Valses nobles et sentimentales (Ravel)
Cello Concert No. 1 in a minor (Saint-Saëns)
Encore: Song of the Birds (Casals)
Cello Concert No. 1 in a minor (Saint-Saëns)
Encore: Song of the Birds (Casals)
Prélude à l'après-midi d'un faune (Debussy)
Tod und Verklärung (Richard Strauss)
Tod und Verklärung (Richard Strauss)
Hong Kong Philharmonic Orchestra
Jakob Koranyi (Cello Soloist)
Yan Pascal Tortelier (Conductor)
After two evenings of predominant German works performed by the Philadelphia Orchestra, the local philharmonic orchestra offered a mostly French programme in contrast. Atmospherically lighter works made a change from the rich and muscular sound world since Parsifal at Madrid in April. I also felt the chosen music fit well with the polish and bright timbre of the orchestra.
Though probably due to the tight schedule of rehearsals, Tortelier conducted every note with too many indications. After a pompous festive dance opening in the Valses nobles et sentimentales, the momentum became rather mechanical and square in the surreal second movement. There were too much lingering as the players had to wait for the conductor to give the down beat. Beautiful playing from the woodwinds but the music need to flow more instead of stiffness, especially the piece was all about waltz dancing.
Tortelier's laborious conducting produced a vertical reading of the score that not able to produce direction in the playing. Although not as terrible as Jader Bignamini in Netrebko's Hong Kong gala, who failed to conduct ahead and resulted many tempo negotiation issues, it became problematic in Saint-Saëns first cello concerto when the orchestra constantly a fraction behind the soloist. There were some imprecision in his conducting which caused messy coordination in entries. The cellist Jakob Koranyi was alerted to the situation and his playing remained smooth and refine. He had a sense of naturalism and at ease to play through thick fugal passage. Even sitting far away from the stage one could feel the presence of the body of sound that filling the hall nicely. A star to watch out in future.
In the second half, the orchestra sounded very confident in Debussy's Prélude à l'après-midi d'un faune by expressing its own will shaping the music than following the conductor. More connected between sections and captured the dreamy atmosphere vividly. Radiant flute solo playing from Megan Sterling by being unhurried and tender. It was also my first to listen to Tod und Verklärung by Richard Strauss. Probably best to describe it as an instrumental version of his opera Daphne, which structurally similar with a long second half towards a heavenward conclusion, though a mysterious opening than a pastoral one. In this performance atmospherically the beginning was not too bleak during the cor anglais solo with tremolo by the double basses. Though the tension of the violent stormy passage did not make quite an impact, and again Tortelier's vertical reading of the score failed to make the transition to the calm and peaceful section a smooth one. The orchestra produced a magnificent sound in climatic moments and highly emotional, but the playing still lacked focus in direction. The tempo towards the end gradually became too broad and as a result the supposed sublime conclusion sounded a boring climb. Otherwise it would have been a wonderful discovery if the conductor would allow the orchestra to do its work than too many instructions.
Though probably due to the tight schedule of rehearsals, Tortelier conducted every note with too many indications. After a pompous festive dance opening in the Valses nobles et sentimentales, the momentum became rather mechanical and square in the surreal second movement. There were too much lingering as the players had to wait for the conductor to give the down beat. Beautiful playing from the woodwinds but the music need to flow more instead of stiffness, especially the piece was all about waltz dancing.
Tortelier's laborious conducting produced a vertical reading of the score that not able to produce direction in the playing. Although not as terrible as Jader Bignamini in Netrebko's Hong Kong gala, who failed to conduct ahead and resulted many tempo negotiation issues, it became problematic in Saint-Saëns first cello concerto when the orchestra constantly a fraction behind the soloist. There were some imprecision in his conducting which caused messy coordination in entries. The cellist Jakob Koranyi was alerted to the situation and his playing remained smooth and refine. He had a sense of naturalism and at ease to play through thick fugal passage. Even sitting far away from the stage one could feel the presence of the body of sound that filling the hall nicely. A star to watch out in future.
In the second half, the orchestra sounded very confident in Debussy's Prélude à l'après-midi d'un faune by expressing its own will shaping the music than following the conductor. More connected between sections and captured the dreamy atmosphere vividly. Radiant flute solo playing from Megan Sterling by being unhurried and tender. It was also my first to listen to Tod und Verklärung by Richard Strauss. Probably best to describe it as an instrumental version of his opera Daphne, which structurally similar with a long second half towards a heavenward conclusion, though a mysterious opening than a pastoral one. In this performance atmospherically the beginning was not too bleak during the cor anglais solo with tremolo by the double basses. Though the tension of the violent stormy passage did not make quite an impact, and again Tortelier's vertical reading of the score failed to make the transition to the calm and peaceful section a smooth one. The orchestra produced a magnificent sound in climatic moments and highly emotional, but the playing still lacked focus in direction. The tempo towards the end gradually became too broad and as a result the supposed sublime conclusion sounded a boring climb. Otherwise it would have been a wonderful discovery if the conductor would allow the orchestra to do its work than too many instructions.
Jakob Koranyi
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