Review - Siegfried (Wagner), Hong Kong Philharmonic Orchestra, 19 Jan 2017 & 22 Jan 2017

Siegfried - Simon O'Neill
Wanderer - Matthias Goerne
Mime - David Cangelosi
Brünnhilde - Heidi Melton
Alberich - Werner van Mechelen
Erda - Deborah Humble
Woodbird - Valentina Farcas
Fafner - Falk Struckmann

Hong Kong Philharmonic Orchestra
Jaap van Zweden (Conductor)

Siegfried, the scherzo of the monumental ring cycle, is often overlooked by its fairy tale outlook. Wagner spent fifteen years to complete the work, and the plot is more complex, challenging and progressive than Rheingold and Walküre. On surface a hero appears for an adventure, learning fear after meeting his opposite sex for the first time and eventually falls in love with her. Though arguably it is about Wotan being the master planner, who nearly succeeds in saving his legacy by all means but ultimately the consequence turns against his will. Whether Siegfried is an unconscious slave of fulfilling Wotan's objectives or a child of nature forging his own path is debatable. He learnt from the forest and befriended with animals as an orphan, instead of Mime who took him in at Sieglinde's request before she died. But later Siegfried destroyed Wotan's staff in half with the sword Notung, which released Wotan from all bindings and promises after a careful engineered sequence of events. The unorthodox affection between Siegfried as nephew in love with his aunt Brünnhilde, promises to bring change and free will that conventional relationship cannot not in Wagner's ideology. However, Siegfried fearless self-confidence set himself to trap later in Götterdämmerung. The ring never return to Wotan as planned and Brünnhilde, who promised to guide Siegfried to the goal, allows the free hero to seek his adventure further into the Rhineland. The high risk strategy, which Wotan adopted to save himself, runs offtrack and Brünnhilde's revenge on Siegfried's betrayal leads to the final destruction. Vocally it is also a demanding role for the protagonist, who has to be capable both dramatic and lyrical singing, maintaining the stamina for four hours long and ideally possess a pleasant timbre for the ears.

Surprisingly, it was Cangelosi's Mime who nearly stole the show for being so brilliantly sung with vivid characterisation. He had the right timbre for the role, clear diction and effective phrasing of the music and the text. His bright tone and more projected voice gave more colours and dramatic contrast to the lengthy dialogues. A poignant impression when Mime recalled the past, accused Siegfried being ungrateful of his care and vowed for revenge. Mime was also felt to cunning, intelligent and more greedy than Alberich in these performances. Their fierce argument over the sharing of treasures was dramatically intense, but more successfully realised at the Thursday performance. Mime was no longer a minor role and held the fate of events that triggered the course of actions. The downfall of Mime was his arrogance and covetous of power, than because of Siegfried learnt the true intention after covering in dragon's blood. The only moment Cangelosi could not penetrate through the thick orchestral texture was the crushing crescendo, when Wotan left Mime in horror with flickering flames growing in his hut. He seems also developed a cold and sometimes lacked the vocal weight in the Sunday performance.

Simon O'Neill should be credited for his professionalism in covering Mime's part briefly on Thursday. Cangelosi was visibly struggled with coughs at the ironic moment when Mime attempted to poison Siegfried. O'Neill seems more appreciative of the orchestra and tried very hard to portray the role. Though his timbre and vocal weight were not ideal for the role of Siegfried but better as Mime. In both performances one felt underwhelmed by his voice in the exuberant and masculine passage of the first act. The nasal tone was not appealing for the ears and sounded thin in body. Diction was often muffled and difficult to understand. It did not have the youthful energetic tone colour but the impression of an elderly man instead. The interruption and humiliation of Siegfried at Mime was tame and ineffective. Orchestra had to hold back the volume during the forging scene of Notung to accommodate the balance, which reduced the sheer brilliancy and excitement of the music. Although later his was more audibly detected over the leaner orchestral accompaniment of act two and three, the tone colour was bland and lacked any emotional intention. Siegfried's challenge to Wotan also fell short from the hostile intensity. Later the discovery of Brünnhilde was more a dreamy awakening scene, than the life changing sensation when Siegfried finally learnt fear at last. Even so, the lyric moments were more suited to his rather legato singing style. Projection improved at the call of entering Brünnhilde's rock, timbre was more pleasant and refined during the exchange of affection. Though the outcome still made an impression of Siegfried as a supporting character than on equal partnership, which was supposedly in reverse.

Matthias Goerne improved vocally with better characterisation of Wanderer/Wotan compare to Rheingold and Walküre previously, but still work in progress. Despite a better sense of phrasing, projection and vocal presence, he had a coordination problem with the orchestra at the first attempt. During Wotan's test on Mime regarding giants and gods, Goerne sang dangerously ahead of the orchestra. The problem was rectified in the second attempt with a more fluid progression. Though his rather covered way of singing style produced a cloudy sound than a ringing tone. Diction was often unclear, lacked the vocal richness nor the authoritative impression of Wotan as the master planner. Interestingly, Wotan's summon of Erda was his best moment I reckon. Brightening the vowels and opened up his voice helped the projection and injected more emotion to the singing. It was more attractive to listen to and a sense that he was in command of the situation.

Although Brünnhilde only appears in the later part of act three, it demands the soprano to meet the wide vocal range with limited space of time to warm up the voice. The best part of Heidi Melton's timbre was her rich and creamy mid range with warmth. Her voice filled the hall nicely with a ringing tone, and captured Brünnhilde's negotiations between doubt, fear of change and her affection for Siegfried effectively. Though problematic as her tessitura reaching the higher register and the reach to top notes were not always accurate. The first performance was often a forceful cry that hit and miss with tuning. She was more steady with the tempo in the Sunday performance and more successful at the climbs. Though the switch between registers lacked the smoothness and sounded rough sometimes.

Lesser roles further confirmed that villains had the upper hand with their singing than the goodies in these performances. Pleasant and refined singing from Werner van Mechelen as Alberich. Diction was clear and words were appropriately stressed to flow naturally with the music. The confrontation between Alberich and Wagner before waking Fafner was dramatically delivered. But I am convinced that Mechelen's voice is more suited to Wotan than being a villain, which requires the roughness in timbre than a noble colour. Falk Struckmann, who had recorded Wotan before, carried the depth and vocal weight in his ringing bass tone. The battle between Fafner and Siegfried was dramatically realised when he inserted mockery laughters and painful cries. Mixed results with Valentina Farcas's Woodbird though that her singing lacked the flexibility and direction. Tuning was flat the first time but rectified in the second performance. Beautiful legato singing from Deborah Humble with a rich mellow alto voice. Erda's heated exchange with Wotan was fierce that she was indifferent to his claims nor desires. Though to capture the dreamy state of Erda, a cool tone would have been more effective than passionate.

Jaap van Zweden continued to draw magnificent playing from the Philharmonic Orchestra, and lifted the performance level to a high standard that more than an achievement. Probably due to the performing hours and energy levels, tempo was swift on Thursday compare to Sunday. The bassoon and tuba opening in both occasions though sounded moody and tired than creating a haunting forest scene. Lower strings' built up with tutti brass would need more bites for the violent effect. Tuning among the horns were much better and more confident on Sunday. Strings were particularly alert and responsive to the ebbs and flows of emotions in act one. It would have been dramatically exciting and energetic at the forging scene of Notung if the orchestra did not have to sacrifice for the balance. The spooky and chilling introduction of act two was also more successfully produced on Sunday, particularly the ring motive that made a crushing and devastating effect. Cor anglais's mimic of birdsong was slightly too refined than the out of tune intention in mind. French horn solo of Siegfried's call was accurately rendered but the finishing diminuendo seems exaggerated than a natural recline. Polished woodwinds' playing to evoke the sweet and beautiful forest scene, which Siegfried was excited by the woodbird foretelling the prospect of meeting Brünnhilde finally.

The majesty and masculine introduction of the third act was magnificent rendered on Thursday, which the brass playing was wild in its fullness sense. Though signs of tiredness began to surface on Sunday when the concentration began to lose and drag with the tempo. In both performances the orchestra still managed to elevate the hostile exchange between Wotan and Erda with dramatic playing above the ebbs and flows of emotions, despite the singing lacked dramatic intensity. Later the lush upper strings' playing produced a magical sensation and wonderment at Siegfried's discovery of Brünnhilde. The music spoke for its beauty and tenderness when the idyll theme was played. A magnificent conclusion as the orchestra sent out the ecstatic state of affection in full. The naive hope of love and joy put smile on our face and the sheer thrilling excitement, even after wrongdoings and evil plans are ongoing in this epic tale.

Travel - Morocco, for the second time, November 2016

Last November, I travelled to Morocco for a week-long holiday - it was in fact the second time I'd been to the country, and I was curious to see how, if anything, had changed.  The first time I was in Morocco was for a short 3 day trip to Marrakech in 2010, and the dust, dirt and brown / orange clay was still a vivid memory in my mind.  Not just the clay, but the sheer frenetic pace of the medina, particularly in the main square of Djemma el-Fna, which seemed to rival only in Hong Kong for its energy late into the night and wee hours of the morning.  I did have a few goals for the trip, however - to see the Majorelle Gardens and Bahia Palace again, to visit the La Mamounia hotel, which was undergoing renovation when I was there last, and to see the desert (if I wasn't going to get a new country, at least I could come within 50 miles of a new one!)

First things first, however, was a day in Casablanca, where ironically the movie itself was never filmed, as far as I can tell.  Although there is a Rick's Cafe, but it seemed far too stuffy and formal for my liking.  Truth be told, there isn't a lot to see in Casablanca from a tourist's point of view, but I did enjoy walking through the medina - unlike Marrakech's, it is slightly more functional and modern and not dotted with tens of vendors selling the same wares.  It was purely residential and concrete but just as disorienting.  After a short walk along the seaside, we arrived at the immense - and it is literally immense - Hassan II Mosque, the largest in Morocco, and 13th largest in the world.  Although we couldn't go in, even from the outside it was hard to be impressed by the sheer scale and size of the structure.


The next morning, we woke up early - if you're only spending a day in Casablanca for transit and going onward via train, I recommend staying near Casa Voyageurs out of pure convenience - for our 3-hour train ride to Marrakech.  Having never taken the train before, I admit being a bit apprehensive, but even in second class, we had a small cabin that we shared with various travellers throughout the journey, and safety was never a concern.  Going through the country via train was a new experience, and it was interesting to see how the landscape shifted and changed.

Upon arriving in Marrakech and making our way through the medina to our marvelous riad, the Riad Melhoun, I was quickly reminded why I loved the place so much the first time.  Yes, it's sensory overload, but all in a good way - there is such an infectious energy to the place, where everyone just seems happy and overjoyed to be there.  Sure, some of these are tourists who are glad that stepping out of their comfort zone isn't as bad as they thought, but Morocco in general is such a friendly place.  And the riads are simply the best thing anyone has in hospitality has ever invented. When you go to Morocco, you must, absolutely must, stay in a riad.  And truthfully, you may never want to leave.  Their design is just so beautiful, and the staff are so incredibly hospitable, and it's just so darn cheap.


In terms of what there is to see in Marrakech, well, there is plenty.  Given that it was a sunny day, we took our chances and made our way to the Majorelle Gardens, which were designed in part by Yves Saint Laurent.  There is a blueness to the place that cannot truly be appreciated until you first step inside the grounds, but suffice to say you would never have thought that such a place could exist in the desert in Morocco.  It is simply gorgeous.  Just walking around the grounds, staring up at the gargantuan palm trees, and taking in the oasis in the desert for a few hours is an excellent way to kick off (or conclude) your trip to Marrakech.

Another highlight of Marrakech for me is the Bahia Palace, which offers some of the most stunning and colorful mosaics I've ever seen.  Even the second time around, just walking from one courtyard to another and anticipating what special designs or colors I would see next was incredibly special.

After 2 full days in Marrakech, we decided to venture out of the city, and through our riad arranged a 3 day tour to the Sahara desert, with stops in between. First stop, Ait Benhaddou and Ouazarzate, where many a movie has been filmed, including the likes of Gladiator and Spartacus.

The ancient city is impressive upon first sight, and the scale of the place again doesn't really hit you until you walk for what seems like forever to get to the top of the hill to get a 360 degree view of the Atlas Mountains and desert all around you.  A huge bonus for travelling in November?  You get to see snow in Morocco!  That night, we arrived near the Todra Gorge, and spent a night in what is undoubtedly the coldest hotel room I've ever slept in.  6 thick, wool blankets, plus all my winter clothes, plus wearing long pants, a fleece and a Heattech shirt from Uniqlo, were just enough to help me pass the night without freezing to death.

The next day, after walking through the Todra Gorge - personally, I am biased because I've been to Jordan and walked through the valley to Petra, so I wasn't that impressed, but others in our group certainly were - we drove for what seemed like hours to finally get to the edge of the Sahara desert.  Guess what, Morocco is huge!  I would only realize just how huge the next day, but more on that later.

Riding on a camel through the Sahara desert is truly a bucket list experience.  Forget the fears about MERS for a second (or longer, I guess, since we rode the camel for an hour, and it seemed like an eternity), or the sore bum you will have for days afterwards, and the sore inner thighs, and basically the entire sore lower body.  It's so worth it.  Riding on a camel as the sun sets, watching the sand change color from a brilliant bright yellow to a glowing orange, and just really feeling yourself being taken back to time to what life was like centuries ago, having ridden a bus for 5 hours and thinking to yourself just a day ago I was trapped in a souk with a million other people, to this.  That is what makes Morocco really special.  The camp itself wasn't much to speak, but the sky.  It is a sky you will never forget - stars upon stars upon shooting stars upon planets lighting up every single inch of the night sky, and it is truly awesome.  And if you don't want to hike up a 200 foot tall sand dune for 30 minutes in the dark like we did, that's totally fine.  The view is just as amazing from your tent.  Which, despite being outdoors, is still warmer than the hotel we stayed at the night before.

After waking up at 5 am to catch the sunrise - which somehow, didn't happen till 7 - we walked back to the "entrance" to the desert, and caught the bus back to Marrakech.  11 hours in a small bus with 17 other people could be worse, but at least you get to catch up on sleep.  Because, lest you forget, you woke up at 5 am to wait 2 hours for the sunrise.  And because you didn't really sleep for much of the trip anyway, since Morocco is a place to experience at all hours of the day and night because everything is always moving, always changing, always smiling, and waiting till the next time you come back.

Review - Orphée aux enfers (Offenbach), Opéra royal de Wallonie-Liège, 29 December 2016

Orphée - Papuna Tchuradze
Eurydice - Jodie Devos
L'Opinion publique - Alexise Yerna
Jupiter - Pierre Doyen
Pluton/Aristée - Thomas Morris
Cupidon - Natacha Kowalski
Vénus - Julie Bailly
Diane - Sarah Defrise
John Styx - Frédéric Longbois
Mercure - André Gass
Junon - Laura Balidemaj
Minerve - Alexia Saffery
Fortune - Yvette Wéris
Cérès - Sylviane Binamé
Pomone - Chantal Glaude
Flore - Palmina Grottola
Mars - Marc Tissons

Orchestra, chorus and dancers of Opéra Royal de Wallonie-Liège

Cyril Englebert (Conductor)

Claire Servais (Director)

Offenbach's burlesque take on the tragic myth of Orpheus is arguably best remembered by the Infernal Galop of the second act. Instead of emotional sadness and sentiments encapsulated in Gluck's Orfeo ed Euridice, ironically the protagonists want separation in this comic take and as always gods' involvement complicate matters further. Musically though the operetta is not as extensive and sophisticated as The Tale of Hoffmann. Humorous and witty dialogues stand at the centre stage but without surtitles in English I struggled to follow. The revived staging of Servais received an update to retain its sparkling outlook. The underworld scene was the most elaborate and colourful in terms of staging with the full company. Singers and orchestra under the direction of Cyril Englebert delivered some quality musical moments, but I felt unnecessary to repeat the Infernal Galop so many times as encores.

A relatively small orchestra with less than 50 players to begin the evening with an overture, which was the longest instrumental part of the work. The band was responsive to Englebert's tempo changes with fine playing, but the brass was underwhelming by holding back in volume. Public opinion was an elderly woman and introduced the work with sarcastic remarks from a box alike a television host, while on stage Euridice was ironing in a laundry room. Devos possessed the flexibility in her singing with a rich voice and clarity in diction. Tchuradze as Orphée in compare was rather hard in tone and not pleasant for the ears. The solo violin playing rendered by the leader of the orchestra though was beautiful. Euridice was told off by the conductor when she threw the music into the orchestral pit. Pluto appeared in disguise as a beekeeper and drove a van carrying the Angelus by Jean-François Millet, whatever was the intention. Morris's timbre was distinctively bright, not a smooth voice and rather heavy on vibrato. A red light flashed when Euridice fell into the trap and Pluto's van transformed into a speed car. During the scene change, a group of children attempted to play violins but tuning was bad.

Orpheus reappeared with shopping bags in underwear only, and changed into a period outfit to resemble the classical outlook of a shepherd carrying a harp. He was then chased after by lions, tigers and rats before the scene changed into the assembly of Olympus. The gods were first asleep inside the ocean blue coloured room until a prolonged arguments broke out over their morality. Kowalski as Cupid and Doyen as Jupiter both had a pleasant voice with good bodied vocal volume. Exaggerated entrances when Mercure rode a bike on a string, and the hounds of Pluto were portrayed by men in leather outfits. Jupiter hided behind the speaker's stand when the company of gods decided to descend to the underworld and complained of his infidelity. Choral singing concluded the first half behind the stage curtain resembling the windows of an Olympus Airlines.

Male dancers in erotic outfits as the devil figures began the second half and saw Euridice resting on the couch of a backstage dressing room. Devos's coloratura was not smooth enough in ascending to the upper register even tuning was good. She covered her supervised guard, John Styx, with a leopard patterned sheet who wore a pink stripes underwear only and attempted to drink from her high heels. Kowalski, as Cupid, was more natural in her coloratura but insecure with tuning of the top notes. Flies duet between Pluto and Styx in the style of a fugue were hilarious and the scene ended in a chaotic catch. Later the underworld scene was flooded in orange colour with the whole company in exaggerated outfits. More athletic dance moments for the demons in contrast to the gods' static and convention routine. The conclusion was more a celebration of can can dance and not interest in the separation of Orfeo and Euridice. The protagonists simply moved on along with the festivity even how ridiculous their outlook were.

(Photo credit: Opéra royal de Wallonie-Liège)