condition is healthy, especially soaring upwards for higher vocal range with a ringing tone, but diction is surprisingly poor as native speaker and often shaky with intonation. It takes some time to settle with tuning in her first entry of act one and at the danger in out of sync with the orchestra. The passionate duet with Otello is all loud in volume but vocal richness is in absence. The most bothering part is she uses this undesirable approach to close up and darken the vowels. The method produces a worn out voice alike an elderly woman singing quality and greatly reduces the vocal support in projection. The lack of phrasing is also why she struggles to coordinate with the orchestra, especially the Ave Maria in last act which is neither moving and a mess. Otherwise, she looks beautiful and youthful for the role, also the singing is more comfortable in act three when Desdemona asks for forgiveness from Otello.

Matias Tosi is better with his dance moves as a young and cunning Iago, resembling the eccentric Johnny Depp as Captain Jack Sparrow, than in his singing. Vocally he lacks a differentiation in tone and belting out the notes without any phrasing. Then tiredness sinks in and unable to sustain the vocal energy at the duet with Otello on disloyalty in act two. The projection diminishes to a barely audible level and becomes throaty that struggles to complete a phrase. He also sounds more as a baritone than bass baritone that struggles to produce low notes and lacks the depth of richness. Diction is very often muddled and the voice is not an exciting one to hear repeatedly. One is more convinced that Gong Dongjian would have made a capable alternate Iago with the right vocal colour and volume. Chen Chen convinces me as an oratorio singer than in opera by being too polish and underwhelming in projection as Cassio. Other minor roles are presentable but generally need to improve the diction to sound more Italianate. Gianluca Martinenghi appropriately employs a rather broad tempo in his conducting that the music playing is neither rush nor drag. The very capable philharmonic orchestra produces many fine moments and saves the performance with good musical directions and maintains dramatic impulse.

(Photos: Opera Hong Kong Facebook Page)

Review - Il trionfo del tempo e del disinganno (Handel), 2016 Festival d'Aix-en-Provence, Webcast

Bellezza/Beauty - Sabine Devieilhe
Piacere/Pleasure - Franco Fagioli
Disinganno/Disillusion - Sara Mingardo
Tempo/Time - Michael Spyres

Le Concert d’Astrée
Emmanuelle Haïm (Conductor)
Krzysztof Warlikowski (Stage Director)

Handel's The Triumph of Time and Truth rewards one with a wide range of colour, virtuosic vocal displays and the sheer rhythmic energy. Arguably it is one of the composer's finest output and a reference for later works. The melody of the aria 'Cogli la rosa' is notably reused for the well known 'Lascia chio pianga' in the opera Rinaldo. I also have a soft spot for 'Tu del Ciel ministro eletto', the hauntingly beautiful aria that concludes the oratorio. Though I do not find the libretto always accessible because of its abstract outlook, which is supposedly a morality play, but in actual a philosophical debate of conscience. Back in February 2013, I attended a concert performance of the oratorio at Salle Pleyel, Paris, by René Jacobs conducting the Freiburg Baroque Orchestra. Musically it was a rewarding evening but I found it difficult to understand the intellectual debates.

The strength of Warlikowski staging is that it provides a visual context to realise the complex psychology and emotions, by presenting the libretto with a human touch through insightful dramaturgy. The stage, sets up as a cinema divides by a glass corridor in the middle, is not only a theatre on its own, but to incorporate the audience. The layout and light schemes have an intention to be seamlessly extended to every corner of the audience stand. We are to be participants than merely spectators. Also like many of Warlikowski productions, the female protagonist is a victim of male dominance and abuse, but also struggles with sexual desires and physical satisfaction. The portrayal of Beauty resembles heroines of tragic romanticism like Lulu, Alceste, Medea, The Dyer's wife and Judith. Their encounters and downfalls, especially when the world turns its back on her, provoke strong sympathy and lead to an emotional development.

In this staging, Beauty is not a goddess but a teenage girl suffers from illusions and her feelings. The experience of loss, dreaminess and stricken by grief gather the clouds that trouble her mind, and eventually lead to self destruction. The energetic overture with strong rhythmic drive accompanies a drunken youth clubbing scene under drug influence, as shown in the introductory film. The male dancer, who later reappears throughout, snogs with a guy and Beauty the same time until both collapse, being carried to the hospital and then he is supposedly dead. The projection screen is then retracted and a mirror appears reflecting the conductor. We know later that the film is an actual accident but beauty find its difficult to convince herself in believing the accident. It echoes on the words in the second aria by Pleasure that gloomy spirit and darkest sorrow grow if one cannot get rid out of the thoughts.

The first part of the oratorio continues the suggested plot in parallel to the text and reaches a spiritual questioning before interval. A household scene is first shown where Pleasure presents himself as a fun seeking, carefree and rebellious young man, though I cannot tell whether he is the brother or boyfriend of Beauty. She first leans on a tree while listening to him, then brushing teeth next to a washing basin. Time and Disillusion make the parental figures, and annoy Pleasure with their gloomy and sarcastic remarks in contrast to Pleasure, who celebrates earthly love and affections. The moment begins to twist and become surreal when Pleasure starts to dance with the dead dancer (now alive again), whereas Time and Disillusion work on a typewriter the other side of the room. A nurse also enters the room and the space seems no longer a definite one. Beauty also takes pills on a patient bed and we start seeing seductive girls flooding in from the glass corridor. Time suddenly kisses Beauty by force but Pleasure takes her away, who is now looking frail and choking a lot. She combs her hairs until a complete melt down, raging over Time continuous bashing of the 'truth'.

The stage lights go out but a lone table light is left on. Pleasure walks in the dark mysteriously alike a stalker, and the dancer collapses again and covers in blood, while trying to touch Beauty. Gradually the stage becomes a patient room on one side and the dining room in the other. The surreal state evolves from Beauty's hallucinations into a depressing cinema setting. It is probably a more realistic situation and objective outlook from the audience perspective. The collapsed dancer now in underwear only and even healthy enough to dance, while Pleasure smoking cocaine and sits in the cinema stall towards the back. Though sadness looming more on Beauty despite the dancer, her once affection, tries to seduce her. She gradually understands that the other three will not ever make her happy but only anxiety and doubts.

To conclude the first part, various women in different outfits and age reappear at the cinema stalls. Some showing themselves as drug addicts and not cheerful at all, a girl even cannot hold her tears either. They are probably variations of Beauty in similar mental states, and all wanting to know what they are after from substance abuse. The heated debate among the four escalates when Time and Disillusion pushing their belief on the illuminated man (the redeemer), and the everlasting truth. Towards the end a film shows a man believes himself is connected and speaking to ghost all the time. Even the female presenter is being convinced by his replies on what happens.

The message here I think is two folded. On the surface, the first half of the oratorio being shown as an abstract tale of illusions and surreal occurrence to search the meaning of all. On the other hand, in contact with ghost seems bizarre to believe logically, though like dreams and visions, spiritual visions are not always explainable. We could only glimpse and experience the strangeness in distance without necessary have an understanding. Warlikowski comes up with this unexpected explanation by borrowing the concept of Christ as a source of love and spiritual comfort. The male dancer becomes the metaphorical representation that provide Beauty the imaginative physical comfort and dwelling to heal her mind.

The second half turns away from the extraordinary dreamy states, but resolute to end all woes in action physically. It can be perceived as the alternate version of the drug scene aftermath that is shown back at the overture. The cinema stalls are now nearly empty except Time sits next to Beauty, who is still lamenting the dead dancer on the patient bed. Pleasure changes from his bohemian outlooks into a suit, and attempts to give counsel to Beauty. Time acts the same but fails to woo Beauty again. When the four sit together at the dining table, Beauty suddenly kisses Time and the shocked Pleasure drops the roses he brought. There seems a change of heart in Beauty but appears to be undecided as she throws away the roses after picking up. On the other side of the stage an old woman appear, and now a crowd of women gather in the glass corridor to change Beauty into a wedding dress. Though her sorrow and sadness increasingly apparent, when Time and Disillusion discuss turning to god for truth than the earthly pleasure. Pleasure behaves horribly on the table as Beauty further distanced herself from him and no longer listen.

Finally only Beauty stays with other women as spectators in the background. She commits suicide by cutting her wrist, which death is marking the way to redeem her sins and reaching for the imagined dwelling. However much we could agree on, I do not think Warlikowski is seeking moral dimension to determine whether suicide a kind of redemption, indirectly resembling to Christ's sacrifice on the cross. Though it is a more humanistic approach to see an unhappy and suffering soul that will only find peace by seeking away from condemnation, short live happiness or unwilling compromise with the perceived moral standards. It also triggers the sympathy and empathy for one who takes a difficult path to get out of the mental troubles and sorrows.

Sabine Devieilhe exceeds my expectation as a singer and an actress. Her characterisation as the vulnerable Beauty is highly convincing. She builds gradually from a troubled and trapped young female until the finale, when Pleasure stands up for her will and embraces the downfall in full. Her singing improves throughout the performance to become more flexible and natural, with the voice being warmed up. A bell like timbre and her tessitura sits comfortably within the vocal range. 'Tu del Ciel ministro eletto' is beautifully sung with an exquisite tone quality that marks a highly moving end. It is interesting that Handel assigns many virtuosic arias to the role of Pleasure, and Franco Fagioli is more than competent in nailing the part. His runnings are always impeccable alike a machine gun effect, which he can sustain a very long line, the energy and no need to snatch a breath. Some may not always enjoy his timbre, particularly in the higher vocal range, but I always feel that Handelian works complement his voice rather nicely. It also important to have a male singer to produce the masculine quality of the role than merely a technical display, which Fagioli is a bonus with the package. He also acts well as a rebel figure of the family and captures the emotional devastation rather vividly in the last part.

Sara Mingardo's singing is somehow disappointing that audibly some wears and tears in her voice even with the ideal timbre. Projection is sometimes underwhelming but one would credit her beautiful rendition in 'Crede l'uom ch'egli riposi', which the adapt tempo and phrasing are appropriate. Michael Spyres rightfully portrays Time as a controlling and stubborn fatherly figure to Beauty, but also have trouble in his affection for her as an older man. Sometimes he is probably too romantic by employing excessive vibrato that sounds too much for the performance style. Only gradually becomes more pleasant and less barking in his singing. Emmanuelle Haïm draws many dramatic playing from the period instrument orchestra Le Concert d’Astrée, and sensitive accompanying for the soloists. Tempos never go too extreme with smooth transitions. Morally the message of the play is not really worth to celebrate, but the dramaturgy and music quality of this production is a resounding triumph.

To see this production again, Lille Opera will stage it in January 2017 follows by Theatre of Caen in February 2017. 

Review - 2016 Hong Kong-Vienna Music festival, Symphony No. 8 (Mahler), Hong Kong City Hall Concert Hall, 28 August 2016

Sir Simon Rattle once put Beethoven's symphonies to a kind of Mount Everest to climb. In a similar metaphorical representation, Mahler's symphonies arguably could compare to the Alps for the sheer scale and sound world. I feel the depth in Mahler's music is boundless and beyond imagination, which has a gigantic iceberg lies under every symphonies. The eighth symphony is an especially challenging work to perform among the symphonic repertoire. Mahler persistently regarded the symphony as his most important work even after completing Das Lied von Erde. It asks not only for a large orchestral and choral force, but also the input of enormous energy from the ground-breaking tutti E-flat major chord till its profound conclusion, which resonates alike the ringing of universe beyond the earthly sound. Technically and mentally also demanding at any performance. It is an ambitious choice for any orchestra to perform such work, even for world-class orchestras.

The recent developed Hong Kong-Vienna Music festival had decided to meet the challenge and presented a tour de force with an international cast. Hong-Kong born Jimmy Chiang took up the baton to marshal the force. Vincent Schirrmacher, who was born in China and educated in England, sang the difficult tenor role. He was joined by soprano Anna Baxter, the conductor’s wife, together with sopranos Yuki Ip and Louise Kwong, mezzo-soprano Christina Baader and Samantha Chong, baritone Klemens Sander and bass-baritone Apollo Wong. The orchestra consisted of members from the Vienna Radio Symphony Orchestra, Vienna State Opera, Vienna Symphony Orchestra, Hong Kong Philharmonic orchestra, City Chamber Orchestra of Hong Kong, as well as local university music students from The Chinese University of Hong Kong, Hong Kong Baptist University, Hong Kong Academy for Performing Arts and Vienna University of Music and Performing Arts. The ongoing debate, of  whether the symphony as a symphonic piece or choral-orchestral work, does not conceal the undeniable fact that the choral part plays an important role. The world-renowned Arnold Schoenberg Choir and the Vienna Boys Choir formed the backbone of the massed choir, teamed up with the The Learners Chorus, Hong Kong Treble Choir and Vienna Boys Choir Academy Concert Choir.

Since the beginning of the first movement already marks its first climatic moment, there is hardly any time for the players to sink in the music but only to deliver the full impact. Though the orchestra did not quite manage to achieve what I expected and fell short from building up the thick texture. The textual richness was not ably deliver partly due to the relatively small sized orchestra. I would prefer a horizontal reading of the score since some passages should be more expressively played. Neither the quieter moments sounded still and calm enough. Violins were not tidy in the technically difficult passages and some intonation problems happened among the vocal soloists. The execution of switching the moods, between the majestic and explosive 'Veni, veni creator spirtus' and the expressive legato orchestral phrase led by the violins, were not effective. Singers too were not in their best form and some audible mistakes.

The timbre varied and one could hear three different voice colours among the combined choir, probably due to age differences and technical abilities. The blending was not homogeneous and high notes sometimes sounded breathy and unsupported. The beginning and ending consonances could be tidier. Otherwise they delivered a round tone for most of the time. Despite some noticeable mistakes, the performance was presentable enough and gradually improved as the performance proceeded. It managed the built up to the concluding climax successfully with a nice crescendo, and ended the first part in a round muscular tone.

The second half of the symphony mostly follows the final scene of Faust written by Goethe. After a slightly disappointing first half, the orchestra eventually warmed up and performed better. The woodwinds' solo passages at the beginning were beautifully played. Though there were some balance problems that the soloists had to battle with the orchestra in terms of volume. The orchestra could be overpowering and one could not always hear the singing. The baritone Klemens Sander sang 'Ewiger Wonnebrand' with a warm and round tone. Words were clearly articulated, and the lines were expressively and lyrically phrased. 'Wie Felsenabgrund' sang by the bass Apollo Wong was louder in projection by comparison but his diction was not as clear as Sander. Among the five female soloists, Louise Kwong sang particularly well with her diction crystal clear, and the sound of the notes at her high tessitura was so transparent that as if effortlessly sung. The tenor Vincent Schirrmacher sang his line emotionally, high notes were beautifully produced and carried the vocal weight. His diction was good and crafted each line with great care so that the mood change was effective.

I would regard this performance a success that it provided a platform for cultural and musical exchange between the two cities. Musically it was a great performance judging by local standard and to perform such towering piece was an tremendous achievement. This performance would undoubtedly one of the city cultural highlights of 2016. Yet one should not satisfy at this level of success, but to aim further for a higher standard that would be internationally acclaimed otherwise.

Photo credits: Facebook Page and Website of the Vienna Boys Choir Music Academy Foundation

Hiking in the Via Alpina, 22-29 August 2016

Fanfare - Big band festival in Cortina

Day 1 - Durnstein, Krems an der Donau, Langenlois

Kicking off the Eurotrip in Austria and Italy, we drove from Vienna for about an hour to a town called Durnstein, home of the Durnstein Castle ruins and in the heart of the UNESCO-rated Wachau Valley.  Although I've been to Austria before, I could only recall my time in Vienna, so everything else would be a new experience.

Durnstein itself is incredibly small, and the walk up to the castle ruins that overlook the town was steep but short - a good warmup for the hikes to come on the trip as we reached the Dolomites.  From the top, we were greeted with an expansive view of the snaking Danube river that coursed its way through the valley.

Lunch was served riverside and naturally was heavily focused on seafood - whole char directly from the river and stuffed with dill and other herbs was particularly delicious.  After lunch, a short boat ride to the town of Krems was next on the agenda.

Krems an der Donau is actually split into three towns, but with our free hour, we walked around the historic streets.  It was a bit of an odd experience - the old architecture mixed with the new commercial brands that are ubiquitous throughout Europe, but I suppose that is characteristic of most towns like that these days.  While quaint, it was not particularly memorable, especially more than 3 weeks later, but the low-key first day was a good way to start the trip.

View from the top of Durnstein Castle looking down on the town

Durnstein Castle ruins, with the Danube in the background

Perfect setting for a riverside lunch

Durnstein Abbey 

Day 2 - Langenlois

Another low-key day on the Eurotrip - we were staying at a spectacularly modern hotel designed by Steven Holl located just above the town of Langenlois in the heart of Austrian wine country, so naturally the morning consisted of a peaceful vineyard walk.  I understand the main grape being produced is the Gruner Veltleiner but not really being a drinker it's sadly a bit hard for me to appreciate.

Someone though did come up with a brilliant idea for placing hammocks in between the vines - that is indeed quite the life.  A bit hard to get out of because they are so comfortable.

After a typically hearty Austrian meal in the town consisting of beef stew and cream soup, it was free time till the winery tour in the afternoon.  I snuck away to play 18 holes at Lengenfeld Golf Club, and surprisingly, with my rental clubs, actually played quite well, to the tune of a 73.  What a life.

The winery tour was billed as being rather "mystical", and did it deliver on that front.  I don't remember a ton, except there was an epic 5 minute laser show, animatronic robots that sang creepy tunes in wooden chests, and a rain shower in the middle of the underground winery.  Not sure what all that had to do with wine, but certainly quite memorable.

Day 3 - Gmunden, Hallstatt, Wolfgangsee, Mundsee, St Gilgen

Wow.  This is the Austria I came to see.  The famed "Sound of Music" lakes were the theme of today, starting with Traunsee, near the town of Gmunden.  Honestly, just the drives themselves today were spectacular, and if only we had more time to stop by the side of the road to take pictures.  Just stunning scenery akin to that of Switzerland.  No wonder Julie Andrews went spinning around and around.

Without a doubt however, the highlight of today is the town of Hallstatt.  This was the one place I'd heard of on the itinerary before the trip started, so I was eager with anticipation, and it certainly didn't disappoint.  Looking towards the main part of town as it abuts Hallstattsee is honestly just breathtaking - it's absolutely picture postcard perfect.  The colors are magnificent, the mountains stunning, and the water still and blue as glass.  The only thing ruining it are the swan-shaped paddle boats, although it is a bit meta for actual swans to be swimming alongside them.  But seriously, just wow.

Before heading to our lakeside hotel (another lake - Fuschlsee) - we went on a quick short walk along Wolfgangsee to the town of St Gilgen.  What I would pay for a house along the lake.  Oh wait, but I don't want to live in Austria.

Traunsee, with the castle in Gmunden

Picture perfect town of Hallstatt

Looking at Hallstatt from above

On the way to St Gilgen - Wolfgangsee

Day 4 - Salzburg and its environs

Today was the first major hike of the Eurotrip - a short drive from Schloss Fuschl, our hotel, to an area near Salzburg where we could look down into the city.  Again, not a particularly strenuous walk that took a few hours, but the scenery was gorgeous, and walking among the trees I was reminded of scenes from Lord of the Rings as well as the planet of Endor.  What a nerd.  At least I didn't hum the music as I walked.  Or maybe I did.

Towards the end of the hike, we came to a meadow that offered a view of the Austrian Alps, and in the distance, the Dolomites - our next eagerly awaited destination.  By this time, most of us had tired of the Austrian cuisine and would have killed for a simple bowl of pasta.

Dinner was in Salzburg itself, at a Michelin-starred restaurant called Esszimmer - the food was definitely well-executed, although there were a few grumbles about the appearance - in fact, dominance - of fish on the menu.  Oh, for that bowl of pasta.....

Looking down at the town of Salzburg

The hills are alive....

For some reason, this shot really reminds me of Before Sunrise...although I think that was in Vienna, so go figure...

Day 5 - Hallein salt mines, Grossglockner, Cortina

Today marks the shift from Austria to Italy.  We started off by making a quick visit to the Hallein salt mines - given that we're near Salzburg, obviously...

I recall going to a salt mine when I was a kid in Austria, but wasn't sure if this was the same one.  It was a pretty neat experience again, what with the slides - although now that I'm taller, they seemed a little shorter - and the underground boat trip, and the ongoing video saga that they played with pretty decent production values.  There wasn't actually a ton of salt that I could see, but very entertaining and informative nonetheless.

Afterwards, we began our long drive up the Grossglockner panoramic road to Italy - pretty much one hairpin turn after another, but what a stunning backdrop as we climbed over 1000m in less than an hour.  Kudos to the drivers.  Tons of motorcycles coursing along the hairpin turns too kinda made me yearn for one myself.

The views at the top when we got to our mountain refuge for lunch were incredible.  There was a small lake nearby, which again evoked thoughts of Lord of the Rings - if you're familiar, you probably know which scene I'm referring to - and the mountains were just stunning.  You could literally turn in any direction and you wouldn't take a bad picture.

But that was just the beginning - we then drove to the actual glacier, which is receding quickly - thanks, global warming - and finally caught our first glimpse of snow up close!  Not that I was expecting much, since it is the summer, but snow definitely changes the landscape dramatically.

Finally, our last stop in Austria was a view of the Helligenblut church - the picture below doesn't really do the backdrop justice.

After that, a quick drive across the border - no border checks - to Italy, and the town of Cortina d'Ampezzo, where they filmed James Bond and Pink Panther in the 1960s.  Looking forward to the Dolomites tomorrow....

Crossing the border to Germany (albeit for 10 mins) underground in the salt mine

View of the mountain refuge where we ate lunch

View from the mountain refuge towards the mountains

Grossglockner glacier

Helligenblut church - stunning 

Day 6 - Tre Cime, Dolomites

Today kicked off the Italy portion of the Eurotrip, and our first hike in the famed Unesco-cited Dolomites mountain range.  Our hike was around the Tre Cime mountains, and the trail was quite crowded, even starting at 8:30 am in the morning.

But my goodness, the views are beautiful.  The hike was essentially a circuit around the Tre Cime mountains, stopping halfway for lunch at a mountain refuge.  The terrain was flat, but rocky, but certainly nothing even a beginner could not handle.  There were a few short ups and downs that may be a bit challenging, but the views and satisfaction you feel from conquering them are worth it.

After climbing / hiking / walking for about 2.5 hours, we got to the mountain refuge, and the familiar smells of pasta we had been craving for wafted through the building.  Needless to say, our meal of carbonara and ravioli was probably the most well-received of the trip so far - sometimes, it's really just the simple things in life.

After lunch, we had the option of retracing our steps downhill to the parking lot, or walking for an extra 45 minutes or so and completing the circuit.  I opted to complete the circuit, and with the mountain of pasta dragging me down, I started to regret my choice initially as the first leg of the circuit after lunch consisted of a 200m descent, followed by a similar ascent.  After plowing through that portion of the circuit however, the rest of the trail was reasonably flat and straightforward, and seriously, everything just looks like Lord of the Rings.  Who needs you, New Zealand?

View of the mountain haze and Dolomites

Famed Tre Cime mountains that we climbed around 

Starting the 200 m descent and ascent

So many cows....

View of the mountain range that we were rewarded with at the end of the hike 

Day 7 - Lagazuoi plateau

The second day of the Dolomites hike was easily the most physically taxing of the whole trip as we visited the Lagazuoi plateau.  To get there we had two options - either take a cable car directly to the top, or climb 700m from 2100 m to 2800 m to get to the mountain refuge at the top.  Naturally, I opted to climb.

Surprisingly, throughout the entire trip, I never really felt the effects of the altitude, and it was also unusually warm during the day even at that altitude - around 20 - 25 degrees.  Never did I think I would be wearing t-shirt and shorts at 2800m.

The hike itself was fantastic - similar terrain to Tre Cime, with our own hairpin turns to navigate to get to the top.  The higher we climbed, the more surprising vistas we were greeted with in all directions, and truly, you could not take a bad picture.  All around we were surrounded by marvelous views of the Dolomites, and it is here that I truly appreciated coming on the trip and visiting an area that I haven't heard of much before.  There may be similar views around the world, but even so, just seeing these magnificent mountains up close is worth it.

At the top, we were again treated to a simple yet deeply satisfying pasta meal at the refuge and even got to sample the local specialty - beetroot ravioli.  Beetroots aren't usually my thing, but when you've climbed 700m, you'll eat just about anything.  Then it was a quick 10 minute walk to the actual top of the plateau where we had a 360 degree of the Dolomite range.  Truly truly stunning.

Following lunch, it was a quick cable car ride down to the bottom - probably could've walked, but going down 700 m isn't as fun for the knees - and then a quick pitstop in the town of Cortina where they had a big band festival that day.  Cortina is pretty posh - in fact they hosted the 1956 Winter Olympics - so there wasn't much to see other than the name brands dotting the main street.  But all in all, a terrific hike and memorable day.

Looking up towards the plateau - yes, we climbed to the top of the mountain 

One of my most favorite vistas on the whole trip on the way to Lagazuoi

View of the Dolomites from the top of Lagazuoi

More views - anyone fancy traversing tha rock face?

Day 8 - Bressanone, Compatsch (Alpes de Siusi)

Today was mainly a travel day, as we departed Cortina and headed for the Siusi Alps - another section of the Dolomites.  First, we stopped in the town of Bressanone for a vineyard walk, although it turned out that there were equally abundant apple orchards on our walk through what seemed like the suburbs of Bressanone.  We arrived at the Novacello Abbey for a wine tasting and spectacular lunch that consisted mainly of gorgonzola cheese, speck, and bread.  That speck....could eat it forever.  Getting hungry just thinking about it.

After that, we took a tour of the abbey which housed some intriguing handwritten books and a beautiful library, and then the rain started.  And boy, did it rain hard.  It looked like we were trapped for a while, so we hid out in the abbey for a good 30 minutes before deciding to brave the storm and make our way to the van.

We then drove onwards to Compatsch, where we were surprised to find that to get to the hotel, we would need to take a cable car.  So into the cable car we went, and climbed up the mountain to Compatsch.  It was easily the longest cable car ride I've been on aside from Ngong Ping 360.  At the top, we were again surprised to find that our hotel was literally next to the cable car station such that the view from my room was of the cable cars.

At the hotel, we could see an expansive view of the Bullaccia plateau, one of the largest in Europe, and where we would be hiking tomorrow.  Meanwhile, the gray clouds continued to hover above us ominously....

View of the abbey from the vineyards

Stairway to Nowhere

View of the Bullaccia plateau with cable car station in the foreground

Ah, that speck....

Day 9 - Bullaccia plateau

On the last day of my Eurotrip, we walked outside the hotel and began our circuit hike of the Bullaccia plateau.  Despite being at nearly 2000m, it was so surprising to see lush green land, in stark contrast to the rocky paths of the Tre Cime.  But hey, still looks like Lord of the Rings.

The path was initially quite uneventful, but after about an hour or so, we got to the lookout point, and it was quite breathtaking.  Luckily for us, clouds had formed below us, and so as we looked down into the valley, we were literally above the cloud cover, and the effect was marvelous.  The circuit continued along the edge of the plateau, and eventually, you're just taking the same picture over and over again, but you can't stop because it's so beautiful.

Lunch again was at a mountain refuge where we had our welcome pasta meal, and we completed the circuit by racing downhill back to the hotel.  Some opted to take the cable car down instead, and somehow, those who walked got to the hotel faster.

All in all, a great, low-key way to end the Eurotrip - I highly recommend a visit to the Dolomites if you have a chance and want to do some simple, yet spectacular hiking around Europe.

View of the plateau 

Looking down into the valley 

Racing the dark clouds back to the hotel

Arrivederci, Italy