Review - Les Huguenots (Meyerbeer), Bérénice (Jarrell), Tristan und Isolde (Wagner), La Traviata (Verdi), The Paris Opera

Les Huguenots (Meyerbeer), Opéra Bastille, 1 October 2018
Marguerite de Valois - Lisette Oropesa
Raoul de Nangis - Yosep Kang
Valentine - Ermonela Jaho
Urbain - Karine Deshayes
Marcel - Nicola Teste
Le Comte de Saint-Bris - Paul Gay

Andreas Kriegenburg (director)
Michele Mariotti (conductor)

Bérénice (Jarrell), Palais Garnier, 2 October 2018
Titus - Bo Skovhus
Bérénice - Barbara Hannigan
Antiochus - Ivan Ludlow
Paulin - Alastair Miles
Arsace - Julien Behr
Phenice - Rina Schenfeld

Claus Guth (director)
Philippe Jordan (conductor)

Tristan und Isolde, Opéra Bastille, 3 October 2018
Tristan - Andreas Schager
Isolde - Martina Serafin
King Mark - Rene Pape

Kurwenal - Matthias Goerne
Brangäne - Ekaterina Gubanova
The Young Seaman - Nicky Spence

Peter Sellars (director)
Bill Viola (video)
Philippe Jordan (conductor)

La Traviata, Opéra Bastille, 5 October 2018
Violetta - Aleksandra Kurzak
Alfredo Germont - Jean‑François Borras
Giorgio Germont - George Gagnidze

Benoît Jacquot (director)
Giacomo Sagripanti (conductor)

(Tristan und Isolde)

A big thank you to all that has been following this blog since October 2015. Hopefully more reviews on opera performances and lifestyle too such as a recent champagne sampling of 28 labels.

For the hundredth post, a review of four opera performances I saw at my recent revisit to the Paris Opera. The question of 'loyal to whom' is certainly the common theme that these operas dealt with the question of identity. Social belonging and public duty disrupt the relationship of the protagonist and their love ones. Death is also inevitable in the end but not necessarily a sad ending.

In Les Huguenots, Raoul and Valentine belonged to the rival groups of Catholics and Protestants. Their affection for each other saw them together yet did not escape the religious massacre. Valentine's death served as a poignant reminder to her father that the slaughter came at a painful cost despite attempts to stall the escalation.

There were more complications in Bérénice that Tito tormented by the state rejection of a foreign queen and his affection for her. The love triangle relation with Antiochus as a friend and in knowledge his affection for Bérénice added further headache to the dilemma. Bérénice's frustration by Tito's indecisiveness followed by the hopeless situation showed the three bended to the wheel of the state.

The forbidden love between Tristan and Isolde betrayed the state as the latter supposed to be the wife of King Mark. Their death was a release from the loyal obligation and reunited in after life. Giorgio rejected Violetta because of her social status despite her love for Alfredo was genuine and deep. Her death released her from the unhappy life yet a loss to the Germonts.

In terms of staging, Andreas Kriegenburg's set was the biggest with a mobile structure alike many recent productions. The mass crowd deployed in his production of Rheingold for Munich reappeared at the court of Marguerite. Though as a whole the dramaturgy followed a narrative approach and seems so relax that lacked a build up towards the cruel massacre in the final scene. It did not carry the looming intensity nor effect like his Soldaten.

(Bérénice)

It was my second time to see Bill Viola's video filming as backdrop in Tristan and Isolde. Though I felt the screen size used in Paris was smaller than my first viewing at Birmingham. The artistic filming style gave more fluidness to the background than the often slow motion or even static stage choreography. There were some memorable moments such as the candlelit scene, the underwater shot and the naked male ascended in pouring rain. Some might find the filming distracting and too suggestive while the singers were on stage. Though the problem seems to be Sellar's choreography for the singers rather basic or even random than incorporation them into the film.

However, Benoît Jacquot's production of La Traviata was the most unimaginative of all four. The set was so economically presented that the stage looked rather bare with Violetta's bed station alone. Act three when Violetta and Alfredo confronted at the salon gathering was the only part more interesting to look at. If it was not the music excellence, the evening would have been rather boring to sit long.

The best of all was Claus Guth's production of Bérénice, which had more depth and visual interest. The presentation as a psychological thriller realised the tension, emotional conflict and surrealness vividly. It added the dramatic intensity in displaying the protagonists' vulnerability and torments. Alike Les Huguenots and Tristan und Isolde, there was a lengthy negotiation as the emotional states evolved. Even though it could be tedious and frustrated as the characters seem never able to make up their minds.

(Les Huguenots)

Musically, the male choral parts were magnificent in Les Huguenots, especially the tenors that never seems tired to nail all those top notes and gave a wall of sound that filled the hall with a lot of vocal excitements. At short notice, Lisette Oropesa sang far more successfully than Yosep Kang. Oropesa met the vocal demand with ease, technically confident and also had the sweetness in her timbre. Whereas Kang struggled with the tessitura and he was not comfortable at all in the high vocal range. Diction was also sloppy, and his singing lost the flexibility and brilliancy as he displayed in Lucia di Lammermoor at the Deutsche Oper Berlin few years ago. I was more impressed by Ermonela Jaho, who not only technical brilliancy but also showing Valentine's torment and agony in full.

As a brilliant actress and singer, Barbara Hannigan showed how frustrating and despair of Bérénice in her quarrel with Tito. With Bo Skovhus and Ivan Ludlow, their music phrasing and acting were very natural as if the roles had been sophisticatedly studied and well prepared.

Endless vocal energy from Andrew Schager as a full blooded Tristan. Yet he approached the role alike Siegfried was sometimes overpowering and lacked the dynamic contrast. His counterpart Martina Serafin had mixture of results in her execution of Isolde. She was rather wobble by employing too much vibrato, and sometimes struggled to keep the intonation and even sustaining a phrase. Her vocal energy lost after a rather presentable act one and the rest seems too much for her to handle. Rene Pape was an experienced veteran in the role of King Mark. Though probably due to the staging he and Ekaterina Gubanova seems lacked the attention and merely a singer on stage without much impression. Nicky Spence as the seaman showed vocal promise and worth future listening for his confident and commanding timbre. Though it was annoying that a member of the audience applauded inappropriately after the cor anglais beautiful solo in act three.

Besides Ermonela Jaho, Aleksandra Kurzak also impressed me by her effortless singing and wonderful portrayal of the vulnerable Violetta. Her creamy timbre sustained the vocal smoothness and momentum. Jean‑François Borras managed to match Kurzak's vocal confidence and the audience seems unfairly gave him less appreciation. I was less crazy about George Gagnidze as Giorgio as his voice showed tears and lacked the warmth and body I had in mind.

The Paris Opera orchestra knew the music very well and responded to the ebbs and flows in all four operas. In Tristan und Isolde the orchestra especially kept the music flowing while ably to adjust the tone colour to match the emotions. They shaped the music effectively with a wonderful sense of direction. It was definitely the best orchestral interpretation I encountered in live and kept the evening more memorable than the vocal cast.

(La Traviata)

Review - Symphony No. 7 (Mahler), Hong Kong Philharmonic Orchestra, 17 November 2018

Symphony No. 7 (Mahler)

Hong Kong Philharmonic Orchestra
Jaap van Zweden (conductor)

Among all the symphonies by Mahler, I felt the seventh musically most complex and experimental. This performance by HKPO was the second time I heard the symphony in live and like any revisit one was still awe by each new discovery. Jaap took a rather slow and steady tempo for the introduction of the first movement. It felt rather heavy and lacked forwardness. Though I was impressed by the bright and bodied from the brass and caught up more momentum as the orchestra galloped more. The thematic development was almost abstract to an extent and nothing fixed. It became a thick and raging gallop as the music piling up texturally.

In contrast, the picturesque image of lake and natural landscape were more apparent in the quiet passage. It was also more romantic and sentimental than before. Though the focus turned away to a sombre funeral march played by the lower strings and brass. It then grew into a flamboyant explosion of thematic repetitions, which the orchestra gave a weighty and dramatic built up. The climaxes were emotionally driven and wild howls thundering along to shake the world in sheer intensity.

The second movement instead turned to melancholy and recalling the wunderhorn symphonies. Texturally lighter with some hints of humour but sarcastic the same time. It felt alike a spirited ride in the countryside while waltzing along. The depiction of an unsettling night with cow bells and melancholy dance felt rather enigmatic.

There was more urgency and abstraction to the scherzo of the third movement. The dance patterns grew more grotesque and energetically motivated. Jaap let the music to lead the shape as the orchestra sailed the continuous change of musical shapes. It did not lose the energy and sustained the rhythmic activeness throughout. Though the thinking seems lacked some depth despite being musically driven.

Finally the strings and winds could play with more warmth in the scenic fourth movement. A gentle serenade to an extent but underneath increasingly nervous and unsettling. The ebbs and flows of emotion swelled, which the lyrical dance theme negotiates with sentiments. It was not a wholehearted happiness but a sudden surge of inner excitement.

The beginning of the fifth movement marked by the triumphant and majestic gallop that gloriously rendered. Jaap took a rather swift tempo to allow the orchestral excitement exploded in fullness. Structurally the last movement was more classically orientated and square in phrasing. The brass fanfare was decorated by elaborate winds' descant. It was another explosion of thematic and rhythmic experimentation, which culminated to madness with different parts clashing into a chaos. Yet it was Mahler in exuberant mode at the recapitulation of the opening triumphant theme by stamping hard and wildly driven. A virtuosic part for the timpanist with the orchestra built towards an explosive and  intense conclusion. Most impressive performance as a whole and still amaze me that HKPO is continuing to perfect their playing.

Review - Angel's Bone (Du Yun), 2018 New Vision Arts Festival, 11 November 2018

Mrs X.E. - Abigail Fischer
Mr X.E. - Kyle Pfortmiller
Boy Angel - Kyle Bielfield
Girl Angel - Rosie K
Vocal ensemble - Rachel Kwok, Law Tsz-ying, Dominique Chan, Eleanor Chu, Keith Pun, Guddy Chan, Irwin Chan, Caleb Woo, Carlos Li

Hong Kong New Music Ensemble
Daniela Candillari (conductor)
Michael Joseph McQuiken (director)

The spectacular stage effects, which employed in this Asian premiere of Angel's Bone, were most impressive and a much desirable upgrade from the first performance at New York City in 2016. it gave the staging a chic outlook by using multimedia effectively. The use of revolving stage, simple furniture sets, sophisticated light designs, artistic projections and fluid choreography allowed a seamless and flowing performance. Proportionally it also made a spacious visual impression even the stage size is not particularly big.

The flexibility and progressiveness that this production successfully delivered serve as a good example for local opera companies to learn from than the clumsy unimaginative dramaturgy that has been prevailing. It has also demonstrated that chamber opera production, whether contemporary, classical or baroque, allows the repertoire list to expand and more mobile to be catered at smaller theatres.

Despite no printed programme was given except an online one, the story seems relatively straightforward to follow. Two shaken angels were taken into a religious driven household but terrified by the threatening Mr X.E.. The discontented Mrs X.E. desired to be socially glamorous than being an obedient housewife. She gradually seek comfort and satisfaction from the boy angel, yet the close affection got her pregnant. The girl angel was tormented by encounters with strangers and with the boy angel both emotionally broken. They were eventually thrown out by a raged and disgusted Mr X.E. at the discovery of his wife's infidelity. Mrs X.E. continued to struggle and begged for forgiveness to no avail.

Alike Elektra, it was a progression of mad house scenario. The domino effects of psychological break down and desperation culminated to a gripping and intensive end. Yet sentimentally I did not find the protagonists deserve the emotional pity. The narration was heavily bombarded by the emphasis on broken minds and driving to madness as with Mr X.E.. There were emotional corners when Mrs X.E. pleaded for redemption but lacked a convincing reason.

I also only realised the angels association to human trafficking and their abuse after reading the programme. At first the chanting, mention of annunciation and virginal conception in relation to Mrs X.E. and the boy angel were more apparent of a surreal psychological crisis. The use of amplification is debatable and it could have been less heavy to allow dynamic contrast and accommodate tenderness.

Under the direction of Dnaiela Candillari, the musical performance was dramatically rendered and sailed through some tricky music corners effectively. It was a great opportunity for local sourced musicians to showcase their talents along an international casted lead singers within a progressive stage experience. More is certainly welcomed in the future.

Review - Die Zauberflöte (Mozart), La Monnaie, Webcast / 28 September 2018

Sarastro - Gabor Bretz
Tamino - Ed Lyon
Queen of the Night - Sabine Devieilhe
Pamina - Sophie Karthauser
Papageno - Georg Nigl
Papagena - Elena Galitskaya
Mononstatos - Elmar Gilbertsson
Three Dames - Tineke van Ingelgem, Angelique Noldus, Esther Kuiper
Two Priests / Guards - Guillaume Antoine, Yves Saelens
Three Boys - Sofia Royo Casoka, Tobias van Haeperen, Elfie Salauddin Cremer

La Monnaie Symphony Orchestra and Chorus
Antonello Manacorda (conductor)
Romeo Castellucci (director)

Castellucci's directorial approach to Magic Flute was radical as expected but it came to an unexpected conclusion. It was far from the very entertaining 'brought smile to the face' production by Barrie Kosky, nor the psycho thriller taken by David Hermann for the Flemish Opera, and certainly not as a children's introduction to opera.

Instead the binary theme, light and night, in the respective ideological camps were focused in this production. Under the effect of jet lag, at first I thought the man, who attempted at destroying the lone fluorescent lamp in darkness, an act of vandalism from the camp of the queen of the night. The first half was presented in an extraordinary setting of Baroque grotto, designed and built by Michael Hansmeyer, as Sarastro's Palace of Light. Singers were in their elaborate white lace costumes came to stage in a compose manner. Though the oppression to treat the moors like Mononstatos as servants eventually triggered rebellion that finished the first half in chaos.

Fluid and awe-inspiring choreography, yet the same time it felt very controlled and symmetrical. The perfection in harmony and beauty made one wondered by its purpose, or what the veil was hiding. There was no spoken dialogue but only the musical part retained. Up to this point, I could not wonder was the director trying to please the die hard traditionalist, who prefer visual comfort and their indulgence in literal understanding of the opera. Though that would be odd as it was ignoring the humorous aspect, and so far the staging had no emotion but only a surreal and hallucinated impression. Perhaps it was also demonstrating the righteous and virtue of Tamino turning away from the queen's revenge plan and admission to Sarastro's temple?

The answers were gradually unfolded in the second half in relation to motherhood, blindness and injury. Breastfeeding was shown and the produced milk was saved into the cylinder of the fluorescent lamp. It justified why the queen of the night as mother to Pamina wanted to protect her daughter from Sarastro, who only laid rules and boundaries than showing affection for her. Five blind women told the audience they embraced blindness as a condition not illness nor suffering. Hope and motivation could still be found and realised even in darkness. The bias associated to night/darkness were unjustified and wrongfully labelled. Light actually could also be harmful than a beacon of guide as the tale of the five men told their tales of suffering severely from associated accidents. The challenge in the temple were obstacles and only love brought Tamino and Pamina together and showed the way forward.

So the conclusion seems to be the queen wow the ideological argument because of her more human qualities by more able to express the rawness of her emotions, whereas Sarastro's logical and the upholding of moral dimension only brought a dull stability and even 'darkness' that undermined the human qualities as portrayed in the first half. The pretentious behaviours at the elaborate palace had no soul and could not compare to the workers that experienced life difficulties and obstacles. Yet I thought Papageno came with the best conclusion that the conflict between ideological camps nothing but a disillusioned dream. Only embraced both 'light' and 'night' then one would be rewarded in true happiness as in his union with Papagena.

Though setting Magic Flute as a conceptual framework it nonetheless undermined the entertaining and humour aspects. The uniform style deployed in the costume styles too left no room for a distinctive identification of the lead roles. They were nothing more that a soundtrack or music box playing tuneful catchy music. The sung text formed the basis of ideas to toy around but the narrative story telling was deprived from any attention. That might be why I did not find the singing particularly memorable.

Yet Georg Nigl carried more distinction in his character portrayal of Papageno and gave more dramatic colour to his singing. Sabine Devieilhe nailed the top notes without difficulty and met the vocal expectation as queen of the night. Both Ed Lyon and Sophie Karthauser gave a smooth and sweet singing impression. Gabor Bretz's timbre was not so dense for Sarastro and adopted a more swift tempo than grudging along in the stately arias. The Monnaie orchestra had again demonstrated improvement to their tone quality and gave more shape to the music. It gave a spirited playing under the direction of Antonello Manacorda.

Review - Purcell and Handel, La Nuova Musica and David Bates, La Seine Musicale, 29 September 2018

Purcell: airs and dances from King Arthur, Fairy Queen, The Tempest
Handel: arias and dances from Il Pastor Fido, Terpsicore, Alcina

La Nuova Musica
Anna Dennis (soprano)
David Bates (director)

La Seine Musicale adds another new performing art complex to Paris after the Philharmonie. It locates on an island on the river Seine at the outskirt of Paris. The building design as a whole is spacious, tastefully decorated and comfortable. Good balance in terms of the hall acoustic and the right size for capacity. Instead of symphonic concerts, it focuses on Baroque performances and this concert by the La Nuova Musica makes a good introduction.

Despite signs of illness, Anna Dennis gave a tender and elegant rendition of 'fairest isle' from Purcell's King Arthur. The legato maintained and displayed a variety of vocal colours later in 'If love's a sweet passion' from the Fairy Queen. She gave an emotional account of 'The Plaint' also from the Fairy Queen, which recalled the same sentiments expressed in Dido's lament.

The dances were generally jolly, flamboyant and in a quick gallop. It began with an oboe driven dance swinging along followed by a majestic pastoral dance in the second movement. The third was a dialogue between violin and oboes whereas the final movement was a virtuosic display for the solo violin.

Though I thought the harpsichord could be added to give more contrast and support to the ensemble. Dennis sustained a bell like tone in her singing and being dramatic with the running to the top notes. It concluded with an emotional aria, Ah mio cor, from Handel's Alcina after a gallop to realise the torment.

Review - Orchestre de Paris, Philharmonie de Paris, 27 September 2018 & 4 October 2018

27 September 2018

The Coriolan Overture (Beethoven)
Violin Concerto No. 2 (Widmann)
Symphony No. 6 (Beethoven)

Carolin Widmann (violin)
Daniel Harding (conductor)

4 October 2018

Overture to 'Beatrice and Benedict' (Berlioz)
Piano Concerto No. 2 (Prokofiev)
Symphony No. 7 (Beethoven)

Igor Levit (piano)
Thomas Hengelbrock (conductor)

I never learn from the past and still attended the concert under jet lag. A strong coffee would have been useful to stay awake than dosing off. Nevertheless, the first concert experience at Paris Philharmonie was not that satisfying and there were some noticeable hiccups. The orchestra gave an explosive start in Beethoven's Coriolan overture. It carried the intensity to drive the tension in full until descend to a quiet end.

Widman's second violin concerto began with a minimalist gesture by using 'cor legno', which used the back of the bow hitting the strings. Short random notes made further abstract impression and then disrupted by a violent crescendo from the lower strings.

Harmonics were employed to start the second movement mysteriously in a surreal timeless landscape. A more lyrical line for the violin to indulge on lush romantic themes but the orchestral accompaniment was atonal on the other hand. It carried more emotional towards the end of the movement in a bright and raw tone.

An energetic charge kicked off the last movement with a busy part for the solo violin. It quoted the beginning of the concerto briefly before bursting in hurry again. The nervousness and violence built towards a bizarre and explosive coda like a boiling kettle.

In the Beethoven's sixth symphony, Daniel Harding's big gesture conducting style seems to be in opposite of the orchestra's playing being elegant and fluid. He made noticeable groans that one felt rather disturbing for the audio appreciation. The arpeggios were kept light and displayed the colourful scoring effectively of a cheerful pastoral scene in the first movement. The second began tenderly with the strings playing with mute on. It created a raindrop impression while keeping the music flowing softly. The wind solos were sweet in tone and able to show the dynamic contrast. Though the dialogue between the flute and clarinet went rather wrong that it took some bars to rectify and get back together.

The gallop before the storm was better coordinated that sustained the rhythmic forwardness. It reached sheer intensity at the stormy passage which was dramatically rendered and again displayed the contrast in colours and dynamics. A rather swift tempo was adopted for the aftermath fifth movement, which Harding probably preferred as a light quick dance. It certainly kept the momentum flowing and very bright colour from the brass. The coda was regal and stately concluded.

Hengelbrock's conducting was different from Harding by being less expressive and controlling. Yet there was some uncertain moments in Berlioz's overture that he let the orchestra to lead the direction. The playing at first lacked the swing of a dance but the strings played the lyrical theme beautifully. Bright tone during the gallop and the tutti playing gained more forward momentum. It finished energetically with sheer excitements.

Structurally Prokofiev's second piano concerto was more upheaval and stormy than the third piano concerto. A dreamy start to the first movement by the solo piano negotiating between ebbs and flows of subtle emotions. The virtuosic passage was a flamboyant dance attempted to break the mysterious atmosphere before retreating again. The quietness created a blurry coastal scene afar that echoed the calm beginning. It was disrupted by the orchestra thundering entry. In contrast to the tender touch before, Levit added more weight and intensity to build up the crescendo throughout the symphonic like solo passage.

The second movement was more straightforward for the audio appreciation with the music galloping in haste and rhythmically energetic. Like many other works by Prokofiev, the dotted rhythm dance gave a more muscular and weighty impression to the third movement. It was like a drunken Russian dance that swung bizarrely to a violent climax, yet not grotesque or sarcastic. The coda was surreal and dreamy again with soft chords on the solo piano. Levit sustained the curiosity with delicate touch and clarity in his playing.

A dramatic beginning to the last movement alike a beast storming in and showing emotions in full. It was answered by a quiet passage that recalling an old Russian folk tune in tenderness, which Levit kept the legato sustained for a long line. Though the violent presto did not leave much room to indulge on emotions, instead sheer wildness and madness marked the conclusion.

The hall acoustic enhanced the textural clarity and dynamic contrast in one of the all time favourites, Beethoven's seventh symphony. A subtle opening followed by a majestic and robust gallop to the first movement. Dramatically it was exciting and rhythmically energetic. Hengelbrock employed a rather swift tempo for the second movement and shaped the music like a dance. Rhythmically active and carried less musical sentiments. The winds' solo lines flowed into one another seamlessly and effective in dynamic contrast.

Energetic gallop opened the third movement that sustained the forward momentum and kept the music flowing. Even at quick tempo, the dynamic difference was observed and not losing the activeness in sound. The brass played the fanfare in bright tone and triumphantly. It continued into the flamboyant dance of the fourth movement with no gap. Tempo was on the swift side that carried a lot of energy into the gallop. It built up to an explosive climax at the conclusion and the strings enjoyed the dialogue among parts, which without surprise earned an enthusiastic reception from the audience.

(Photo credit: Orchestre de Paris)

Review - Turandot (Puccini), Opera Hong Kong, 12 October 2018

Oksana Dyka (Turandot)
Alfred Kim (Calaf)
Valeria Sepe (Liu)
George Andguladze (Timur)
Sammy Chien (Ping)
Chen Chen (Pang)
Chen Yong (Pong)
Apollo Wong (Mandarin)
Alexander Chen (Emperor)

Edge 'n Pointe Dance Centre
Opera Hong Kong Chorus and Children Chorus
Hong Kong Philharmonic Orchestra
Paolo Olmi (conductor)
Michael Capasso (director)

For its 15th anniversary celebration, Opera Hong Kong puts out a lavish production of Turandot that heavily decorates with gold and red, auspicious colours for prosperity and happiness in Chinese culture. John Farrell's stage set looks grand and would have satisfied those after an elaborate visual spectacle. The opera topic also feeds those fascinate by imperial China from the past as drama topic with a touch of western opera.

Yet the narrative approach, for all things look bright and beautiful, is naive and uninspiring by dressing up with a comfort blanket than addressing some questionable aspects. Despite the director's claim of not creating a faithful historical realisation and some kind of European perspective, the purpose of costume style for the crowd and ministers resembling stock characters in Pantomime is unclear. With Venetian long nose mask, Panama hat and slim fit disco glitter shirt, Ping Pang Pong seems more at home if they are at a broadway show. Whereas the lead characters are in some sort of traditional Chinese costume mixing with middle Asia outlook that not really defining their roles among the crowd. These all feel like a random visual twist yet no insight reflects by the dramaturgy nor any directorial indication. Although adding dancers enhance the mobility of the choreography, the routine is mostly conventional with many 'park and sing' moments for the singers and the chorus.

Capasso is also more concerned about the scene locations than, more importantly, exploring Puccini's dilemma on Liu and Turandot. In this production, Liu's innocent sacrifice feels rather sudden since there are not many moments to support why she is so determined to keep the secret for Calaf. Whereas Calaf is no hero but a forceful predator to make Turandot succumbs to his knees for the love union that so bizarrely celebrates. While male dominance and power progression are presented, the women are left to be a subordinate body and obedient to the populist demands that bend them to their knees. The mise-en-scène lacks the level of insight and depth, neither entirely success in its visual spectacle portrayal as explains above.

Yet the most problematic part I found was the conductor Paolo Olmi, who did not really able to get the orchestra and singing on stage together until the third act. His window washing conducting style not able to give a clear indication to keep the everyone together but uncertainty instead. There were moments that he followed the orchestra rather leading them the way, which resulted in some dangerous corners for the singers as how to synchronise with the orchestral playing. The busy trio by Ping Pang Pong went ahead of the orchestra for several bars in act one. The oboe solo sounded always behind during Liu's tender solo 'signore, ascolta!'.

Turandot's riddles for Calaf were rather unnaturally sung and Oksana Dyka did not quite knowing how to finish a phrase while the orchestra dragged behind. She managed to secure the top notes with ease but her timbre sounded grainy and thin in body. Her portrayal of Turandot felt rather unimaginative than the icy tough impression I would have in mind. Alfred Kim possessed a more powerful voice with the energy to sustain his lines in full, which helped the orchestra to stay more together with he was singing. Though his lower range nearly disappeared like Valeria Sepe that resulted in some inaudible moments.

Sepe carried more warmth in her timbre and her less forceful singing style suited the tenderness in Liu's part very well. George Andguladze was rather muddy in his diction and not really connecting the vocal lines. The three local singers for Ping Pang Pong coordinated more successfully in act two than the confusion they had in the first act. The chorus might have a hard time with the director from some rumour I heard, yet one did not find they had a difficult choreography to master. Diction was marginally clear and the tenors sounded rather thin on the top. Perhaps due to tiredness the choral energy dwindled slightly after two evenings, the blending was good but dramatically underwhelming.

(Photo credit: Opera Hong Kong)

Review - Edo de Waart, Hong Kong Philharmonic Orchestra, 15 September 2018

Overture to William Tell (Rossini)
Saxophone Concerto (John Adams)
Symphony No. 2 (Brahms)

Hong Kong Philharmonic Orchestra
Timothy McAllister (saxophone)
Edo de Waart (conductor)

It was an interesting to hear how the orchestra responded to its former music director on the podium again. The cello solo employed a broad tempo to begin the overture with a lot of vibrato in rich tone. A quiet start to the storm section before exploding into a full thundering climax. Though under a steady tempo the impact was not as terrifying as expected. Beautiful duet between the cor anglais and flute during the pastoral scene. The closing gallop was tidy and majestic, also effective accelerando geared towards a triumphant close.

John Adams's saxophone concert felt alike a busy rhythmic exercise for the soloist. Fragmented patterns jointed jazz and blues together for a hurry and restless ride. The brass kept the momentum going but hard to tell where the music was sailing to. At reaching the middle of the first movement then the orchestra played without the soloist. The dreamy transition was enigmatic yet the saxophone solo had a more lyrical part than previously. The music landscape became flatter and calmer before returning to fierce gallop, and then retreated to a quiet end.

The second movement dominated by syncopated patterns and stayed vigorous on momentum. It was a tight dance in irregular phrases but also abstract as to where the music was heading to. Timothy McAllister sustained the energy throughout in his playing and kept the music flowing naturally. Though the dynamic and emotion contrast were more able to display in his encore.

The orchestra kept the dawn awakening like introduction to Brahms's second symphony flowed with a warm gentle tone and not too weighty in body. Neither aggressive at the climatic exuberance and stayed bright with a lot of legato to sustain the line. Though whether to do with de Waart's conducting style, the winds sometimes felt a fraction behind the strings. Tempo was rather laid back for a gentle and unhurried gallop at the end of the first movement.

The cellos began the noble theme of the second movement in a mellow warm tone that gave a tender and sunny impression. A misty respond from the winds against the emotional outpouring from the strings. Yet as in Brahms's style sentimental negotiation never reach a full answer but hold back by the recapitulation of the noble theme. The tragic sentiments gained more weight before resolving to a quiet end.

The winds began the pastoral scene of the third movement with a busy strings' part underlaid. Rhythmically it gained momentum yet carried more lyricism within.

An explosive start to the last movement in an energetic gallop. The transitions felt rather enigmatic though, which the lines would have been more effective if there was an aim than a mere shape. The majestic theme was passionately rendered in a warm tone. After a long negotiation the music finally located the end in certain with a glorious triumphant conclusion.

Review - Jaap and Joshua Bell, Hong Kong Philharmonic Orchestra, 8 September 2018

Academic Festival Overture (Brahms)
Violin Concerto (Sibelius)
Symphony No. 41 "Jupiter" (Mozart)

Hong Kong Philharmonic Orchestra
Joshua Bell (violin)
Jaap van Zweden (conductor)

Like the season opening performance before, a festive symphonic overture is programmed for an uplifting start. Though the orchestra was too energetic throughout Brahm's Academic Festival Overture, and as a whole it felt lacking character and essence. Jaap probably felt the swift tempo would keep the momentum going than dragging along. Yet already restless than being mysterious at the tip toe like beginning. By reaching the first triumphant climax then the orchestra was more stable and let the music sang. Despite displaying the tonal contrast, it galloped in hurry and occasionally lost in details.

The first violin began Sibelius's Violin Concerto with a spellbinding pianissimo and set the stage for the solo violin. Bell's playing produced a sweet rich tone with clarity, but his bowing did not always have the smoothness to sustain the long line and sometimes felt abrupt. He approached from a sentimental perspective by employing a lot of vibrato. His playing was passionate and expressive on the ebbs and flows of emotions, rather than holding back the sentiments in stillness. Despite a challenging part to play, tuning on the double stops were noticeably a hit and miss Whereas the orchestra strings seems holding back their response to avoid being overpowering. Interestingly, I thought there was a brief moment alike the motive of Siegfried's assassination from Wagner's Götterdämmerung towards the end of the first movement.

Bell began the second movement beautifully on the lush expressive violin part, yet the horns' accompaniment did not sound convincing. Occasionally I felt Bell put too much weight on the bow that it felt too rich and sticky than allowing his playing to flow more. The orchestra achieved more charity and locating its voice in the tragic response. Yet the syncopated section not really able to build up the climax despite effective dynamic contrast.

A busy start into the third movement for the solo violin part, but Bell was driving the tempo so much that his phrasing not quite grasping the shape of the polonaise dance. Tuning was very good with the harmonics and not so with the arpeggio climbs to the high positions. As a whole I felt mixed by Bell's playing, but after learning from friend's past experience, Bell could have been experimenting different approaches than giving a  straightforward interpretation.

I had not been impressed by Jaap's Mozart in the past but what he achieved from the orchestra on the "Jupiter" symphony changed my mind completely. Finally a more relaxing tempo was adopted for the first movement and the playing was very polished. Perhaps the violins could employ more accents in the down bow to give more rhythmic excitement than only sustaining the elegant impression. Contrast in tone colours at counterpoints was effective with beautiful tone at the majestic recapitulation. A flowing elegant impression was made at the beginning of the second movement. The sadness and solemnity at the tragic transition seems a reference to earlier piano concertos by Mozart. Later the landscape became smooth with a sweet and clean tone, while being sedate and slightly sentimental. The third movement became an elegant and majestic dance in thicker texture than the movement before. The orchestra was very responsive and immediate with the gallops in the last movement that kept the momentum forward. The brilliancy of Italian opera fanfare like section was effectively realised. The bright tone gave the dance like movement a flamboyant touch. The final gallop was energetic with the sheer rhythmic excitement that gave more audio satisfaction than the first half.

(Photo credit: Hong Kong Philharmonic Orchestra)

Review - The 45th season opening performance of Hong Kong Philharmonic Orchestra, 1 September 2018

Overture to the Abduction from the Seraglio (Mozart)
Violin Concerto (Stravinsky)
Symphony No. 2 (Rachmaninov)

Hong Kong Philharmonic Orchestra
Leila Josefowicz (violin)
Jaap van Zweden (conductor)

The overture to Mozart's exotic opera Die Entführung aus dem Serail is supposedly a lively curtain raiser by including a large battery of percussion with the strings and winds. Yet the philharmonic orchestra seems more indifferent to that idea and gave a lukewarm account in its rendition. Jaap took a steady tempo that aimed for refinement than after a dramatic interpretation. The strings particularly lacked dynamic contrast nor making the colour to enrich their playing. A friend thought perhaps to do with the orchestra being too big than the right formation, but I felt the heart and mind were not in place.

The orchestral playing was certainly more passionate in the Stravinsky and musically carried more contrast and interest. An energetic introduction was given between the winds and solo violin that felt alike a colourful country scene. Despite the two domains have different rhythmic patterns, Josefowicz executed the big jump on positions with ease and sustained a flowing impression in her playing. The music became more nervous and less optimistic in the second half of the first movement.

A melancholy or even bizarre start to the second movement by the solo violin. The music became rather abstract with the irregular music patterns and fragmented parts. Sentiments dominated the third movement and longer line in a phrase than previously. The main theme by a trumpet and two flutes made a tragic calling, but not knowing where the music was heading into than thematic repetition.

The last movement was more certain started with a syncopated gallop. A busy part for the solo violin while the bassoons provided the rhythmic backbone. Josefowicz sustained the energy in her playing with clarity, maintained the beauty in tone colour and allowed the music to breathe. The rhythmic patterns are ever changing and include some reference to Bach. Later even a reminder to the Rite of Spring as the music went tribal and exuberantly driven towards the end.

I was unsure at first whether this performance of Rachmaninov's second symphony would be as memorable as the one in the previous edition of Hong Kong Arts Festival by the Oslo Philharmonic. The climaxes is alike an endless musical orgasm from the start til the end. Though the beginning of the first movement is supposedly more gloomy and mysterious than the rest. Yet the philharmonic orchestra played with a warmer tone than the chilling landscape in mind. Romanticism already culminated in full swing even at the early climax. Lush strings' playing sustained the contrast in the ebbs and flows of emotions, but not as flowing as desired. The stormy transition also lacked the tension and bleakness. Only at reaching another big climax the sheer intensity gained weight. The return to the romantic theme was sweet and passionately driven, also more clarity among the strings. Interestingly the brass sounded rather like a military band at the closing of the movement.

Tempo for the descending start to the second movement was on the swift side and kept the momentum forward. Though more majestic and steady in its emotional response. The tempestuous gallop in turn was thundering throughout but not overtly wildly driven.

It took the orchestra some time to calm down than being restless in the sweet and tender opening of the third movement. Andrew Simon's clarinet solo was spellbinding and paced very well in the long line of phrase. The dialogue between oboes and cor anglais along rest of the orchestra carried a lot of energy in gearing towards another climatic peak. Calmness returned at the end yet the strings' playing not as silky and flowing as expected. Sentiments were felt again from the ebbs and flows of emotions.

An energetic start to the festive introduction of the last movement, but clarity and togetherness were not that effective among the strings. The outpour of romantic lushness was given in full and gloriously rendered. The transition from the nervous passage back to the brilliant opening theme was intense and filled with sheer excitement. The crescendo built into a majestic and triumphant lush conclusion. It certainly came close to the breathtaking impression I had previously.

Review - Bluebeard's Castle & The Miraculous Mandarin (Bartok), La Monnaie, Webcast

Ante Jerkunica (Bluebeard)
Nora Gubisch (Judith)
Vincent Clavaguera-Pratx (first prostitute)
Merche Romero (second prostitute)
Brigitta Skarpalezos (third prostitute)
Dan Mussett (the pimp)
Norbert De Loecker (an old man)
Amergo Delli Bove (a young man)
James Vu Anh Pham (a mandarin)

La Monnaie Symphony Orchestra and Chorus
Alain Altinoglu (conductor)
Christophe Coppens (director)

Like Lohengrin, the story of Bluebeard and Judith retells the discourse of the wife asking her husband the forbidden question that reveal a hidden past. It references the biblical tale of Eve consuming the forbidden fruit in parallel, yet the punishment in Bluebeard differs from Lohengrin. Whereas the prince in swan form resumes human as Lohengrin leaving Elsa,  Judith instead joins other wives of Bluebeard to be trapped in the dungeon forever. Judith's curiosity is also self motivated yet Elsa partly lures by Ortrud forcing Lohengrin to reveal his identity eventually. The end of Bluebeard is more tragic as darkness consumes the whole castle and marks Judith's mission to bring light inside a failure.

In this production by Christophe Coppens, Bluebeard is paired with the ballet The Miraculous Mandarin. A cross section of Bluebeard's castle is shown throughout. Judith's curiosity causes her to explore the rooms on upper level, but discovers each one stained with blood even however magical and wonderful the treasures are. Bluebeard, occupies the centre room, in his wheelchair at first attempts to persuade the curious wife not to explore further, though her refusal to listen changes his mind. Bluebeard eventually can stand and walk without the wheelchair, and leads Judith to the dungeon and locks her away.

Ante Jerkunica portrays Bluebeard as a lonely yet commanding figure. He does not give direct reception to his new wife, and allows her to explore the castle to find out who he really is. Jubith, plays by Nora Gubisch, is at first innocent and naive. The surrounding darkness and curiosity motivates her to find out her husband, yet does not know she will become his prey. By becoming the lady of the night, she occupies the final place of the wives that make up the day. It also marks the end of Bluebeard as perpetual darkness looms over the castle and no more search for companion. Vocally both singers were strong with the vocal body to match and also the colour to convey the emotions.

The Miraculous Mandarin instead uses as a source to suggest how other wives of Bluebeard come together. The castle transforms to a colourful and erotic brothel with drag prostitutes seducing their guests until they are thrown out by the pimp. Though the mandarin and the third prostitute are passionate about each other from the beginning. After the pimp murders the mandarin, the transfigured protagonist embarks on an emotional reunion with the prostitute. This differs from the original plot as a bizarre horror tale, but a genuine love tale instead. A dramatic end with the brothel consumes in flames, while Bluebeard reappears in distance gazing at the left behind prostitutes.

Despite a mostly straight forward narration, the set quality and contrast in strong colours creates a magical atmosphere throughout. The props bear the design style of Coppens and eye catching outfits that realise the fantasy wonderfully. The video projection of the Mandarin's spirit in 3D effect is especially impressive. Rest of the use of technology is also much applauded for the effective execution. Alain Altinoglu has also transformed the Monnaie orchestra by improving the togetherness and quality in tone colour. The playing is more musically driven with the shape and phrasing in place. It certainly gave more dramatic intensity and the momentum to the performance as a whole.

Review - Celebrate Bernstein on Broadway, Hong Kong Philharmonic Orchestra, 7 July 2018

On the Town: New York New York; Lonely town; I can cook, top
Peter Pan: Dream with me
Wonderful Town: A little bit in love; One hundred easy ways to lose a man; Wrong note rag
On the waterfront Suite
Candide: Overture; I am easily assimilated; Nothing more than this; Glitter and be gay
1600 Pennsylvania Avenue: Take care of this house
West Side Story: Dance at the Gym; Maria; Tonight
Trouble in Tahiti: Island Magic

Hong Kong Philharmonic Orchestra
Lorina Gore
Louise Dearman
Nathaniel Hackmann
Nadim Naaman
John Wilson (conductor)

Since 2009, John Wilson and his orchestra are a regular feature at the annual BBC Proms that gives quality and memorable performances of film music and musicals. As an arranger and musicologist, Wilson always came up with a programme that in good musical sequence and mixture of styles. The same to be said of this concert featuring Bernstein's works for the broadway productions, which the first half was more serious than the entertaining second half.

The curtain rose with On the Town which gave a taster for what to come later: big band, jazz and lyric song. Yet due to the hall layout and acoustic, the balance between orchestra and vocalist not always ideal that the singing was often drowned out even miked up. Lorine Gore took a rather operatic approach in Dream with me from Peter Pan. Her tuning was not too good though and employed vibrato seems excessive for my taste. Louise Dearman brilliantly realised the humorous lyrics in One hundred easy ways to lose a man Wonderful Town.

The orchestral suite of On the waterfront showing Bernstein's more serious compositional style. After a gentle horn solo, it grows into a vigorous tribal dance with the large battery of percussions thundering along. A beautiful flute solo accompanied by harp and winds answer alike calm after storm. Then the sentiments built into a long climax but the thematic repetition was enigmatic. A slow march in pentatonic style creates further dreamy impression until the brass fanfare gives an explosive coda. Though I was not sure if Wilson enjoyed the work as his conducting not very clear sometimes in coordinating the parts. Rhythmic tricky sections were not very tidy and some slips were audibly noticed.

The overture to Candide was robust and bombastic but also has a majestic theme. 'I am easily assimilated' was seductive by impression, though more sentimental in 'Nothing more than this'. Hackmann's singing style felt alike from the back of throat that did not enhance his clarity of the text. 'Glitter and be gay' was melancholy at first then transformed into a operatic firework that brilliantly rendered by Lorina Gore in all exaggeration. 'Take care of this house' instead was more emotional and soft.

The Dance at the Gym from West Side Story demonstrated the colourful scoring and energetic momentum, which the percussions and brass went wild in sheer excitements. Hackmann was more successful in Maria especially in capturing the tenderness and beauty of his timbre. Island Magic from Trouble in Tahiti again calling a noisy diva role, which Gore sustained her unflagging vocal energy throughout. The lush music and swings in Wrong note rag reached a lively conclusion, and two more encores were given including Tonight from West Side Story. Wilson certainly looked more cheerful and satisfied than the first half.

Review - Shostakovich & Tchaikovsky, Hong Kong Philharmonic Orchestra, 16 June 2018

Variations on a Rococo Theme (Tchaikovsky)
Symphony No. 7 'Leningrad' (Shostakovich)
Encore: Overture to 'Die Fledermaus' (Johann Strauss II)

Hong Kong Philharmonic Orchestra
Wang Jian (cello)
Jaap van Zweden (conductor)

Pairing a light piece by Tchaikovsky as amuse-bouche with Shostakovich's Leningrad Symphony is lazy programming, neither does it makes much impression. The Fledermaus overture could have started the concert to form the tuneful progression, than serving as an anti climax after the symphony. Alike Tchaikovsky's ballet scores, sweet, tender and lyric are the features of the rococo variations. In the first part, extreme range on finger positions for the solo cello as it gets to the end of fingerboard with harmonics. Wang Jiang kept the music flowing and switched positions smoothly. Though sometimes too much vibrato on the long notes for my taste, and impatient with the tempo than sustaining the elegant impression. The repetition of the main theme was beautifully played by the flute solo, though composition style wise not dramatic at all. Melancholy made the sorrow response in the mid section before galloping at the coda, which rhythmically and audio more interesting than before.

Zweden's account of the Leningrad Symphony realised the graphical abstraction, yet a lot of warmth within that gave more hope than devastation. The majestic theme that began the first movement was muscular and sunny without any sign of doubt. Even in the following pastoral section, with flute solo playing folk tunes, felt rather sweet and sedate under the relaxing tempo. Then the march to battle reminded us the long crescendo of repetition from Ravel's Bolero. First pizzicato on tutti strings forms the rhythmic structure and harmonic foundation, duet between oboe and bassoon give the melodic tune, while the brass dramatise and thundering the tune in full force of power. The principal percussionist Aziz Luce kept the rhythmic momentum tight and consistent on the snare drum throughout, also effective progression from pianissimo up to the climatic violence then faded to a quiet end. Yet the second view of the landscape was colourless as the bassoon depicted, but the first violins were not that tidy in their lyrical response.

It also took few bars to agree on the tempo between the strings and oboe solo at the start of the second movement. The theme led by the clarinet was alike clock ticking, and became surreal with the energetic dance gave a grotesque outlook. One felt the recapitulation of the opening theme enigmatic that not sure where the music was trying to head to. Dialogue between bass clarinet, harp and flutes seems to lament the calmness and tranquility of normality prior the war. A spiritual start to the third movement with the winds playing a chorale theme, which the strings gave an emotional pouring response. Beautiful flute solo accompanied by pizzicato on the strings. Texturally it recalled the music landscape of Sibelius for the clearness and a heavenward glimpse.

Yet the elegant strings' passage before the last movement was calm before storm. The tense gallop and bombastic brass brought the violence of war back to the centre stage, which was muscular but flowing. Sorrow and hope negotiated, though more certain in direction that reassured by the majestic unison strings. The built up towards the thundering climax was less triumphant and naive compare to the one we heard in the first movement. It was turned into a wild dance with sheer dramatic intensity. The aftermath was bleak over the vast landscape, which was gloomy and mysterious that visually near disfigured. Instead horns' fanfares and strings culminated towards a blazing magnificent conclusion. Victory was unlikely the answer, but a conviction that manifestation of hope and glory would triumph over doubts. The long struggle certain put the Fledermaus into an odd extra as to whether we needed more to reassure ourselves, even though the philharmonic was certainly energetic enough to deliver a fiery rendition.

Review - Geneva Camerata & Viktoria Mullova, The University of Hong Kong, 14 June 2018

Fireworks (Debussy, arr. Keren)
Violin Concerto in e minor (Mendelssohn)

Variations on themes from Porgy and Bess (Gershwin, arr. Keren)
Symphony No. 8 (Beethoven)

Geneva Camerata
Viktoria Mullova (violin)
David Greilsammer (conductor)

Despite energetic playing and displays of chamber virtuosity marked the debut of Geneva Camerata in Hong Kong, there was a noticeable balance problem between strings and winds. The tone colour of middle and lower part were rich, but the upper felt relatively thin on top. More upper strings would be desirable in the Debussy to be more able bringing out the theme and counter the weight. It was better in the Beethoven with the full team of violins, yet a silky tone would be more effective to penetrate the thick texture than a raw sound. The employment of period horns and trumpets certainly helped with the balance, yet rest of the woodwind remained in modern gears was sometimes overpowering for the current formation.

Greilsammer also preferred to keep the tempo on the swift side, which kept the momentum flowing with rhythmical excitement. He gave some interesting insight in the fashion of the current period informed practice. His approach of the Mendelssohn as a dance marked an opposite to the romantic indulgence one normally encountered. It certainly created a brighter tone colour and shape to the longer phrase. The dotted rhythm in the first movement of the Beethoven was exaggeratedly rendered, which felt more fiery and urgent. Same with the accented notes in the third movement that turned into a flamboyant dance and rhythmically bouncing. Instead the last movement of the symphony became an exuberant hunting gallop with the winds turning into a lively military band. He probably saw the work as a drama and reminiscence of the Napoleonic war than an Indian summer preceding the ninth.

Yet under such robust forwardness, it did not leave much room for the built up of intensity towards climax. In Debussy, the culmination of tension fell short from the sedate slow march preceding the ebbs and flows of waves alike in La Mer. The tempest in Beethoven’s first movement also lacked the impact but roaring through. Although some minor tuning glitches, Viktoria Mullova delivered the technical expectations and very natural in her playing. If one has to be fussy, perhaps less weight on the slides between positions, but nonetheless that would allow the swifts easier to nail the right notes. Jonathan Keren’s arrangements of the Debussy were more colourful and interesting than the Gershwin, which the latter seems lacked some memorable features than a medley of excerpts.

Review - Das Lied von der Erde, Symphony No. 4 & 5 (Mahler), Hong Kong Philharmonic Orchestra

27 May 2017, Hong Kong Cultural Centre Concert Hall:
Overture 'A Midsummer Night's Dream' (Mendelssohn)
Piano Concerto No. 1 (Mendelssohn)
Symphony No. 4 (Mahler)

Lan Rao (soprano)
Serena Wang (piano)
Long Yu (conductor)

The ongoing Mahler cycle by the philharmonic orchestra now spread across three seasons, but not knowing whether the eighth symphony being planned for future performance or not. Two of the concerts in this review are long overdue for review, yet recent performance of Das Lied von der Erde provides the excuse to recall what happened. The 2016/17 season focused mainly on symphonies of the wunderhorn phase with the fourth symphony marked the conclusion.

Mendelssohn filled the first half for a lighter start supposedly, but reading my notes it seems impatient and aggressive playing created most of the impression. The strings hurried along the overture that the gallop was energetic but rough. There was hardly any shape in phrasing but the simply hurrying through. Whether to do Yu Long's unclear conducting, who just beating out in two than showing any shape, or an individual in the orchestra played ahead, the end of one line was audibly messy and wrong. The orchestral's wildness continued into the first movement of the piano concerto which too much energy expressed by the playing. Lyrical moment was not elegantly rendered and the orchestra began to shape the music on auto mode by ignoring the conductor. Serena Wong's playing on the piano was smooth and beautifully executed, particularly the second movement, which she allowed the space for the music to breathe and recalled the much needed calmness. The orchestral entry to the third movement was more relaxing with a flowing progression yet swift in tempo. Technically Serena Wong was precise with a good touch that never being aggressive, yet it would take her few more years to sophisticate and mature her thinking on the work.

Though the orchestra was impatient again at the start of Mahler's fourth symphony. It did not feel like a delicate dance and the dynamic contrast felt rather extreme. A rather awkward structure continued with too much rubato employed in the lyrical section and lacked direction during the melancholy transition. The crushing climax fell short of the violent effect, yet the return to the more happy looking expressive moment stayed very loud and muscular. These all created a heavy footed impression by being sticky and lacked contrast in colours. Focus was lost by the broad and steady tempo adopted in the second movement. The orchestra dragged along and failed to realise the atmospheric change from the grotesque outlook to the sweet coda.

Strings managed though to play more tenderly in the third movement but still very vertical progressed, which lost some momentum and turned it into fragments than continuation. It was probably why the climaxes lacked the weight of impact and the pastoral excitements felt extreme than naturally developed. Neither was the connection between ebbs and flows of emotions effectively created, but merely making an explosive sound or accelerando. To further dampen the appreciation, Rao Lan's singing was often inaudible with poor diction in the fourth movement. Vocally she did not carry the support in reaching the high register and at times not even together with the orchestra. The orchestral playing instead became over dramatic with the woodwinds being wild. Messy coordination again when Yu Long also forgot to indicate the rubato. After Gergiev's chaotic performance with the World Orchestra For Peace some years ago at the BBC proms, this added to another disappointing live experience onto the list.

9 September 2017, Hong Kong Cultural Centre Concert Hall:
Piano Concerto No. 2 (Beethoven)
Symphony No. 5 (Mahler)

Yuja Wang (piano)
Jaap van Zweden (conductor)

The game switched three months later with Zweden in charge of the fifth symphony. The first half continued the week long feature of Yuja Wang with Beethoven's second piano concerto. Despite textually it still bears the Mozartian features, the orchestra gave a rather vertical reading of the introduction than sustaining a forward momentum. Wang played tenderly on the lyrical passage but also impatient with the tempo. Later she was more even rhythmically in the arpeggios, while the orchestra ably made appropriate dynamic contrast to accompany her in the background.

Yet there was the tendency to rush through and made a muscular tone, instead of the majestic and silky sound that had in mind. The cadenza seems could not make up its mind how to develop than a labouring of notes in thick texture, which felt rather odd with the composition style. Wang and the orchestra hurried through the first half of the second movement, which also felt too energetic and too bold than the sweet gradual progression. Yet right hand playing at the pianissimo passage made a spellbinding effective and the orchestra finally allowed the music to sing with the space. Wang and the orchestra felt more at home in the third movement with the lightness to keep the direction with dynamic contrast.

After the interval, an explosive start to the fifth symphony after a confident and accurate trumpet solo, which was most effective compare to past performance of the same work by HKPO in my memory. Strings did not linger on the expressive theme and blazing tone from the brass. A violent climax was reached with sheer devastating cries in contrast to the gentle march later, which was sweeter than melancholy. The contrast in the second crushing climax was effective followed by attaca into the second movement with masculine brass entry being very crisp in tone colour. The tone of lower strings was thicker and tidier than the upper strings. Ebbs and flows of sound waves culminated for sheer intensity. Sadness drove between the negotiation of hope and sorrow. Explosion passage created a hurricane impression with emotional sentiments. The raw tone on strings recalled the chilling wind alongside war like percussion. Triumphant fanfare from the brass accelerated the impact to fullness before dying down to a mysterious close.

An energetic start to the third movement that strings played the accent exaggeratedly for a muscular dance. Flowing wind passage compare to the strings' complex fugal dialogue. The horn solo sustained a bright tone and stayed swift in momentum. Soon a chamber like dialogue made a change from the loud and violent beginning. Each part seamlessly connected with the others, and the dance had more bite and energy this round to create an exuberant swing even at quick tempo. The horn solo took the risk for sheer excitement in the gallop and aimed for a resounding end.

Whereas the depth of emotions poured out in full at the fourth movement. Zweden even managed to keep the climax flowing like a song without word that was magical in many ways. Dynamic difference at the ebbs and flows was big in the leap, followed by a heartbreaking fade on the violins. A majestic entrance to the fifth movement from the horn and woodwind. The following fugue was energetically driven in full bodied tone, though at points it also felt rushing along. Though there was the intention to slow down in order to build up the climax for a resounding impact. The sound of wall, machine gun like, marked hope triumphantly over sorrow by the brass fanfare. A highly dramatic finale from the abyss of melancholy to the wholehearted celebration of positivism. It was surely the most dramatic account of the fifth symphony I experienced so far.

28 April 2018, Hong Kong Cultural Centre Concert Hall:
The Song of the Earth (Ye Xiaogang)
Das Lied von der Erde (Mahler)

Yu Guanqun (soprano)
Ildikó Komlósi (mezzo-soprano)
Klaus Florian Vogt (tenor)
Yuan Chenye (baritone)
Long Yu (conductor)

Instead of the usual programme formula with works from the classical period, the performance of Das Lied von der Erde was paired with Ye Xiaogang's composition that based on the original Chinese poems in the first half. A colourful introduction to the first movement with woodwind imitating tides and waves. Despite diction was not that clearly articulate at the first hearing of Yu Guanqun's singing, her intonation was secured and carried the projection. The reach to top notes was smooth and flexible in switching between registers. Vocal style recalled those in Elektra but harmonically simpler and less violent. It tried to be broad and majestic in style. The second movement was rhythmically more energetic especially among the percussion, but was not quite the shyness that depicted in the text. It was festive enough to visual a lively scene but the soprano vocal part was less sophisticated comparing to the first.

A broad sound world that captures the atmospheric beauty of night music in the third movement, with bells chiming in the background like clock ticking. The baritone finally appeared in the fourth movement for the violent and tense opening. The composition style was similar to a mixture of Peter Grimes and Turandot. Yuan Chenye sang dramatically throughout but lacked the vocal body. The drum rolls towards the end of the movement felt abrupt and should have been continued into the fifth movement. A return to the vast and deep sound world, but Yuan's line was not that smoothly executed. The brass fanfare gave a positive outlook to the exuberant fantasia, though lacked some sonic impact. Mysterious finale in the last movement while being tranquil. The heroic climax was ironic for the first time, yet the return to the calm and sedate atmosphere was awkwardly developed. It recalled the night music of Mahler's seventh symphony to some extend, but the coda with clashing gongs and bass drum fading away was completely opposite.

An exuberant start in swift tempo to Das Lied von der Erde, which the orchestral playing was so wild and aggressive that nearly drowned out the singing. Though Vogt's singing still managed to filled the hall and kept the tender impression. Yu Long seems lost control of the orchestra and the playing felt rather unsettling throughout the first movement. He was not able to get the depth out of the orchestral playing than an energetic chase. Same being felt in the next movement with the oboe led theme, which was rather out of shape and simply galloping along. Komlósi sounded uncertain how to fit her singing within the restless progression. Her diction was unclear too and employed heavy vibrato in the higher vocal range. Yu Long's conducting also looked all over the place that flicking the baton aimlessly.

While Vogt tried hard to stay soft in the third movement, Yu Long did not able to slow down the orchestra from hurrying the tempo of the festive March. It created further hurdle to Komlósi who struggled to fit the sung text while the tempo was pushed to extreme in the fourth movement. No musical shape at all but a mechanical galloping to jump leaps. The festive wildness went too far and created chaos, which the return to lyrical part was abruptl. The coordination throughout the fifth movement was better than before with the orchestra more responsive to Vogt's word painting. He continued to keep the vowels bright and kept the projection forward. It felt sweeter even in such excitement.

The white hot orchestral colour carried too much brightness for the mysterious opening of the last movement. Komlósi's phrasing was out of shape again and not able to sustain the long vocal line, also audibly employed too much vibrato. Flute solo was beautiful and enchanting at the tranquil transition into the calm and expressive moment. Yet the swift tempo followed was in great hurry and difficult to understand what she was singing. Only at the climax then Komlósi able to sing more than speaking the text early on, and conveyed the emotions, but her mid vocal range was insecured with poor tuning. The full sense of sorrow was finally realised in the moody and melancholy second half. Sadness was expressed in the funeral march but lacked some direction of a slow dance. Though again it needed to hold back the forwardness to allow more space and broad tempo for the dream like conclusion.