Review - Stabat Mater (Dvořák), National Theatre Brno, 2017 Hong Kong Arts Festival

Pavla Vykopalová (soprano)
Jana Hrochová (alto)
Aleš Briscein (tenor)
Jiří Sulženko (bass)

Orchestra and Chorus of the Janáček Opera of the National Theatre Brno
Jaroslav Kyzlink (Conductor)

Melodious tunes marks Dvořák's Stabat Mater with simplicity and subtleness. It is not after theatrical dramatisation of the text but almost an inward hymnal meditation. The soft music in tenderness and steady tempo seems a consolation in answering the mishaps of Dvořák's children died during infancy and also illness. Though the orchestral playing at the misty opening lacked a flowing sense, despite the tone colour was more transparent than it was accompanying the Makropulos case. Choral entries was more able to create the contrast from the still opening through into the vigorous ebb and flow of dynamic changes. A sheer energy geared towards the climax and made an impact. Disappointingly Aleš Briscein sounded unsure in the tenor solo part and dragged the tempo along, which as a result messy coordination with the orchestra. Only the tutti choral moment joined by the vocal quartet later produced a more heavenward and majestic impression. Different voice parts complimented each other in a homogenous sound and minimal employment of vibrato. The crescendo at the emotional coda would have been effective if the orchestra had driven the momentum forward than being too steady.

Broad tempo stayed in the second movement 'Quis est homo' and the alto soloist Jana Hrochová was rather underwhelming in her vocal projection. Neither the tragic sentiments were effectively

captured but a dreamy state and cloudy sound instead. This was quickly rectified by the chorus at the passionate 'Eia Mater, fons amoris', which sustained more energy and direction in their singing. Although diction was rather muddy, the choir produced a ringing bright tone and smoothness alike they were chanting. The fifth movement, 'Fac, ut ardeat cor meum', was the only solo item for the bass soloist. The choice was probably to reflect the personal yearning for internal renewal of soul and mind by purpose. Jiří Sulženko gave a pleasant rendition of the lyrical yet rather calm singing part. Though the dialogue between brass and strings was messy along with sluggish woodwinds' playing. Pipe organ registrations were also rather heavy for such intimate movement.

The following 'Tui nati vulnerati' was atmospherically pastoral and the music stayed tender despite an abrupt change in tempo. Intonation of the tenor solo in 'Fac me vere tecum flere' was flat while singing soft. Tuning improved as the dynamic increased to forte but the repetitive folk tunes were rather dull to listen after a while. Although the choir maintained the bright tone colour and good tuning in the lullaby like 'Virgo virginum', the produced shape was rather square than a flowing impression. Soloists in both 'Fac, ut porten Christi mortem' and 'Inflammatus et accensus' were insecure in their singing parts, which further prolonged the musical boredom. Jana Hrochová was especially underweight and one hardly could understand the words she was producing. Emotions and drama finally released in sheer force in the last movement 'Quando corpus morietur'. Choral singing sustained the intensity of the exuberant and triumphant fugal finale, but let down again by the messy strings' playing at the scalic climbs towards the end.