Symphony No. 3 (Mahler)
The Hong Kong Children's Choir
Ladies of the Hong Kong Philharmonic Chorus
Kelley O'Connor (Mezzo-Soprano)
Hong Kong Philharmonic Orchestra
Jaap van Zweden (Conductor)
Mahler's third symphony is a rich and colourful depiction of nature and humanity. The music makes one excite, uplift and even emotional. What marked this performance by the philharmonic a memorable more was the strong musical sense and sublime playing, particularly of the last movement. It had demonstrated the composer's struggle in negotiating between a personal triumph and tragic with fate effectively. The orchestra managed to paint the dramatic colours, which gave more meaning and purpose to the centre message of this monumental work. Zweden had a far better grip and road map in his conducting compare to the performance of the first symphony back in October.
Reinforced horns section gave a muscular and bold entry of the first movement, which later matched by the confident brass section and full bodied strings' playing. Woodwinds at first far from producing the tragic impression while playing soft, but the horns continued to impress and produced the devastating effect. Beautiful violin solo followed at the pastoral and sweet section, followed by the woodwinds gave the chilling and grotesque impression in full effect. The trombone solo was secured, confident and definite by intention, which gradually led the meditative section back onto the playful mode. The woodwinds were cautious than to sustain the grotesque passage as wild as before. Despite the timpani seems under weight in dynamics during the energetic march, the orchestral playing danced well with the music and in shape. The sheer energy made an impact towards the triumphal climax but the tragic sentiment returned after a heavy blow. An energetic transition followed to another triumphal climax but lacked the same resounding impact and being careful. The trombone solo vividly captured the sense of dilemma and more inclined towards the loss feeling in a tragic sense.
The transition into the pastoral passage was rather mechanical in style and then a chase between the strings and winds hurrying along as result. The lower strings and woodwinds would need to swing with the music more at the grotesque passage, so the built up of intention and music direction would have been more contrasting impact when triumph and tragic negotiated again. The horns' entry remained muscular and reassuring at the recapitulation. Tempo stayed on the swift side to keep the music flow with a direction. Solo trombone ably captured the change of emotions followed by a dramatic swift, which the lower strings from a moody fade out sprung back to the spirited mode. It was answered by an uplifting and energetic dance of celebration in the orchestral playing. Rubato was well executed to phrase the music into shape and magnificent sound produced by the horns. All created the sheer dramatic intensity geared towards the final triumphal coda.
Zweden adopted a swift tempo to sustain the momentum in the second movement. The orchestra mostly responded but some parts sometimes slightly behind for being sluggish. Some might find it a risky strategy but the music flowed with a better direction. Fluid playing from the upper strings with a sweet tone for an effective ebbs and flows. Dialogues between sections in vast dynamic contrast highlighted fragments of happiness intertwined with lush orchestration for intimacy and energy. Upper strings' lighthearted opening of the third movement recalled the scene of fairy dance in Mendelssohn's incident music for the Midsummer Night's Dream. It was quickly followed by a muscular tutti movement alike a majesty ride in the field. The humorous dialogues made the playful and tipsy impression of a folk dance. Woodwinds and strings were highly spirited and in exuberant mode swinging along. The offstage posthorn solo was beautifully played but insecure tuning with the top notes. Horns and clarinets could take more time with the long notes at the transition that would allow the elegant impression to last longer. The return to the wild and energetic dance had the intention of momentum by building up the long crescendo. Though the solo trumpet and strings again would need to enjoy the sweet heavenward passage than being impatience. Thus, the crescendo could make the impact at the return to the march like section even the music maintained with direction.
Despite Kelley O'Connor did not possess a rich timbre, her voice had the depth and colour for the part. She phrased the sung text poetically in both fourth and fifth movement, also vibrato free to secure good intonation. The strings' transition was tender and romantic, with the right balance in dynamics. One was captivated by the emotions for being still and meditative the same time. The chorus was on a fine form in projection and diction. Bright vowels were employed to sing the text in clarity, but the sopranos were slightly flat with tuning as they reached the higher vocal register. Balance was good that the orchestral accompaniment did not drown the singing out and accommodating when the alto solo took her time with the music.
The tender and expressive strings' beginning of the sixth movement flowed fluidly and in a radiant tone colour towards the first climatic point. The tragic passage was emotional and lower string's playing was more inward looking at the second section. Upper strings captured the right momentum and phrased the music beautifully. This followed by a sublime flute solo above the tutti strings that made the music highly moving. At the return of tragic passage, Zweden's conducting aimed to drive the music forward than dwelling too much on emotions. Expressive strings' moment in the second climax and recalled the negotiation between tragic and triumph in fate. Brilliant winds in magnificent full bodied tone for the sheer devastation of the third climax. Spellbinding flute solo followed by the trumpet solo at the majestic love theme. A triumphant resounding coda with the full orchestra in glorious tone to repel any doubt and reached the wholehearted triumphal finale. The performance was undoubtedly one of the best displays this year by the philharmonic orchestra.
The Hong Kong Children's Choir
Ladies of the Hong Kong Philharmonic Chorus
Kelley O'Connor (Mezzo-Soprano)
Hong Kong Philharmonic Orchestra
Jaap van Zweden (Conductor)
Reinforced horns section gave a muscular and bold entry of the first movement, which later matched by the confident brass section and full bodied strings' playing. Woodwinds at first far from producing the tragic impression while playing soft, but the horns continued to impress and produced the devastating effect. Beautiful violin solo followed at the pastoral and sweet section, followed by the woodwinds gave the chilling and grotesque impression in full effect. The trombone solo was secured, confident and definite by intention, which gradually led the meditative section back onto the playful mode. The woodwinds were cautious than to sustain the grotesque passage as wild as before. Despite the timpani seems under weight in dynamics during the energetic march, the orchestral playing danced well with the music and in shape. The sheer energy made an impact towards the triumphal climax but the tragic sentiment returned after a heavy blow. An energetic transition followed to another triumphal climax but lacked the same resounding impact and being careful. The trombone solo vividly captured the sense of dilemma and more inclined towards the loss feeling in a tragic sense.
The transition into the pastoral passage was rather mechanical in style and then a chase between the strings and winds hurrying along as result. The lower strings and woodwinds would need to swing with the music more at the grotesque passage, so the built up of intention and music direction would have been more contrasting impact when triumph and tragic negotiated again. The horns' entry remained muscular and reassuring at the recapitulation. Tempo stayed on the swift side to keep the music flow with a direction. Solo trombone ably captured the change of emotions followed by a dramatic swift, which the lower strings from a moody fade out sprung back to the spirited mode. It was answered by an uplifting and energetic dance of celebration in the orchestral playing. Rubato was well executed to phrase the music into shape and magnificent sound produced by the horns. All created the sheer dramatic intensity geared towards the final triumphal coda.
Zweden adopted a swift tempo to sustain the momentum in the second movement. The orchestra mostly responded but some parts sometimes slightly behind for being sluggish. Some might find it a risky strategy but the music flowed with a better direction. Fluid playing from the upper strings with a sweet tone for an effective ebbs and flows. Dialogues between sections in vast dynamic contrast highlighted fragments of happiness intertwined with lush orchestration for intimacy and energy. Upper strings' lighthearted opening of the third movement recalled the scene of fairy dance in Mendelssohn's incident music for the Midsummer Night's Dream. It was quickly followed by a muscular tutti movement alike a majesty ride in the field. The humorous dialogues made the playful and tipsy impression of a folk dance. Woodwinds and strings were highly spirited and in exuberant mode swinging along. The offstage posthorn solo was beautifully played but insecure tuning with the top notes. Horns and clarinets could take more time with the long notes at the transition that would allow the elegant impression to last longer. The return to the wild and energetic dance had the intention of momentum by building up the long crescendo. Though the solo trumpet and strings again would need to enjoy the sweet heavenward passage than being impatience. Thus, the crescendo could make the impact at the return to the march like section even the music maintained with direction.
Despite Kelley O'Connor did not possess a rich timbre, her voice had the depth and colour for the part. She phrased the sung text poetically in both fourth and fifth movement, also vibrato free to secure good intonation. The strings' transition was tender and romantic, with the right balance in dynamics. One was captivated by the emotions for being still and meditative the same time. The chorus was on a fine form in projection and diction. Bright vowels were employed to sing the text in clarity, but the sopranos were slightly flat with tuning as they reached the higher vocal register. Balance was good that the orchestral accompaniment did not drown the singing out and accommodating when the alto solo took her time with the music.
The tender and expressive strings' beginning of the sixth movement flowed fluidly and in a radiant tone colour towards the first climatic point. The tragic passage was emotional and lower string's playing was more inward looking at the second section. Upper strings captured the right momentum and phrased the music beautifully. This followed by a sublime flute solo above the tutti strings that made the music highly moving. At the return of tragic passage, Zweden's conducting aimed to drive the music forward than dwelling too much on emotions. Expressive strings' moment in the second climax and recalled the negotiation between tragic and triumph in fate. Brilliant winds in magnificent full bodied tone for the sheer devastation of the third climax. Spellbinding flute solo followed by the trumpet solo at the majestic love theme. A triumphant resounding coda with the full orchestra in glorious tone to repel any doubt and reached the wholehearted triumphal finale. The performance was undoubtedly one of the best displays this year by the philharmonic orchestra.
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