Review - Tannhäuser (Wagner), Konzert Theater Bern, 8 April 2017

Tannhäuser - Daniel Frank
Wolfram - Jordan Shanahan
Elisabeth - Liene Kinča
Venus - Claude Eichenberger
Hermann - Kai Wegner
Biterolf - Andreas Daum
Heinrich - Ralf Simon
Reinmar - Carl Rumstadt
Junger - Emilie Inniger

Chor und Extrachor Konzert Theater bern
Berner Symphonieorchester
Kevin John Edusei (Conductor)
Calixto Bieito (Director)

Tannhäuser is probably Wagner's dilemma on nature of love than a search on whether love can bring salvation. The struggle between sensual pleasure and moral codes has led to an open end as what form of redemption is achieved at the end. Bieito's thought provoking staging woven this binary context and reach a plausible outcome that the two sides come together eventually. A realist approach to realise the violence and rejection that social power put in place whereas the outcasts suffered from the confrontation. It made the impact of sufferings more powerful and disturbing the same time, when one could detect the pain and madness being culminated in full. The journey that Tannhäuser embarked on no longer easily distinguish good or bad, but the experience of loss being out of place while yearning for behavioural freedom.

Instead of the cliche that Venusberg being erotic and colourful, a dark and misty forest formed the opening scene in the overture with trees spinning around. Venus touched herself erotically at first and then sprinkled water on her body as the music became increasingly sensual. She was possessive of Tannhäuser, and their emotional affection was genuine and raw by further erotic contacts. Here Bieito perceived the relationship alike cruising in the park while trees seems metaphorically represented the sexual organs. Venus disappeared when the pastoral call was played by the cor anglais, a shepherd

climbed on the protagonist and the purity image became an ongoing burden. Tannhäuser was later bullied and mocked by the minnesingers from Wartburg. They were presented as a rough militia by painting themselves with blood and roaring loudly to reinforce their manhood. When Wolfram mentioned Elisabeth, Tannhäuser was seen as troubled by the name and uncomfortable to stay around the minnesingers. Their rough edge behaviours and wildness realised Venus's prediction that Tannhäuser would struggle to return to society.

A Greek temple with tall columns made the interior of Wartburg's castle in act two. Elizabeth's reception of Tannhäuser was a mixed affair. She shared his dislike of the pretentious and male dominated crowd in their fine outlook and robotic movements. Instead of wearing the beautiful dress and high heels, she would rather put on his oversized military uniform. She too had a rebellious personalities and that suggested why she could relate to Tannhäuser. Though at first she refused and pretended not to accept his attempt of reconciliation since disappearance. Wolfram showed his jealousy towards the couple even he had to rely on Tannhäuser in order to see Elizabeth again, who rarely seen in public. He was in agony when she continued to defend Tannhäuser from condemnation. The crowd were horrified and angry when Tannhäuser praised the sensual love and took off the suit he was wearing. They behaved increasingly demonic and put blood on their faces again. Elizabeth was raped by the minnesingers and they spanked the ground with tree branches frantically. Like his production of La Juive, Bieito referenced the act to the biblical tale of purifying the temple in Jerusalem by expelling the traders however violent and brutal. Theatrically it was intense and made the social hostility to Tannhäuser more poignant.

Dramaturgy and symbolism in third act was most enigmatic and mysterious of all. A ruin of the temple remained and gradually consumed by the forest with a water fall. Elizabeth and Wolfram were more exhibited over their eccentric love and hate relation. They exchanged affections but quickly rejected each other again. Elizabeth became mentally unstable and even attempted to self harm. Wolfram watched her from distance at first and later tried to strangle her. He also became aggressive and confronting as Tannhäuser reemerged. When Venus reappeared, Wolfram first climbed into the water pond before putting dirts on his body. His act seems also a personal dilemma between physical love and self righteous. Later the crowd entered the court as Tannhäuser calling the name of Elizabeth. They appeared like ghosts and the final praise of redemption became an irony itself as they pleaded in desperation. Perhaps Bieito felt the final act was an imagination when the two ideological camps came to term and they decided to go after the spiritual satisfaction. Aggression and conformity vanished at last but not Venus the seductive figure nor Elizabeth the spiritual fountain. An undecided outcome and one could only make the choice through a journey like the one experienced by Tannhäuser.

The orchestra continued to deliver quality accompaniment throughout the evening and kept the music flowing with momentum and shapes. Brass made a confident and bodied sound at the overture, later beautiful woodwind playing during the lush and romantic interlude in act three. I was surprised that some of the singers, like Carl Rumstadt who sang the role of Figaro the evening before, filled the minor roles or even sang in the chorus for Tannhäuser. Big choral moments always carried the sheer impact of the sound of wall and filled the hall in full. Diction was clear and the singing was rather clean with minimal vibrato. Singers in minor roles met the technical challenge in the thick vocal layer and sustained a dramatic sense throughout.

Daniel Frank accurately portrayed the protagonist as an emotional and vulnerable figure. The recalling of Elizabeth in last act was particularly effective that captured Tannhäuser's dilemma between affection and physical pleasure. His timbre was rather dramatic in colour but lyrical enough not to lose the warmth in tone. Tuning was always secured and the voice never strain even reaching at higher register. I encountered Liene Kinča as an impressive Chrysothemis in Elektra at the Flemish Opera few years ago. A powerful voice with a rather bright and silvery timbre with great energy to sustain a long singing line. Though her singing was more able to realise the tenderness later at Elizabeth's prayer than the lyrical opening of act two. Jordan Shanahan, as Wolfram, sang majestically in a rich bodied tone. His sense of phrasing maintained a natural flow in tempo and legato enough to connect the lines seamlessly. Wolfram's prayer to stars and Venus in act three was romantic and poured out emotions in full. Claude Eichenberger's voice suited better to the role of Venus than Marcellina the evening before. Phrasing was natural and more able to project her rich voice smoothly. As a whole, the renovated opera house with comfortable seats and well maintained interiors added another attraction for future revisit on top of the high music standard.

Review - Ray Chan & Julio Elizalde, 2017 Hong Kong Arts Festival

Violin Sonata No 1 (Beethoven)
Violin Sonata No 1 (Saint-Saëns)
Sonata No 4 for solo violin "Fritz Kreisler" (Ysaÿe)

Suite Popularie Espagnole (Falla, arr. Kochanski)

Czardas (Monti)

Ray Chen (Violin)

Julio Elizalde (Piano)

This concert programme formed a chronological order of works from late classical period up to the early 20th century.Technical demanding pieces filled the upper half and a more relaxing affair towards the end. Whether because Beethoven's first sonata was the opening work or saw a need to fill the hall acoustic, Ray Chan's playing was unnecessarily weighty and bombastic throughout. Heavy vibrato was employed, and aggressive bow attacks on double and triple stops. The scalic passages though were not always legato neither tuning was secured on the high finger positions. Showmanship and pushing the tempo vigorously undermined the appropriate performing style, which was to be transparent, a natural flow and silky. The violin was supposedly accompanying the piano in the second movement but that partnership dynamic here was reversed. A rather passionate and rich playing was given on the violin part, which sacrificed the elegance in a wrong dramatic sense. It was no surprise that the forceful approach continued into the third movement. Even so, it gave a virtuosic display and strong momentum by the energetic playing.

In contrast, Ray Chen's bold playing style was more suited to Saint-Saëns first violin sonata. The tempestuous and violent impression was vividly produced during the nervous and tense introduction of first movement. Again at virtuosic passage the sheer sense of dramatic intensity was carried and technically excelled, which one sensed the architecture and direction the performers had in mind. Though during lyrical sections in both first and second movement, the tone impression often lacked contrast and never relax. Emotional outpours overflowed and sometimes affected the tuning again on higher positions. By reaching the dance like scherzo of the third movement, intimacy was more able to realise by the sleek and light playing. Rhythmic precision in the semiquavers opening of the last movement sustained the musical excitement. Beautiful ringing tone in the long notes yet did not indulge over expressive lyrical part. The coda was breathtaking by the crescendo of intensity and momentum through the technical display. It had also manifested a close working partnership between Ray Chen and Julio Elizalde with the same mind on phrasing and seamless dialogues in their playing.

Ysaÿe's fourth sonata was the only solo violin piece on the programme and again meant to impress by the challenging technicality. Ray Chen's tuning and technique were again impeccable in the first movement, but far forming a structure than a stream of notes. The tone colour was only rich and muscular than shading any contrast again. Pizzicato orientated second movement was again shapeless and tuning was not secure at the cross strings climbs. Phrasing improved in the final movement and the tone quality was more beautiful than before. Virtuosic brilliancy marked the lasting impression, but it needed further thinking how to shape the music than merely sailing through tricky corners.

Kochanski's arrangement, of Falla's Spanish folksongs for violin, made a change from demonstrating pieces to a more inward looking and meditative atmosphere. Both first and last movement melodically rich but never carry any big gesture. The mute was used in the second and fourth movement respectively. Tender and gentle lines intertwined between expressive emotions and sorrows. Appropriate rubato was employed to shape the dance like movement in a radiant tone colour. The fifth movement was alike a gentle ice skating with smooth harmonics slides. Monti's Czardas wrapped up the night in all theatrical exaggeration like bird squeaks by playing on the end of fingerboard. Though the tone control and tuning did not match the high standard set early on. Encores included Sarasaste's Habanera and Theme from the Schindler's List, which were given a fine rendition and the latter was particularly moving. 

Review - Il barbiere di Siviglia (Rossini), Opera Hong Kong, 6 May 2017

Figaro - Steven LaBrie
Rosina - Stephanie Lauricella
Il Conte D’Almaviva - Edoardo Milletti
Dr. Bartolo - Kevin Glavin
Don Basilio - Kevin Thompson
Bertha - Bobbie Zhang
Fiorello - Zhou Jian Kun
Ambrogio - Frankie Fung

Hong Kong Sinfonietta
Hong Kong Dance Company
Opera Hong Kong Chorus

Roberto Gianola (Conductor)

Lorenzo Mariani (Director)

Director Lorenzo Mariani’s light-hearted and action-packed reinterpretation of the much loved opera is doubtless a creative innovation. Drawing on the parallels between flamboyant Rossinian dramatics and the creative elegance of 1930s American musicals, Mariani set the opera against the glitzy background of Hollywood. The stage was filled with bright costumes and objects inspired by musicals and films of that time. Scenes and arias were also interwoven with ceaseless flows of action which served to enliven and emphasise the sung text - especially during Don Basilio’s ‘La Calunnia’, the ‘All'idea di quel metallo’ duet and the ‘Don Basilio – Cosa veggo’ quintet. A particularly memorable scene was towards the end of Act I where Mariani courageously broke the mould of traditional narratives of how Count Almaviva was released: instead of revealing to the officers his identity, Count Almaviva bribed them, and the officers began to distribute the cash amongst themselves surreptitiously.

That said, there were times when Mariani's explicit sense of humour fell flat and turned trite. For example, it was not entirely easy to make out why there were swimsuit figures on the top of a pool slide in Dr Bartolo’s mansion or why Figaro’s shop resembled a phallic structure with a large bulb on top. There were also other times, often after repetition of long sequences and excessive action, when less would actually have been more. Finally, although the production should not be analysed in terms of strict logic, Mariani’s rather abstract reconceptualisation had the tendency of compromising the very physical and chronological details which made the opera comical and exhilarating in the first place. For example, the disappearance of the massive cage in which Rosina was locked after the first scene created a bit of spatial confusion as to where Rosina actually was. Similarly, the highly abstract escape scene at the end of Act II failed to bring out clearly how the ladders were intended to be a means of escape or how they were ultimately removed to frustrate Figaro’s plan. At those places a more conventional and conscious treatment would have probably enhanced the drama and its hilarity. While the creative aspects of this production were generally admirable, they became counterproductive when overdone as the opera gradually devolved into hammy acting and choreographed singing.

The cast was overall a strong one. Figaro was sung by Steven LaBrie with swashbuckling bravado

and an air of effortlessness, but his character had considerably less stage presence than the rest of the cast. ‘Largo al factotum’ was executed perfectly and was accompanied by an amusing choreography. Mezzo-soprano Stephanie Lauricella made a strong impression as the love-struck, baffled, bitter but endearing Rosina, and sang the runs and coloratura with remarkable precision and stunning agility. Though well supported, her lower register is less pleasant and lacks the velvety quality of her upper range. A solid bass with a resonant and gathered tone, Kevin Glavin breathed life into the irascible and scheming Dr Bartolo with compelling presence and believable acting. Yet his voice was slightly drowned out in the presto passages of Dr Bartolo’s signature aria 'A un dottor della mia sorte’ – one which could have merited a more comical treatment in general.

Edoardo Milletti as Count Almaviva was underwhelming. Initially struggling with intonation in his first few solo arias, Milletti carried the legato lyrical lines disappointingly and often brought them to abrupt and unpleasant brakes – a persistent problem in ‘Ecco, ridente in cielo’. Phrasings reflected poor taste and his voice is insufficiently agile to traverse the florid passages with confidence. Constantly brandishing his baton, Kevin Thompson’s Don Basilio was perhaps the oddest of all characters whose repeated antics became more of an annoyance towards the end. Thompson has a massive and extremely resonant voice but unfortunately suffers from a rather bland tone. The orchestra was generally satisfactory but missed the opportunity to bring Rossini’s animated music to life, certainly coming off as lacklustre and vapid in the Overture, only to be marginally rescued by the choreography on stage. It was also very obviously out of sync with the entry of Fiorello in the first scene. Overall, while credit must be given to Mariani's visually exhilarating and dynamic production, the whole Hollywood concept ran the risk of turning the opera into a one-dimensional slapstick drama with over-the-top Americanised humour.

Photo credit: Opera Hong Kong Facebook Page

Review - Le nozze di Figaro (Mozart), Konzert Theater Bern, 7 April 2017

Count - Todd Boyce
Countess - Evgenia Grekova
Susanna - Lee Yun-Jeong
Figaro - Carl Rumstadt
Cherubino - Eleonora Vacchi
Marcellina - Claude Eichenberger
Bartolo - Stephen Owen
Don Basilio - Andries Cloete
Don Curzio - Andres Del Castillo
Barbarina - Daniela Ruth Stoll
Antonio - Kai Wegner

Chor Konzert Theater Bern
Berner Symphonieorchester
Jochem Hochstenbach (Conductor)
Markus Bothe (Director)

Despite some spectacular demonstrations of stage machinery and effects in Markus Bothe's production of the marriage of Figaro, the dramaturgy centred heavily on the chaotic and complicated relationships yet retained the comical aspects. Rivalry between the aristocrat and their social subordinates did not become apparent until the garden scene in the last act. This left an impression that the stage direction lacked some level of depth by a near literal portrayal, instead of articulating the political and social changes pressed by enlightenment.

The overture gave a kaleidoscope of the key figures and set the opening scene alike the television drama 'Upstairs Downstairs'. They climbed up and down the ladders between two rooms or appeared from the doors on the ground. Interestingly except Susanna and Figaro in servant outfits from early 20th century, the rest still wore powdered wigs and fashioned to the early 18th century. Generation gap was exemplified by fashion changes but it would require the stage choreography to reinforce the ideological conflict than merely a visual impression. An example would be the count, who wore silk coat to symbolise his status, as a naive figure in this hide and seek game, though far from portraying an authority failed to preserve and exercise his feudal rights. He was also soft with Figaro that only frustrated than raged over the growing mistrust after attempting to seduce Susanna.

The countess bedroom scene looked rather chilling by the displayed cold coloured dresses and tired stage lights. It captured the countess's loneliness in a loveless marriage though omitting the emotional torment over her husband's infidelity. A warmer light scheme returned when Susanna and Cherubino entered the room. Although the latter was a pant role, the flirting over serenade became rather like a lesbian threesome affair. Later confusions was dramatically unfolded as the count tried to trap everyone in further hide and seek chasing. The best moment was the flood of shoes collapsed when the count opened the cupboard to discover Susanna but not Cherubino hiding in there. Though it was rather straight forward to find the countess reconciled with the count quickly neither did she put much efforts to stop the forceful advance. The portrayal did not inject much character to the role than only a weak and submissive wife. Even so, intensity was able to kept tightly during the exchange between Figaro and the count on Cherubino's commission letter while confronting with Antonio. One could sense the sheer tension gathered up by the chaos in its fullness sense at the brilliant sextet conclusion of the first half.

Compare to the first half as a playground of confusion, hostility was more apparent in the second half. The count was furious by Susanna's further betrayal and confronted Figaro over the marriage arrangement than only being tossed around by actions. In turn, Figaro was anguished by the count's further distrust and vicious plot. He was still upset after the wedding and even angry at Marcellina even recognised she was his actual mother. The party itself made another statement that the class distinction no longer clearly defined, and the aristocrats gradually losing the respect and courtesy from the household.

One high point of this production was the confetti celebrating the marriage later formed the garden maze in the final scene with long colourful strips. Visually it was effective from the audience perspective, though singers had difficulty to manoeuvre around in their long dress. The finale was appropriately not a jubilant celebration and the count lost his plot altogether even the countess forgave him, who probably the only one left had a soft spot for his misdeeds. Both minor roles, Barbarina and Don Basilio, were also given more perspective in this production. The former appeared throughout and she not only flirted with Cherubino, but also the count even he rejected her wild advance. Basilio wore a flamboyant outfit and acted as a key player in first half trying to side with anyone who ever came to his interest in revealing scandals.

One was amazed by the high musical standard from both singers and orchestra at first hearing. Carl Rumstadt, as the protagonist, delivered a confident start for being clear on diction and a resonated voice with the desired warmth and vocal body.  His singing had the flexibility to realise the emotion changes in each arias through switching vocal colour, and phrased the music naturally. Perhaps tiredness sunk in towards the end of the evening and his vocal energy was not as sustain as before. Lee Yun-Jeong, who sang the role of Susanna, improved immensely as the evening went. Mostly vowels were audible in the opening entries even  with a beautiful timbre and smooth articulation to keep a flowing momentum. Later the singing carried the ringing tone more and the voice never show any sign of tiredness. Register changes were smooth and flexible, also paced the tempo naturally.

Todd Boyce, as count, was rather muddy in diction and portrayed the role as a naive figure at first. He gradually built up the character over arguments with the countess in act two and plotting for revenge in act three. His singing became more dramatic to convey the emotions and richer in vocal colour to add the weight as a bass-baritone. Musically the weakest link of the evening was Evgenia Grekova who sang the role of countess. She preferred a slower tempo but the voice was rather thin in body that did not carry much direction. During her duets with the count or Susanna, her projection was often underweight compare and the vocal energy faded gradually in the second half. Heavy vibrato and rather closed way of singing vowels did not help her singing to keep the pitch level from going flat.

Among the minor roles, Andries Cloete's Don Basilio was most suited in terms of timbre and characterisation. Despite not a beautiful voice, his singing was smooth and flowing throughout the only extended aria in act one. Eleonora Vacchi's Cherubino was a mixed affair that tuning went flat in the text heavy passage and the voice was more projected only by reaching the higher register. Her vocalisation improved during the serenade to the countess but tempo was too quick for my taste. Daniela Ruth Stoll was more audible in the recitative than Barbarina's only aria in the second half. Claude Eichenberger as Marcellina had a rich powerful voice but at times one felt the vocal body too big and rich for the part. Stephen Owen was rather heavy on vibrato in the role of Don Bartolo and often speaking than singing his part. The orchestral playing was generally crisp, tidy and responsive to the direction of Jochem Hochstenbach. Only the brass was occasionally flat on tuning and sluggish. There were no moment I felt dull and a surprise to find such a capable ensemble from a regional opera company.