Review - Piano Recitals by Daniil Trifonov and Rafał Blechacz, 26 September 2017 & 12 October 2017

26 Septebmer 2017, Hong Kong Cultural Centre Concert Hall:
Variations on a Theme of Chopin (Mompou)
'Chopin' from Carnaval, Op. 9 (Schumann)
Studie 'Hommage à Chopin' from Stimmungen, Op. 73 (Grieg)
Nocturne, Op. 33 (Barber)
Un poco di Chopin from 18 Pieces, Op. 72 (Tchaikovsky)
Variations on a Theme of Chopin, Op. 22 (Rachmaninov)
Variations on theme from Mozart's Don Giovanni, Op. 2 (Chopin)
Sonata No. 2 in b-flat minor, Op. 35 (Chopin)
Encore: Fantasy-Impromptu in C-Sharp Minor, Op. 66 (Chopin)

Largo from Cello Sonata (Chopin, arr. Cortot)

Daniil Trifonov (piano)

12 October 2017, Hong Kong City Hall Concert Hall:
4 Duettos, BWV 802-805 (Bach)
Rondon in G, Op. 51, No. 2 (Beethoven)
Sonata No. 3 in C, Op. 2, No. 3 (Beethoven)
Fantaisie, Op. 49 (Chopin)
Nocturne in f-sharp minor, No. 48, No. 2 (Chopin)
Sonata No. 2 in b-flat minor, Op. 35 (Chopin)
Encore: Intermezzo in A, Op. 118, No. 2 (Brahms)

Rafał Blechacz (piano)

Less than a month after Daniil Trifonov's Chopin themed recital, Chopin's works again filled the second half of Rafał Blechacz's programme. Both had the second piano sonata as the concluding item, yet the two approached differently. One felt Trifonov was rather expressive and romantically driven, whereas intimacy and inner emotions marked in Blechacz's playing.

When Blechacz played the short prelude in A major as his final encore, it reminded us of Mompou's theme and variations that Trifonov began his recital. Despite the vast acoustic of cultural centre concert hall, one enjoyed the soft and sedate opening. It led to a lyrical passage marked by contrasting dynamics before resolving to the dreamy state again. The dotted passage felt pondering than carrying a direction though, and became rather cloudy in the tender and tuneful theme. At reaching the expressive and passionate climax, Rachmaninov seems more in mind by the harmonic colours and rhythmic patterns. Trifonov restrained from keyboard bombardment in the fantasia like gallop but instead gave a rather feminine touch to it. The four short pieces by Schumann, Grieg, Barber and Tchaikovsky as hommage to Chopin was an interesting selection. Grieg's approach reminded me of Rachmaninov than Chopin by the expressive arpeggios, whereas Barber harmonically was rather modern looking with the mysterious outlook that gone very distanced from Chopin. Tchaikovsky though lacked a definite outlook but only soft and tuneful.

Despite Rachmaninov referenced the funeral march from the third movement of Chopin's second sonata in his theme and variations, his idea went beyond the original with a rather symphonic sound world in mind. Trifonov kept the slow march flowing than indulging on the tragic sentiments. A mysterious and sorrow start to the fugue,which then developed into a lively and complex progression. Spread chords were expressively played and not aggressively hammer. A brief romantically driven passage followed by a crushing and wild gallop. Contrasting dynamics created immense emotional contrast and later it developed into another mysterious and unsettling transition. Then it galloped into a broad and muscular sound world with sheer intensity, in contrast to the fantasia like development that later lightened up by a lyrical theme. A triumphant and exuberant climax was given yet Trifonov rightly so to play the return of funeral march as devastating and bold than before.

The second half though lacked the brilliancy and lost focus. Variations on the theme from Mozart's Don Giovanni recalled those technical showcase piece by Liszt, but it did not feel right for Trifonov. His playing became untidy and phrasing seems random. Gallops were sometimes out of shape and sounded blurry by being sticky on the pedal. Later he was impatient in the first movement of the second sonata by hurrying through. It felt like a tense pressing after a lyrical resolve but never reach. Employing the same approach became dull for the ears and lacked contrast in colours. Questionable phrasing again in the second movement that did not carry the dance momentum but only as a rhythmic exercise. Nevertheless, he regained the calm and submissive touch in the tender interlude that at times was spellbinding and effective. Cloudy tone resurfaced at recapitulation even it was energetically driven. The funeral march of the third movement recalled the Russian context alike Rachmaninov early on. Trifonov seems more at home in building up the majestic crescendo in contrast to the still and lullaby like passage, which the softness magically stayed on the same level without losing the intention. As the funeral march returned, the emotions culminated again for the sheer devastation. Twice I listened to the short and chromatic styled fourth movement, one still could not understand by its purpose. Perhaps I was tired by then or Trifonov employed too much rubato without a clear intention, neither the Fantasy-Impromptu or arrangement of the cello sonata interested me anymore.

The acoustic of City hall concert hall is more ideal for solo instrumental recital with a warmer sound, and more in proportion by the smaller performing space than the cultural centre. It elevated Blechacz's smooth and delicate playing into a beautiful tone throughout. He began the Bach tidily and aimed for the counterpoint in the first movement. Each thematic entry at the fugue of second movement was introduced clearly and structurally transparent. The good work continued into the third movement and kept the momentum flowing. His ornamentation sank naturally into the tricky rhythmic patterns of the fourth movement with the dynamic differentiation that created a colourful sound world. However, I did not enjoy his interpretation of Beethoven's Rondo in G as much as the other works. It felt he was hurrying along and rather mechanical in approach, which pushed the tempo too quickly than letting the music to sing. The attacks were rather sudden and shapeless by his playing being impatient.

In turn, he had shown more thoughts and interest for Beethoven's third piano sonata. A muscular flourish opened the piece and the progression flowed tightly that had the intention to move forward. Though he could have been more relax in the soft passage by being more tender than tense It would have allowed more dynamic contrast from the dense and bold interlude followed. Composition wise it seems Beethoven wanted to experiment new harmonic language and those thoughts were given a quick glimpse. Blechacz maintained the smoothness and clarity as the music descended to the lowest range before repeating the opening theme. The second movement was romantically driven at first but at the end the classical style returned, which was more optimistic than the tragic sentiment in first place. Spellbinding tenderness during the quiet and soft passage that sustained the textual silkiness. Scherzo of the third movement was probably the most experimental of the whole work. Harmonically complex and structurally dense but leaving an open end without a clear resolve. Blechacz kept the rhythmic excitement by aiming at the spring board to the next phrase that began the fourth movement. The heavily scaled passage carried the sheer intensity with forward momentum and again Beethoven experimented ideas before a conventional closing.

Chopin's Fantaisie began rather mysteriously and moody. It was rather inward looking before a climatic built up from the soft and lyrical theme into a vigorous dance. Blechacz's left hand was sometimes heavier than the right but still able to maintain the clarity. He preferred a tidy and unhurried playing in the flourish than a technical run off with bold gesture. Nocturne in f sharp minor is a more typical Chopin piece with the subtlety and calmness more familiar with. Tenderness and the intimate sentiment were sustained throughout that a grand overview.

Compare to Trifonov's interpretation, Blechacz approached the first movement of the second piano sonata with a more sustained and legato playing. Even the expressive gallop stayed subtle which lightened the emotional flourish. Yet the progression stayed tightly and maintained the direction. Structural clarity was achieved even at romantically driven passage than over expressing. This time the second movement still had the virtuosic impression but managed to carry in a rich tone. It was gentler and more sedate through articulating the contrast between intimacy and rhythmic excitement. Funeral march of the third march was also given a lighter touch and flowed in boldness. Dynamic contrast was more faithfully observed to avoid being dense and over sentimental. The lyrical theme was highly moving by the sensitive touch with lightness, before the funeral march reappeared majestically. Intermezzo in A by Brahms put the smile back on the face and ended this performance on a satisfying high point. 

Review - Symphony No. 8 (Bruckner), Hong Kong Philharmonic Orchestra & Jaap van Zweden, 13 October 2017

Symphony No. 8 (Bruckner)

Hong Kong Philharmonic Orchestra
Jaap van Zweden (conductor)

Despite the one and half hour long performance was greeted by an enthusiastic reception, Zweden did not appear satisfy as some previous performances like the Mahler fifth. Prior to the orchestra's Beijing tour, this one off account of the composer's spiritual journey on death and transfiguration for the hometown audience felt like a work in progress than a full understanding. The blame was equally shared between the orchestra and also Zweden himself. They have to go back to the drawing board and adjust for a more all rounding results.

After being used to the rich and full bodied playing by the Lucerne Festival Orchestra in Tokyo, it took few minutes for my ears to adjust back to the orchestra's colour. Although upper strings played tidily in a beautiful tone, the sound body was slightly thin even for the soft beginning. Same happened to the horns too and sluggish woodwind playing without a clear direction. After the first round of ebb and flow of climatic moments, the violins were more able to shape the lyrical theme. It was confidently answered by a muscular brass fanfare upon another climax. Megan Sterling's flute solo responded beautifully and carried more direction than her colleagues. Further sentimental playing from the strings that gradually built up another crushing climatic point before the music faded away in its leanest sound body.

The strings knew the road map well enough in the Scherzo of the second movement, which had more urgency in its playing and galloped through with great energy. In contrast, the woodwind was not responsive and neither crisp. Brass was slightly polite at the triumphant gallop while upper strings made a raw sound to response emotionally. The horns' duet was supposedly a sublime and majesty passage, but it was the weakest moment of the evening and rough edged along with the harps and strings. The lyrical theme also lost focus and messy among the brass, which lacked smoothness while playing tenderly. Lower strings also needed to play the notes in fuller value to let the line sings more. Direction and confidence regained at recapitulation with the upper strings realised the accelerando with sheer intensity, though woodwind was rather impatient with the tempo.

Zweden seems preferred a rather swift tempo for the lengthy third movement but that sacrificed the space for the music to sing. The sentimental theme which began the movement was not devastating enough. Upper strings somehow lost its focus and gave a rather mechanical rendition than keeping the line flowing. Instead the lower strings was more able to create the colours through the ebb and flow of emotions. Later the woodwind sextet did not really click together as an ensemble and lacked the chemistry. The broad expressive theme then developed into a magnificent climax with sentiments, but the playing again felt vertically progressed and lost energy. A quick ascend to the next climax that felt in hurry than enjoying the big moment. Perhaps Zweden saw the focus was the inner emotions later expressed mysteriously than the triumphant peaks. The tender revolve seems too energetic and not idiomatic with the movement's broad impression. It needs to be more patient and phrased the line longer for a calm and relax closing.

Blazing brass fanfare made a wild and crushing entrance into the fourth movement, responded by an emotional expressive theme on the strings in rich tone. Whereas the strings increasingly employed more rawness in their playing, the woodwind answered subtly alike a walk in the woods. Then a bold chorale theme was majestically rendered responded by a sweet tune on the solo oboe. The muscular fanfare returned again at fortissimo and strings gave a warm and expressive response. Horns' solo line again not beautifully played neither majestic, though another devastating climax became the focus. It became a classic struggle between triumph and melancholy that searched endlessly for a resolve. Harmonically the recapitulation developed into a new sound world and became more confident to overcome the uncertainty. It developed a complex of emotions through brass bombardment against sentimental strings' motive. Sorrow seems prevailed but the finale finally reached a triumphant resolve against an epic struggle in grandeur. No wonder the audience could not hold back their appreciations even it was not a resounding success.

Review - Aida (Verdi), Opera Hong Kong, 12 October 2017

Aida - Marjorie Owens
Radames - Riccardo Massi
Amneris - Violeta Urmana
Amonasro - Reginald Smith Jr
Ramfis - Hao Jiang Tian
Pharaoh - Igor Durlovki
Messenger - Chen Chen
Priestess - Li Yang

Opera Hong Kong Chorus
Shanghai Opera House Orchestra and Suzhou Symphony Orchestra
Xu Zhong (conductor)
Jean Louis Grinda (director)

Opera Hong Kong and the Shanghai Opera House staged a grand and creditable performance this evening by reviving the general conservative appeal of Verdi’s timeless classic which delves into the difficult themes of fate, conflict of obligations, patriotism, and the salvific eternity of love.

Featuring stars such as Kristin Lewis, He Hui and Riccardo Massi, the all-star cast in this co-production is formidable to say the least. Marjorie Owens who sang the title role tonight was exceptional in many respects. Possessing a rich and substantial dramatic voice easily capable of filling the theatre, she offered an acoustic alternative to the other two renowned lyrical-spinto sopranos. ‘O Patria Mia’ was beautifully sung with ravishing phrasing, lush crescendos and a finely controlled pianissimo towards the end.

The role of Amneris seems to require much more versatility than that of Aida as her character is instilled with much more pathos and emotional changes. One sometimes wonders if Amneris is the real victim in the opera. From being a venomously jealous rival of Aida to being a repentant intercessor for Ramades, Violeta Urmana pulled off the role convincingly, striking the audience with her forthright but heartfelt vocalism.

Tenor Riccardo Massi came in strong with a stunning ‘Celeste Aida’, sung effortlessly with fervor and finesse. His tone was however a tad too light to complete Radames’s supremely heroic and domineering aura in Act I, as one who has heard Franco Corelli’s robust interpretation might agree. By contrast, his acting suggested a stout and headstrong Radames who would ultimately find himself defenseless before the dictates of fate.

Worthy of special mention are Hao Jiang Tian who sang Ramfis and Reginald Smith Jr who sang Amonasro, both possessing a round, orotund and fruity voice. Brilliant acting contributed to a climactic scene in Act III where Amonasro brazenly confronted Aida and hurled her to the ground.

By contrast, the Opera Chorus was disappointing to say the least. Consonants and entrances were very untidy. Intonation was questionable, especially during the sacrificial scene of Act I at the Temple of Vulcan. Tone was bland and lacked depth. There was also a problem with taking the sound out too early in the last syllables of many a phrase.

Whilst the quality of singing (apart from the Chorus) was generally undeniable, more doubts loom over the Jean Louis Grinda’s cinema-inspired setting. Despite the originality of the idea of mixing the contemporary with the ancient and of presenting the plot as an imaginary film, the final stage result was nothing short of uncomfortable and odd. The awkward presence of a redundant and messy film crew fussing around on both sides of the stage endured way beyond the introductory setting of the scene and gradually became a nuisance which served only to pull the audience away from the otherwise impeccable force of the drama. It irrevocably distanced the audience from the tragic impact of the plot every time the crew intruded into the scene to remind everyone that the whole thing was just a figment of imagination. Even worse was when the director lost courage to sustain his cinematic vision and apologetically called the film crew to retreat in the last Act.

Although the production was certainly not low-rent, many artistic details were glaringly overlooked, or worse still, tolerated. The grandeur of the Egyptian court in Act I was severely diminished by the poorly aligned soldiers, most of whom in their half-exposed state looked either unpleasantly flaccid or utterly skeletal. Costumes were uninspiring and mediocre – one would certainly be forgiven to ask if the great Pharaoh was actually one of the slaves during his first appearance. Make-up was subpar – there were one or two in Pharaoh’s entourage who liked like drifting ghosts. The otherwise deeply romantic secret meeting scene at the Nile in Act III felt shortchanged as one saw grotesque and coarse metal installations on what were meant to be lush lawns with beautiful flowers. Despite the well-choreographed dance in the sacrificial scene in Act I, everything and everyone looked dead and conveyed neither exoticism nor mysticism. Such a scene would probably have benefitted from the use of dimmer lighting and candle fire. That said, the pageantry of Act II, the choreography and the sets were generally commendable.

Overall, this was a fine and under-applauded production which could nevertheless have used more attention to detail and better on-stage actors.

(Photo credit: Opera Hong Kong Facebook page)

Review - Der Ring des Nibelungen (Wagner), Deutsche Oper Berlin, 13, 14, 15 & 17 April 2017

Wotan - Derek Welton (Rheingold), Iain Paterson (Walküre), Samuel Youn (Siegfried)
Siegfried - Stefan Vinke

Siegmund - Stuart Skelton
Hunding - Tobias Kehrer
Sieglinde -Eva-Maria Westbroek
Brünnhilde - Evelyn Herlitzius (Walküre, Götterdämmerung), Ricarda Merbeth (Siegfried)

Loge - Burkhard Ulrich
Alberich - Werner Van Mechelen
Mime - Paul Kaufmann (Rheingold), Burkhard Ulrich (Siegfried)
Fasolt, Hagen - Albert Pesendorfer
Fafner - Andrew Harris
Fricka, Second Norn (sung), Waltraute (Götterdämmerung) - Daniela Sindram

Gunther - Seth Carico
Gutrune - Ricarda Merbeth
Freia - Martina Weischenbach
Erda, Grimgerde, First Norn - Ronnita Miller
Woglinde - Meechot Marrero (Rheingold), Martina Welschenbach (Götterdämmerung)
Wellgunde, Rossweiße - Christina Sidak
Floßhilde, Siegrune - Annika Schlicht
Helmwige - Martina Welschenbach
Gerhilde, Third Norn - Seyoung Park
Ortlinde - Sunyoung Seo
Waltraute (Walküre) - Michaela Selinger
Schwetleite - Rebecca Raffell
Woodbird - Elbenita Kajtazi

Donner - Noel Bouley

Froh - Attilio Glaser

Chorus of the Deutsche Oper Berlin
Orchestra of the Deutsche Oper Berlin
Donald Runnicles (conductor)

Götz Friedrich (director)
Peter Sykora (designs)
Jasmin Solfaghari (Rheingold, Siegfried), Gerlinde Pelkowski (Walküre and Götterdämmerung) (revival directors)

Götz Friedrich's second ring production had been a regular repertoire of Deutsche Oper Berlin since 1984, including two overseas tours to Japan and America. The set is specially marked by the tunnel view as fixture throughout the cycle. Finally this Easter the production received its farewell appearance over two cycles with a promising cast. I am grateful to my friend who kindly gave his tickets to me, so to enjoy this spectacle from a great viewing spot on the first balcony. As a whole there were many memorable moments especially the impressive stage set and forward looking dramaturgy that mostly stood the test of time. Though it had also shown its age and one could see the reasons why it would be replaced by a new production in 2020.

Friedrich focused on the visual conception that many dramatic points began by observing from afar, and characters grew in size as they emerged from the back. The stage floor gradually descended and became steep towards the front to give a magnifying impression inside the tunnel. The enclosed structure kept the focus within space, and I felt acoustically it helped to concentrate and project the singing forward. Stage smoke was also skillfully produced like an actual cloudscape in different forms and even the tempo of formation was controlled. One particular moment was the thunderclouds realised with special lightning effects when the raging Wotan stormed upon valkyries after Brünnhilde and Sieglinde. The effect was memorable and spectacular enough for an epic mythology. Another spectacle was the magic fire of Brünnhilde's rock with flames lit from nine big stage holes alike volcanic ones. Despite it recalled the technological limitation back then when the stagehand had to lit the fire by torch, visually it looked grand and effective. Fafner the dragon as a giant robot and Valhalla in the form of a walnut lectern with revolving top also made impressive sights. Though thirty years since the first viewing, both began to look dusty and rather symbolic than generating the theatrical excitement.

Yet importantly, the attraction of this production was that the contemporary relevance and convention approach reached a fine balance. It did not go too far from a direct narration but neither afraid from making directorial concepts, which gave more insight than just showing decorative backdrops. Both the beginning of Das Rheingold and end of Götterdämmerung saw white hooded figures around the stage in silent. Their inanimate presence recalled the role of silent actors as props in Greek tragedy, which the composer had in mind to conceive the ring as mythological play but also a modern myth. They were the eternal spirit that never vanish though neither play a moving role in the drama. Though importantly they reconnected where the same tale could restart again like the wheel of fate. From there they gave an indirect introduction of the rhinemaidens, and the guarded gold that later led to the curse that brought the gods to their destruction. Instead of a mine, Nibelheim rose from the ground and had a reception with Alberich as bouncer guarding the entrance, which the decorations suggested an underground disco club. Nibelungs, faces hidden, were the enslaved lot and fearful of Alberich's command. Displays of personal ego and their cunning deeds were emphasized in greater importance within the context. Loge was indifferent to Wotan's authority as first, until his involvement in capturing Alberich made him no different from the others being tied to the tangle webs. It made the paradox of building Valhalla at great costs more poignant as he helped to assemble the wealth before Fafner killed Fasolt over greed. Though rest of the dramaturgy in Rheingold were symbolically portrayed that I felt the revival directors could have directed better. Fricka was tame in making her demand which undermined the demonstration of tension between her and Wotan. Confrontation between gods and giants were clumsy and far from a gripping violent scene. God's slow dance to Valhalla was pretentious enough, but far from the ascend that the music had gloriously suggested. The dramatic lightning scene was also underwhelming when Donner hit his hammer to break the cloud.

The tunnel was absent for the first time in the first act of Die Walküre and a bunker formed Hunding's dwelling instead. The dim stage lighting created a gloomy atmosphere with a huge and grotesque structure as the tree which Siegmund later pulled out Notung. Hunding entered the room with his huntsmen, which gave a more logical development in hunting after Siegmund than on his own. A chilling and bleak impression was in contrast to later the passionate and fantasy like reunion of the Wälsung, which warm lights flooded the stage with a healthy tree in the foreground. The tunnel reappeared as the couple eloped, then saw a fallen giant (Fasolt?) and model of a ruined city sat on the slope. It was unclear whether the ruins symbolised where Valkyries retrieved the heroes to Valhalla, or Wotan's vision envisaged the doom of gods. Though likely served as a metaphorical object to Wotan's dilemma when the destruction was approaching. Fricka became an irritating moaner and Wotan lost his temper by her complaints, yet it reminded him that he had promised to uphold the moral codes. The tangled web turned Wotan from a cool and stern outlook, previously at Rheingold, into an angry and moody figure. The death of Siegmund did not move Wotan that much neither the hesitation to kill, which the Wälsung siblings were a tool in his grand plan than considered as his children. He was visibly more troubled by Brünnhilde not because of her disobedience, but rather her wisdom and council made him felt guilty. Out of all the characters, she was also the only one wearing a classic outfit in armour and a norse helmet with wings. Interestingly, rest of the valkyries wore leather attire alike rebellious punk teenagers. By act three, a large sculpture replaced the city ruins but nothing symbolic than as backdrop. There was not much scenic wise until the magic fire spectacle as mentioned early, followed a conventional exchange between Wotan and Brünnhilde.

Among the four instalments, the staging of Siegfried was the least directorial and closer to a direct narrative. Mime's hut and workshop were half underground, but the set was visibly had the dusting looking. Stage lights stayed same throughout even when Mime was terrified by Wotan's threats after the riddles, which was dramatically underwhelming. Only Siegfried's forging of Notung with effects on sound, lights and stage equipment regained some theatrically interest. While the hero forged the sword under spotlight, Mime prepared the poison on the side and plotted against him. When it came to the confrontation between Fafner and Siegfried, the disguised dragon became a robot for a stage machinery display. The fight though felt like a fantasy of toy battle that far from dramatic and rather still in action. After Mime was stabbed and he disappeared into the back, it left an empty stage that far from marking the chilling cost of Siegfried's revenge. Stage lights turned red when Wotan told Erda of his plan emotionally. The mother of earth lost her colourful outlook of an indigenous figure by then and fully in white instead. Although it was in Wotan's plan to have Siegfried breaking his spear, he stayed to watch the hero in reaching Brünnhilde's rock. Friedrich probably felt the point of Wotan's confidence in his plan being succeeded was also the mean to an end, which hesitation sunk in and the risk heightened as future no longer involved his interference.

The staging for Götterdämmerung was uneven though that theatrically first act was not always able to realise the symbolism visually. Only later in the final two acts saw more thoughts showing by the sequence of actions. While the Norns weaved a long thread, smoke effects at the back of the tunnel and changed from red to white as the doom of gods was told. It thickened as the thread broke and turned into a volcanic orange colour to set up for the sunrise scene. Instead of seeing the couple awakening from the bed, Brünnhilde sat next to the side while Siegfried ran up the stage and waving Notung. But from then the two did not show any affection and just stood in the same position. Light projection was used for the colourful effects of Siegfried's Rhine journey. The scene then changed into a steel surrounding alike a factory interior and Hagen was looking at Gunther and Gutrune. Magnifying panels stood around and it became a spying exercise. Later Hagen showed more interested in knowing about the ring than the brotherhood ceremony between Siegfried and Gunther. Though the dullness in dramaturgy continued with Hagen sat motionless than displaying the darkness of his cunning plan to retrieve the ring. Siegfried's deception to take the ring from Brünnhilde by force was symbolic than an actual fight. Only the light and sound effects as Waltraute rode to meet Brünnhilde, and the magic fire sensing the approach of Siegfried had the dramatic intention.

A solemn and chilling surrounding alike a war assembly decorated the wedding scene of act two. Gibichungs had their spears and torches in full viewing, and there was nothing joyous about and Siegfried was confused by Brünnhilde's accusation. The stage was also near in total darkness to suggest the killing scene of Siegfried was expected. By act three it further confirmed that the murder of Siegfried was planned ahead at the knowledge of the whole hunting party than a sole assassination by Hagen. Huntsmen were not surprised by the killing but instead of forming a funeral procession, they covered themselves in black gowns. They joined the crowd later to witness the transformation of immolation scene from darkness to light, but being a spectator of the epic saga than involving within. The rhinemaidens covered the stage with a large rainbow coloured sheet and Hagen disappeared along without drawing much attention. White hooded figures from the beginning of Rheingold reappeared and marked the return to the beginning.

Interestingly, singers in this cycle made the impression that Wotan was the prime focus. It was rightly so since the ring was substantially about his attempt to save his legacy by all means but eventually led to the ultimate destruction. The three singers ably showed how the complex character evolved over the three instalments. Derek Welton portrayed a rather stern looking and cool Wotan in Rheingold, who also avoided from getting his hands dirty and commanded Loge to set the trap on Alberich. The set back on giving up the ring after Erda's warning felt alike a daunting lost, which his plan after power and dominion did not work accordingly. One felt Wotan's pride and authority by his rich vocal projection and bodied timbre. His diction was clear and phrased the line for a dramatic rendition. In contrast, Iain Paterson approached the role more poetically and saw Wotan became an emotional and human figure in Walküre. Being cornered by Fricka to kill Siegmund and Sieglinde, he threw chairs around in frustration. Later Wotan's monologue in telling Brünnhilde of the tangled web he faced was increasingly dramatic. It became violent when Wotan commanded Brünnhilde to kill the Wälsung by threat, and later when she fled with Sieglinde at the death of Siegmund. All these culminated to a climatic moment when Wotan raged over the plead of valkyries not to punish Brünnhilde, which Paterson displayed an angry character in full. Later he was able to realise the bitterness when Wotan had to punish Brünnhilde and also the dilemma they both experienced. It left the room for Wotan's farewell to be emotionally moving, and sublime by the beautiful and tender singing. A heartbreaking moment when Wotan fell on his knees, shaking and trembling after putting Brünnhilde into sleep. In Siegfried, Samuel Youn portrayed Wotan as a fearless character that being more aggressive than before. His dark timbre with a ringing bass tone made a terrifying wanderer, who was overconfident by his plan to undo the rules that bound his power and moral responsibilities. There was not much sentiment being brought forward from Walküre, but the arrogance and pride aimed to intimidate the others like Mime. Though all these self confidence were ignored by Erda and Siegfried. When Wotan's spear was destroyed, it left a power vacuum as the lead player of this saga lost the control on the game. Compare to Welton and Paterson, Youn's phrasing did not consistently sustain the interest of the sung text and sometimes sounded bland.

With such strong characterisation and confident singing from all three singers in the role of Wotan, rest of the cast would have to match the game but mixed results instead. Stefan Vinke had more warmth in his singing when he carried the vocal energy at Siegfried's forging of Notung. He showed the flexibility in switch his vocal colours to realise the changing emotions. A powerful introduction marked Siegfried's first entrance on the roof of Mime, then being sentimental when Mime recalled the past of his birth and Sieglinde's fate, and later heroically announced his adventure into the forest. Vinke's phrasing flowed more naturally in the tender and lyrical passages of the second act. After killing Fafner and Mime, Vinke was able to capture the mixed emotions that Siegfried felt. It was followed by more legato singing in the fantasy like passage as the woodbird called him to reach Brünnhilde's rock. The awakening scene of Brünnhilde was probably the most beautiful I had experienced in live so far. Besides Vinke phrased his singing poetically, Ricarda Merbeth vocally flexible and smooth at the vocal climbs between wide intervals. Her tessitura sat very comfortably in the vocal range and sustained the tenderness with ease. The lyrical and highly romantic passages was very beautifully rendered by the enchanted and clean singing. Both also realised the emotion transition as Brünnhilde first shocked by the loss of her power, but eventually embraced Siegfried's affection over the ecstasy of love. Vinke was lesser impressive at the beginning of Götterdämmerung which his timbre lacked the warmth and projection. It was not until the third act when Siegfried teased by the rhinemaidens then Vinke regained more legato vocally. Siegfried's final recall of his affection for Brünnhilde also carried smoothness throughout the romantically expressive singing.

Evelyn Herlitzius, as Brünnhilde in Walküre and Götterdämmerung, vocally not consistent with mixed impression in her characterisation. Her Hojotoho lacked body in Walküre and vibrato heavy on higher vocal register. Her singing sounded rough in the lyrical expressive passage that recalled the vocal condition of an aged woman. Intonation during the duet at the sunrise scene of Götterdämmerung was flat and did not produce the excitement of rapturous joy. Her lower register in the immolation scene was often underweight and only the ascend in vocal range then her singing was more audible. Due to sickness, Stuart Skelton was not at his best vocal condition either in the first act of Walküre. His voice strained by reaching wintersturme despite a confident start with a rich projection. He redeemed himself in the second act by carrying the lyrical tenderness when Siegmund vowed to protect Sieglinde and refused Brünnhilde's advice. His counterpart, Eva-Maria Westbroek, in contrast made a magnificent Sieglinde with a rich mezzo timbre, powerful projection and phrased her singing beautifully. Her vocal highlight was in the second act by exhibiting the nightmare horror and nervous outburst of Sieglinde's meltdown in the forest. She made an emotional plead to the valkyries for protection with endless vocal energy, a contrast from Herlitzius's muddled singing.

Vocally singers in the roles of villain were more consistent but characterisation not always effective. Werner Van Mechelen saw Alberich more than a greedy torturer, but as a naive figure that easily tricked by the rhinemaidens and fooled himself by his arrogance. When Wotan took the treasures from Alberich by force, the cursing of the ring was emotionally expressed for a poignant reminder of the perils followed. He possessed a rich voice with the depth in colour and clear in his diction. Burkhard Ulrich had the nasal timbre in mind for the role of Mime. His word painting was poetically phrase and gained the interest to listen to compare with Samuel Youn's rather blurry diction. Early on when he sang as Loge, his projection on higher notes sometimes lacked the support and experienced coordination problems with the orchestra. Though again like Mime, he phrased the words in the right flow and approached the expressive parts lyrically.  In comparison, Albert Pesendorfer was too nice as Hagen that far from realising the cunning personality by his gentle and warm timbre. He seems to ponder around than an evil planner plotting against Siegfried and Gunther. Only as the music became more dramatic in act two and three, his singing was more able to convey the urgency, authority with vocal projection. He announced Siegfried's death devastatingly even he was the murderer. The quarrel with Gunther was tense and threatening even the immolation soon overshadowed his presence. Besides as Brünnhilde in Siegfried, Ricarda Merbeth also took on as Gutrune. She demonstrated her vocal flexibility by giving a fuller weight with the clarity in her singing. Even the role did not have much to sing, she made a memorable account of it by the sheer dramatic intensity and vocal excitement.

Among the minor roles, Daniela Sindram did not have a rich voice as Waltraute in Götterdämmerung. She sang her part beautifully and more heroic as reaching the immolation motive, but rather vertical looking than sustaining the forward momentum. Perhaps the characterisation or dramaturgy did not help to create the thinking when the sisters were more meditative on what would happen next. Tobias Kehrer's Hunding not only had the commanding outlook as a gang leader but also with a ringing bass tone. One could sense the heaviness in the air as Hunding sat across from Siegmund and forced him to reveal his identity. Ronnita Miller had a rich mezzo tone colour that suited the timbre of Erda very well. Her vowels were on the bright side for clarity in her diction and phrased the lines majestically. She successfully portrayed as mother of earth as a blind woman yet with wisdom in Rheingold, and later in dreamy state as she was indifferent to what Wotan bashing about his self confidence against fate. The Norns were more consistent in their singing than the trios for rhinemaidens, whose sang with more bell like tone colour at Götterdämmerung than the covered voices in Rheingold. Both singers for the giants had a good flow on articulating the sung text with a rich and again majesty singing.

Lastly, it was a marathon for the orchestra to sustain the stamina over four nights with only one day in between to rest. Though it did not begin confidently when the horns being uncertain with the tempo in the underwater motive. Later the brass played magnificently at the descend and ascend of Nibelheim by being bold and muscular. The full orchestra made a crushing sound when Alberich screamed at his slaves to bring the treasures to surface as ransom. The orchestral flourish was even more devastating after Alberich cursed the ring, yet the strings played beautifully at the transition when Freia was brought back by the giants. The orchestra hold back from not being too aggressive and crushing again when the giants had a tense exchange with Wotan on the ring. The brass was also realised the daunting sense effectively in its playing as Wotan hesitated on whether to give up the ring. They neither indulge too much in the tuneful motives and sustained the momentum forward in the triumphant march into Valhalla.

However, the orchestra had more problems in Walküre than other evenings. Dynamic contrast was observed attentively in the opening gallop but it felt like a restless beast. Solo cello played the sorrow theme beautifully with an emotional depth. Though the horns had trouble again in the syncopated rhythms and some slips occurred. Problems continued as the orchestra fell behind Stuart Skelton and the brass became very sluggish in their entries, even the music was gloriously blazing in colour. The orchestra managed to realise the violence and tense passages in act two when Wotan recalled the turbulent past emotionally. It also gave a majestic entrance upon Brünnhilde's entry in shimmering armours. However, there were coordination problems in being together with Evelyn Herlitzius and both seems unsure how to fit into each other by dragging the tempo along. Only at the tense and dramatic moments when Siegmund heroically declared his protection of Sieglinde then the orchestra found its way back with the brass playing wildly. The playing was more crisp and tidy during the ride of the Valkyries. It went bombastic and muscular as Valkyries pleaded to Wotan noisily. A highly moving coda when the magic fire motive was played and Wotan reconciled with Brünnhilde.

The orchestra flowed more fluidly in Siegfried with the urgency and direction to create the dramatic intensity of act one. It tried to stay away from portraying Mime's house overtly moody nor too violent as Siegfried entered excitingly with the bear. Brass again played boldly as Wotan told Mime about the giants and Nibelung in a daunting sense. A spirited orchestral transition was given when Wotan left Alberich after no success in awakening Fafner. The orchestra also played beautifully to produce the sweetness that Siegfried was enjoying as the woodbird told him about Brünnhilde's rock. Wotan's triumphant gallop at the beginning of act three was played brilliantly and gradually drove into another explosive climax. It sustained the excitement and momentum as Wotan was so eager to reveal his plan to Erda. The expressive love theme was gloriously played and later Siegfried's ascend to Brünnhilde's rock was so magnificently delivered. The sensual unison line was delicately rendered for a spellbinding effect by the tutti violins. Though sometimes the orchestra was slightly behind Stefan Vinke even woodwinds responded each other smoothly. The strings gave it all by being tense and expressive in the emotional outpours. It was increasingly romantic as the sensual feelings heightened and the brass played magnificently to capture the sense of wonderment when Brünnhilde saw Siegfried for the first time. Siegfried's idyll was tenderly played and the full orchestra made a glorious conclusion.

A rather swift opening to Götterdämmerung that kept the momentum flowing forward. It became increasingly unsettled as the Norns foretold the end they knew from the thread. Sunrise scene was gloriously played by the brass in a blazing tone colour and the orchestral playing drove more direction than the singing. The love theme was beautifully played before an exciting transition into Siegfried's journey to the Rhine. Again the orchestral playing had more urgency compared to the singers, but the horns slipped again. It played wildly when Siegfried and Gunther made the blood brotherhood, followed by an energetic gallop to drive the excitement forward. The daunting atmosphere and evil impression were too effectively produced. Both the chorus and orchestra delivered many walls of sound for the crushing dramatic effects of the second act. Horns were swift in tempo at the beginning of act three and made a devastating noise when Hagen killed Siegfried. Winds though were not tidy in their entries before the death march, and only then the brass played more brilliantly with the sheer impact by being muscular and heroic in sound. My seat was directly behind Donald Runnicles so could not tell if his conducting was the reason why the horns had troubles many times, though I suspected the players were not careful enough with their playing or due to tiredness. Now finally it is time to look forward to the new production by Stefan Herheim, and one expect he will have many interesting things to say.

(Photo credit: Deutsche Oper Berlin Facebook Page)

A reflection on The Sixteen's choral pilgrimage, Hong Kong City Hall, 6 October 2017

Salve Regina (Poulenc)
‘Surge amica mea’ and ‘Surgam et circuibo civitatem’ from Song of Songs (Palestrina)
Parce mihi, Domine (Palestrina)
Quatre motets pour un temps de penitence (Poulenc)
Peccantem me quotidie (Palestrina)
‘Kyrie’, ‘Gloria’ and ‘Credo’ from Missa L’Homme Arme (Palestrina)
Un Soir de neige (Poulenc)
Salve Regina (Palestrina)
‘Agnus Dei’ from Mass in G (Poulenc)

The Sixteen

Harry Christophers (Conductor)

Instead of the usual full review, one of the blog contributors made a commentary on The Sixteen's recent revisit to Hong Kong:

Overall, I would say that the performance was excellent though not quite 'spine-tingling'.

Even during the opening piece, Poulenc's 'Salve Regina', one could immediately sense the sublime phrasing, excellent diction and although there were 18 singers (6S, 1A, 3CT, 4T, 4B) the balance was pretty much spot-on.

Harry Christopher's style was extremely expressive (I have not seen him conducting before), very expansive, clear with gliding and directional arms/hands. Actually I felt that the music stand got in his way rather a lot, as he likes to move around with the style of the music. One might describe his style as 'jaunty'.

All the Palestrina items were sung with precision though I felt that the singers were not totally consumed by the emotion of the music - indeed they stood fairly still and at times came across as slightly functional. I prefer a much more lilting and emotional way of performing Palestrina, especially with the accidentals and tensions between parts.

The Poulenc motets, all of which I had sung with local choral groups before, are not easy but of course The Sixteen delivered them well. Some of the soprano entries did not sound as well placed as they might have been, particularly the higher register. Their tone could have been warmer at times in the second half with Palestrina.

The second encore was a Chinese song which went down well with the audience.

Overall, an excellent performance ("depressingly good") which highlighted the levels of near perfection that singers and conductor can achieve when totally at one with each other. But it did not quite deliver me to the heights of 'spine-tingling' which I was expecting!

(Photo credit: YouTube)

Review - Lucerne Festival Orchestra 2017 Asian Tour, Tokyo Suntory Hall, 6 & 7 October 2017

6 October 2017:
'Egmont' Overture (Beethoven)
Symphony No. 8 (Beethoven)
The Rite of Spring (Stravinsky)
Infernal dance from Firebird (Stravinsky)

7 October 2017:
Also sprach Zarathustra (Richard Strauss)
Tod und Verklärung (Richard Strauss)
Till Eulenspiegels lustige Streiche (Richard Strauss)
Dance of the seven veils from Salome (Richard Strauss)

Lucerne Festival Orchestra
Riccardo Chailly (Conductor)

This Asian tour was an overdue revisit for the orchestra since Abbado's death and the change of leadership to Riccardo Chailly. The two pairing programmes showcase how versatile this orchestra is, which the members are top notch musicians from various leading European orchestras. Though the two performances were not a total success and Chailly hold some responsibility for the shortfall of insight in his conducting. Beethoven's Egmont overture provided a foretaste of the full bodied rich tone colour from the orchestra. It made a confident start with some tidy and polished strings' playing. Legato was sustained through the line for a flowing impression. Despite first half of the work was in minor key, the produced colour was bold and rich rather than sentimental by impression. However, the thick strings' body affected the balance and the trumpets were drowned by them. Another issue was the lack of focus in phrasing that the Allegro passage was rushed through than shaping the music to build up a climatic finale.

The lack of phrasing continued into the first movement of Beethoven's eighth symphony, which the majestic gallop did not have enough edge for the rhythmic drive. There were also too many desks of strings that tutti playing not being tidy and dense in colour. The tempestuous crescendo felt alike a noise bombardment but lacked colour and dynamic contrast. In turn, the orchestra carried more shape in the playful second movement. Though it again hurried along the minuet of the third movement, and felt like a heavy dance than with the lightness in mind. Blazing sound from the horns' graceful playing but not too exciting to hear for long. It eventually found its foot in the fourth movement which marked with Allegro Vivace. Tempo maintained at the right momentum and restrained from galloping towards the coda. It also had a sweeter and more optimistic outlook. However, the full and rich playing did not feel crispy and details again lost to the heavy handed rendition. Chailly's conducting did not either suggest he had in mind how to shape the music more effectively but simply hurrying along.

A sedate bassoon solo began the surreal sound world of the Rite of Spring in the second half. Though the adopted tempo was too broad and did not carry the flowing momentum. As it reached the tribal dance passage, instrumental cries had the wildness and excitement in place. Yet soon the slow march dragged too much and lost sense of direction again. Later the playing regained some forwardness at the climax, followed by a calm and flowing solo clarinet passage in the transitional section. Structurally clear even during the thick and complex passages. The explosive infinite coda of part one carried sheer excitement of wildness. However, tempo was too broad again in the eerie introduction to the second part. Transitional passages were cloudy in connections and lost direction at the softest moment of the whole work. It felt like sitting on the music than carrying the forward momentum. Radiant horns' entry before returning to the exuberant dance climax and followed by a majestic march. The orchestra had more direction finally towards the end as the music went evermore brilliant. Screaming winds against the exuberant strings' playing created the sheer dramatic excitement. Infernal dance from Stravinsky's Firebird, which had a film score composition style, was given as the first encore. The orchestra played tenderly in the lyrical opening and later gradually went wild for an explosive end.

The second performance predominantly featured tone poems by Richard Strauss, which filled the gap between early romantic period and twentieth century of the first programme. The sunrise scene of Also sprach Zarathustra was glorious rendered with a wall of sound from the orchestra and the Suntory Hall's pipe organ in full blast. Strings' front desks then gave a legato and warm playing for the lyrical depiction of the mountain when it was revealed. Tutti strings built up from there for a sweet, expressive and lush melodic theme. Though Chailly still phrased the music vertically than driving the momentum forward. A muscular and thick bodied sound was made at the crescendo of the storm passage, but the playing did not carry the intention. Lower strings played aimlessly than painting the music, while the woodwinds far from creating the humorous impression at the transitional interlude. Instead, blazing brass took the attention in another stormy passage with a crushing wall of sound. Solo winds were able to sustain the connection in the challenging dialogue passage, but rather messy when the solo violin responded with a folk dance passage. Phrasing and structural clarity improved as the orchestra reached the energetic waltz like passage. Strings played beautifully and knew how to flow between the ebb and flow of emotions naturally. The triumphant theme was gloriously rendered and the orchestra built towards another climax until the bell tolled. Delicate playing from the upper strings and woodwinds for a spellbinding heavenward conclusion.

'Tod und Verklärung' is another typical Strauss's work that searching endlessly for climatic resolves. The orchestra played in a silky tone throughout and displayed the best tone quality it could produce. A flowing impression began the mysterious and sorrow opening. Strings and winds introduced the themes alternatively yet the tone colour was dreamy. It was followed by a violent passage that filled with sentiments and emotions. Resolve to the sweet and lyrical state was beautifully rendered particularly on the melodic theme led by the flute. The dream like soft theme recalled those alike later in Die Frau Ohne Schatten. A muscular and triumphant theme was repeatedly given against the return of the tragic motive. It reached another climax for an optimistic resolve, but the tragic devastation struck again and led to a zen like meditation. Finally a radiant hymn like theme was given at the coda and emotions poured out in full to finish on a romantic high point.

'Till Eulenspiegels lustige Streiche' in turn had more dramatic contrast compare to 'Tod und Verklärung'. Strings effectively conjured the witty impression and galloped in great momentum. Lower strings then playing with a full rich tone on the waltz theme. The ever evolving rhythmic patterns did not pose a challenge and the orchestra had in mind how to shape the music meaningfully. It could also play wildly to create a crushing impact then returned to the naive like response. Blazing tone colour sustained throughout the brilliant heroic gallop for sheer dramatic intensity. Rhythmic momentum and dynamic changes also created a lot of musical excitements. Winds' piercing cries responded by brass solemn theme made a devastating impact on the tragic development. Yet the thrill at the coda was brilliantly executed with an exuberant crescendo. Dance of the seven veils from Salome gave a colourful middle eastern flair for a fitting conclusion to the orchestra's Tokyo visit.

(Photo credit: Geoffroy Schied and Instagram)

Review - Götterdämmerung (Wagner), New National Theatre Tokyo, 4 October 2017

Siegfried - Stephen Gould
Brünnhilde - Petra Lang
Alberich - Shimamura Takeo
Gunther - Anton Keremidtchiev
Hagen - Albert Pesendorfer
Gutrune - Ando Fumiko
Waltraute - Waltraud Meier
Woglinde - Masuda Noriko
Wellgunde - Kanoh Etsuko
Flosshilde - Tamura Yukie
Erste Norn - Takemoto Setsuko
Zweite Norn - Ikeda Kaori
Dritte Norn - Hashizume Yuka

New National Theatre Chorus
Yomiuri Nippon Symphony Orchestra
Iimori Taijiro (Conductor)
Götz Friedrich (Director)

New National Theatre Tokyo chose to revive Götz Friedrich's production originally for the Finnish Opera, his third after the Deutsche Oper Berlin one, for its ongoing ring instalments. Instead of the tunnel set and mythical approach in dramaturgy, this stage set looked more contemporary and the conceptual idea provided more answers than the Berlin one. Opening scene saw the Norns weaving the long rope of destiny in red on a black triangular raised platform with a red moon in the backdrop. There were standing poles alike needles stood around the ground. This formation became the stage bases for the drama to unfold until the final destruction. Interestingly, Brünnhilde entered midway when the Norns recalled the magic fire that Wotan placed to protect her. At first she was puzzled by the trio disappeared in haste after the breaking of the thread. Though one suspect that she gained the vision that what happen next deter by her action even not knowing what would come after. At the sunrise scene, Siegfried entered by wielding Notung in his workman outfit before hugging Brünnhilde. The couple was more passionately about each other than the Berlin staging, and again Siegfried was shown to continue his adventure than staying alongside with Brünnhilde.

Siegfried's Rhine journey saw neon lights in long blue glass tubes moved vertically on stage, yet Hagen already observed Siegfried from the front. Friederich retained the magnifying glass panels for the hall of Gibichungs as he saw it was as a spying game between the characters. Günther and Gutrune still shared siblings' affection for each other, but this time the latter was easily subdued by Hagen even she was afraid of him. Siegfried again wielding Notung at his arrival which put off Günther but not Hagen, who was more approachable to receive hero as a naive warrior. Siegfried's face changed into white after consuming the love potion prepared by Gutrune, and the warm stage lights changed into an eerie setting. Though that did not dampen Siegfried's spirit when he cut deep of the arm for swearing blood brotherhood with Günther. Lightnings awoke Brünnhilde as Waltraute approached the rock to bag her by giving up with ring to save the gods. Each was eager to express the self condition but negotiation did not meet. Siegfried's disguise to steal the ring was rather symbolic but also demonstrating his will to command the ring was stronger than Brünnhilde. After all, he took the ring by force and Brünnhilde only received it as a gift.

An eerie set up inside Gibichungs hall started the second act, and saw Alberich as an elderly dwarf lurking around to persuade the dreamy Hagen to take the ring back from Siegfried. Spears lined up on sides that gave the militant outlook at the wedding scene, but less Teutonic in compare to the Berlin staging and without torches. Brünnhilde hugged Siegfried at first, but she was shocked when he did not recognise her and eventually raged when she saw he had the ring. Siegfried became the guilty party under accusations yet the Gibichungs, like Gutrune, were not shock by the misunderstanding. There were not much love towards their guests and probably a prey after all to everyone's knowledge. After Siegfried departed with the party, the remaining three gave a rather conventional declaration by facing at the audience to plot the murder of Siegfried. When the wedding ceremony finally took place, Brünnhilde again refused Siegfried's hand and gave a stern look at Hagen that hinting the motion was already in place.

Neon lights in blue glass tubes returned at the beginning of act three and saw the rhinemaidens in leather outfits. They attempted to subdue Siegfried with their erotic outlook by showing flash but to no result. Then Gibichungs hunting party used torches flashing at Siegfried prior to the murder, and the huntsmen all seems to know what would happen next as in the Berlin ring. Siegfried murdered by Hagen symbolically by the spear stabbed from behind, and Günther left the scene in dismay but no funeral possession was formed instead. Instead, the black triangular platform transformed into a funeral pyre, and Brünnhilde already saw the dead body before the scene returned to Gibichungs hall. The red thread was also shortened in length and symbolised what did not foretell by the Norns was fast approaching. Gutrune screamed as Hagen showed her Siegfried's dead body, but reacted hesitantly when Günther was murder in front of her, neither did the rest of Gibichungs. The weak leader was probably not love after all but Hagen himself that they turned to.

Siegfried's raised his right arm with the ring on when Brünnhilde reappeared for the immolation scene. Frederich still saw Hagen did not proceed to fight for the ring but looked from afar in stillness. Torches were brought in as the bodies of Siegfried and Günther were finally brought away. The background projection grew in red to signify the growing flame. Gibichungs panic as the hall columns collapsed and ground opened for a spectacular theatrical display of stage machinery. Here Frederich concluded the ring differently from Berlin with Hagen being dragged by the Rhinemaidens into ground. Brünnhilde reappeared after hiding under cloth to frighten Alberich away, who came to search for the ring again, and herself survived at the end. There were no Greek theatre by reconnecting to the start of Rheingold but a forward looking development that a new chapter had begun.

Casting for the four lead roles met equally on vocal technique and projection. Petra Lang was at her best as Brünnhilde during the visit of Waltraute and in the dramatic second act. The sheer emotions and vocal energy she delivered from time to time made an astounding impression. Though not often consistent by a sloppy start that her singing being under weight and a rather covered way in her diction. She couldn't sustain the line at the climax of the sunrise scene and lower notes often too soft to be heard. When singing in forte then she was more able to project more, and carried the momentum as she displayed Brünnhilde's revenge on Siegfried brilliantly. Her voice could be full and rich if she did not muddle the vowels for a dark tone colour. Stephen Gould made a confident start and secured his singing by nailing those high notes accurately. Diction was on the bright side and he could manage both dramatic and lyric singing style. Whether to do with tiredness or trying to save his voice for act three, vocally he was less energetic in act two and the singing faded a bit compare to his colleague. Nevertheless, he recovered for act three and able to switch from the heroic mode to a highly moving end as Siegfried recalled his tender affection for Brünnhilde for the last time.

Albert Pesendorfer had both the cunning appearance and timbre for Hagen. Yet he never aggressive neither go nasal in his singing. He had a rich and full vocal body that carried the command impression and phrased the words skilfully. Like Gould, he also switched his tone colours to be suitable for the scene atmospherically. His partner in crime, Anton Keremidtchiev, sang comfortably with the tessitura of Günther. He was the only singer that consistently had the vocal weight to penetrate through the thick orchestral accompaniment and very clear on his diction. His portrayal of Günther also realised the indecisive and self conflict character, who was afraid to take on the responsibility as a leader. Ando Fumiko was relatively thin in vocal body as Gutrune and took some time to warm up her voice. Her characterisation seems lacked a definite impression but a subordinate role. Her diction was also weak with vowels only could be heard but not the consonants.

Waltraud Meier continued to fade vocally that often not able to sustain the line neither had the weight. During the sisters' quarrel she was noticeably not able to match Petra Lang's response. Though at the least the tuning was still mainly in place and made a great crescendo before Waltraute left the scene in haste. The home grown Alberich, Shimamura Takeo, had the colour for the part but mixed results with his diction. He put the effort in articulating the consonants but some of the pronunciation did not sound German at all. Trio for Rhinemaidens blended more together than the Norns, though the latter had more exposed solo moments. Both diction and volume from the male chorus were impressive and gave the dramatic excitement by their singing. They helped the orchestra to coordinate the tempo transitions especially in act two that was more fluid in their playing.

The problem though lied on the elderly conductor Iimori Taijiro, who was not very clear with his conducting and sometimes even followed the orchestra than leading it. Some grand musical moments like Siegfried's death march and immolation scene being dragged to some unnecessary broad tempo. It gave a rather vertical reading of the music than generating the momentum to drive the music forward. Brass had some up and down moments that it could be magnificently by playing loudly, but uncertain when the dynamic was soft. The orchestra probably did not find Taijiro being helpful when he sometimes over conducted, and waving the baton to paint the movement than showing the rhythmic patterns. Winds' entries particularly were not always tidy and the orchestral playing from time to time sounded on auto mode. Prompter and back stage conductors should be credited for keeping the singers with the orchestra together. I should also mention that the hall acoustic of the national theatre was good with the warmth and balance, but the seat was not comfortable to sit for long duration.

(Photo credit: New National Theatre Tokyo Facebook page)

Review - Kirill Petrenko and the Bavarian State Orchestra, NHK Concert Hall Tokyo, 1 October 2017

Das Knaben Wunderhorn (Mahler)
Act 1 from Die Walküre (Wagner)

Matthias Goerne (Baritone)
Klaus Florian Vogt (Siegmund)
Elena Pankratova (Sieglinde)
Georg Zeppenfeld (Hunding)
Bayerisches Staatsorchester
Kirill Petrenko (Conductor)

This concert marked the end of this year Munich Opera's tour in Tokyo, which staged performances of Tannhaüser and Magic Flute were given the week prior. First half featured Mahler's songs set to poems from the youth's magic horn, which contemplate between melancholy, death and afterlife. A fine selection but not always favourable to Goerne's timbre, and some questionable whether
effective at such lower vocal range. The orchestral playing was fraction behind Petrenko's conducting in the slow danced Rheinlegenchen. It felt rather out of place when the phrasing and coordination did not come together naturally. The second song, Wo die schönen Trompeten blasen, showed the best side of Goerne's singing through the tender and lyrical vocal lines. The strings flowed better than the winds, which still not together under Petrenko's indication. Fanfare from horns and trumpets at the coda was sight reading like and the produced sound felt uncertain.

Though the other way round in the third song, Das irdische Leben, which Goerne dragged behind the dramatic yet melancholy orchestral accompaniment. His tone colour was dense for the majestic and more positive 'Urlicht'. Despite the orchestra gave a warm and sweet playing, Goerne adopted a rather slower tempo than with the forward momentum Petrenko tried to indicate in his conducting. The orchestra became rather restrained during the witty waltz driving 'Verlor'ne Müh', whereas Goerne gave a more humorous rendition in a brighter tone than before. The rather uplifting 'Revelge' in the style of a march was the most symphonic and loudness of the selections. Here both orchestral and vocal had more grip to the performing style. Goerne brightened up his singing to enhance the vocal clarity, whereas the orchestra gave a majestic and lively rendition. Musically the last movement, Der Tamboursg'sell, was the most gloomy of all. Vocal range was rather low, and Goerne changed his timbre into a rather dark and covered tone. The woodwinds instead sustained more warmth in contrast with some beautiful duets from the cor anglais and oboe.

The dramatic orchestral introduction to Die Walküre was played tidily but lacked intensity due to the vast hall acoustic. Intonation of Elena Pankratova's entry at first was on the verge of going flat but as the vocal range climbed her tuning improved. Though she employed a rather covered tone and heavy vibrato on the top notes in compare to Klaus Florian Vogt, who sang much brighter vowels in a relaxed voice. He phrased the music poetically and carried the projection that rang throughout the hall. The cello trios played the affection theme beautifully and gradually drove the emotions forward. Despite not much to sing, Georg Zeppenfeld sang in a ringing bass tone with the clarity in diction. He gave the authoritative impression of Hunding to force Siegmund actual identity. Vogt in turn conveyed the emotions through Siegmund' s recalling the past and developed into a dramatic response. The cello and bass gave a clean and precise attacks to create the climatic tension of the men hunt motive.

Gloominess was lightened by the appearance of Notung motive and the music became more hopeful as it went. The return of Sieglinde saw Pankratova's improvement in her intonation but diction still not clear compare to her two colleagues. As music became more intensive and exciting, she seems far from able to sustain the vocal energy. At Winterstürme, Vogt's singing flowed naturally in the ebb and flow of emotions than the orchestra. As the ecstasy of affection between the Wölsung grew, the orchestra played gloriously along including some majestic horns' passages. Vogt sang with even more confidence and crystal clear on the text compare to Pankratova's worrying Sieglinde. Blazing brass when Siegmund pulled Notung out of the tree and Vogt displayed endlessly vocal power for a resounding finale. As a whole, I felt Petrenko had more grip and thoughts in conducting the Wagner than the Mahler in first half. The orchestra too sounded more focused in shaping the music at the second half. In sum, a very polished performance but far from a dramatic deliverance.