2018 Hong Kong Arts Festival - Danish National Symphony Orchestra, Hong Kong Cultural Centre Concert Hall, 20 March 2018

Overture to The Flying Dutchman (Wagner)
The Rite of Mountains: Concerto for Percussion and Orchestra (Wenjing)
Don Juan (Richard Strauss)
Symphony No 5 (Nielsen)

Danish National Symphony Orchestra
Li Biao (percussion)
Fabio Luisi (conductor)

Under the direction of Fabio Luisi, the Danish National Symphony Orchestra gave an explosive start to their sole performance this time in Hong Kong. It made a crushing full sound that realised the stormy scenes in Wagner's The Flying Dutchman. The brass sustained a bright tone throughout whereas the woodwind managed to hold back for the soft and sweet passages. Though Luisi sometimes indicated randomly and his conducting did not help to coordinate the sectional solos. The crescendo was also suddenly progressed in such hurry that the rubato followed felt odd. The resolve from the triumphant climax too felt too slow after the bombastic built up.

The orchestra's big noise continued into the first movement of Wenjing's The Rite of Mountains, a percussion concerto that commemorated the devastating Sichuan earthquake of 2008. Despite a depiction of the crushing noise when the ground was broken up, whether to do with Luisi's robotic conducting, I felt the clashing chords rather heavy footed and tiring to hear after several bombardments. Interestingly it also made the impression of a roaring crowd being definite than the screaming in horror. Even so, the marimba part was gentle and more flowing. Solo violin and woodwind interchanged to decorate above. In contrast, soft gongs began the second movement quietly. Clarinet played only with mouth piece that imitated the sound of an ocarina and pizzicato on untuned string instruments. It seems to suggest a village festival in the countryside. Tempo gained momentum from a walking pace before an outburst of wild noise. The end again recalled the opening surreal sound effects and faded away. A taiko introduction on the bass drum marked the opening of the third movement. There were violent moments with drums played in furore and the orchestral part turned into a wild tribal dance alike the Rite of Spring. It developed into a nightmarish climax before the drum gave a virtuosic cadenza. An impressive conclusion with the orchestra timpanist and Li Biao played together in fiendish rhythmic tempo.

Interestingly I thought Luisi's rather impatient tempo on romantic repertoire worked rather well in Strauss's symphonic poem 'Don Juan'. The orchestra did not linger on the fantasia like passages and kept the music very lively. The lyrical response was romantically expressive and flowed smoothly. In contrast, the triumphant climax was in exuberant mode with great momentum to sustain forwardness in the playing. It was followed by a lovely oboe solo moment that was tender and beautifully rendered. At the recapitulation of the heroic theme the musical intensity and brilliancy maintained. Probably because it had been so positive throughout that the tragic ending seems lacked the poignancy.

I had mixed feeling by Nielsen's fifth symphony that it had many sonic glorious moments, yet harmonically restrained from making emotions and repetitive on rhythmic patterns. The extensive first movement began an extended description of landscape but not as vivid as Sibelius. Then there were the marches that suggested a military scene, but not as bleak as or carried a political message as in Shostakovich nor Prokofiev. There was no big gesture on creating an emotional charge but a blazing sonic outburst with brass fanfare. A rich and vigorous tutti began the second movement but rhythmically spacious with repetition from the winds. The fugue developed in a peculiar way that the gallop gradually became a wild climax. The strings reset the fugue on higher notes but this time it finally felt more tormented. An abrupt transition set for the ultimate glorious end in blazing sound.

2018 Hong Kong Arts Festival - Pelléas et Mélisande (Debussy), Hong Kong Cultural Centre Grand Theatre, 15 March 2018

Pelléas - Jacques Imbrailo
Mélisande - Jurgita Adamonyté
Golaud - Christopher Purves
Geneviève - Leah-Marian Jones
Arkel - Alfred Reiter
Yniold - Rebecca Bottone

Die Konzertisten
Orchestra and chorus of the Welsh National Opera
Lothar Koenigs (conductor)
David Pountney (director)

Death and torment were the recurring themes in this production of Debussy’s operatic response to Wagner’s Tristan and Isolde. Pountney probably found the moment when Golaud moaned about the dead surrounded them poignant. A large circular metal cage in skeleton shape dominated the stage surrounded by a pond, possibly a reference to Debussy’s orchestral colour associated with the movement of sea. The set made a daunting appearance alike a prison trapping its residents and haunted them in an eerie environment. The old men in the sea cave became ghost to the horror of Pelléas, a nightmarish illusion when Mélisande was first frightened by their sudden presence. Later in the dungeon, Pelléas saw the zombies and terrified by what he saw.

Yet beautiful light effects and starry backdrop could transform into a romantic setting where the protagonists exchanged their affections. The sublime revealing of Melisande’s beauty in the moonlight created the sensual attraction that not only Pelléas was madly in love with her, Arkel too as he later marvelled the beauty of his daughter in law. This was very different from Golaud, brilliantly portrayed by Christopher Purves, who was driven by jealousy and obsessed with domestic violence. His wife, brother and son were treated as his properties like sheep and he felt as he was their shepherd, as Yniold metaphorically described during act three. In rage, Golaud shaked Mélisande violently in the pond and pulled her hairs, in prior told Yniold off as he lost temper when the spying came to no prove of fidelity, and later threatened Pelléas in the dungeon telling him to stay away from Mélisande. Even at Mélisande’s deathbed, Golaud could not come around as she confessed she did not love him yet he felt guilty by killing Pelléas.

Although the inner plot was about the introvert romance between Pelléas and Mélisande, I felt the outer plot had more weight in this performance, which became a frantic investigation of Mélisande’s infidelity by Golaud and his self-conflict madness within. One could still sense the passionate emotions on surface but there seems lacking a level of depth in displaying the more complex inner psychological connections. Perhaps the portrayal was so realist and plainly symbolic, it did not leave much room for the mysterious and surreal portrayal. Such was the red outfits that Pelléas and Mélisande wore before the murder, which seems suggested both the climatic affection between the two yet later the colour of their blood when Golaud stabbed.

It was strange to ask for more strangeness but the basis of this opera was to let the unspoken and silence provoked the feeling. Pountney probably saw it differently and left with few unexpected: the doctor resembled Debussy himself but he was there to justify Golaud's action and nothing musical; Geneviève throw the newborn child into the pond but became white powder on the surface; Mélisande died but her reappearance at the very end wrapped in white cloth got us back to the beginning. Like me and my colleague singing in the offstage chorus, we made a loud voice heard in distance but never appear on stage, despite the protagonists described us as the sailors sailed into a storm. There were no clear answer to all these puzzles, but created the enigma to indulge and continued guessing who were these people and their purpose after all.

Yet this was one of the best opera productions I experienced in Hong Kong since Fidelio by Komische Oper back in 2004. Besides the set looked spectacular, it was in the right size for the grand theatre stage. The brilliant light effects also produced many visual stirring moments. Dramaturgy was excellent throughout with the sheer dramatic intensity that sustained the theatrical excitement. Besides a great actor, vocally Christopher Purves filled the space of the auditorium with his full bodied voice, and he coloured the words so vividly. He kept the beauty in tone yet very flexible in switching the vocal colour while dramatising the text. Jacques Imbrailo had a warmer timbre than some other singers I experienced as Pelléas before, which often very bright and silvery by comparison. Both his singing and portrayal of the role carried more emotions that felt more human and passionate. Vocally Jurgita Adamonyté was lighter in body yet lyrically fluid. Diction probably could have been clear but acting wise Mélisande was the most challenging of all. She nonetheless very ably realised the vulnerability and sadness of Mélisande in front of Golaud, energetic and excited in seeing Pelléas, and the mysterious outlook when the character became an object. Rebecca Bottone carried the right timbre for Yniold and her struggle with Golaud was dramatically intense. The orchestra was very responsive to Lothar Koenigs's direction and delivered many silky playing. It neither overwhelmed the singers, but also provided the lyrical backbone as the main block of shaping the delicate harmonic colour. As a whole, this production worth a future revisit.

2018 Hong Kong Arts Festival - Tristan and Isolde, Bosch Dreams, Farewell My Concubine (霸王別姬)

Tristan and Isolde, Hong Kong City Hall Theatre, 10 March 2018

Tristan - Saburo Teshigawara
Isolde - Rihoko Sato

Teshigawara's take on Wagner's tale of separation and passion as a dance form reminded me the state of calm and clarity in Tai chi. The physical movement followed the music by beginning in a sensual yet still state until reaching the climatic liebestod. Harmony and emotion reservation slowly built into a free and expressive state. Technically it did not aim for an athletic display, but a repetitive process that cultivated an introvert display. In contrast to the opera, Tristan became focus throughout two third of the performance that his desire, illusion and frustration were magnified. Whereas towards the end then Isolde had the stage to her own and no longer merely accompanying Tristan. The differentiation of light and darkness in a surreal setting also created the enigmatic surrounding, and later developed an energy that beyond the oppressive surrounding could hold. These elements made up the beauty and fascination of this production, but would have felt underwhelmed if one was not familiar with the context and struggled to connect.

Bosch Dreams, Hong Kong Cultural Centre Grand Theatre, 11 March 2018

Les 7 Doigts
Theatre Republique

This circus production borrowed Hieronymus Bosch's unorthodox and exaggerated paintings, which highlighted religious metaphors and moral concepts, for the inspiration of a multimedia spectacle. There were some breathtaking technical display like the aerial act on a key ring holder, and visual stunning moments such as the kaleidoscope of mixing painting fragments and a pleasure garden filled with red balloons. It also highlighted some fascinating parts with the close up and reference to Dali. Though otherwise it lacked a clear development of story telling and action in most scenes was random with not much going on. There was also a sub plot with the daughter of a professor, a Bosch's specialist but not very inspiring, embarked an adventure in the fantasy. Though often there was no connection between scene changes and fell short from staying focus mostly. The circus part seems tame too and only demonstrated some level of talents than the wow factor. It certainly needed a rethink for better dramaturgy than a colourful appearance.

Farewell my concubine (霸王別姬), Hong Kong City Hall Concert Hall, 11 March 2018

Xiang Yu - Yau Sing Po, Law Kar-ying
Han Xin - Leung Siu Ming
Yu Ji - Wan Fei-yin
Xiao He - Yuen Siu-fai
A woman - Lam Po-Chu
Fan Zeng - Sun Kim-long
Fan Kuai - Song Hung-bo
Liu Bang - Liu Kwok-sum
Xiang Bo - Wan Yuk-yu

Despite the title, the actual farewell did not take place until the last scene. Unlike Tristan and Isolde that focused primarily on the emotions and agony of the protagonists, this Cantonese opera adaptation from the same title in Peking opera spent more time on the historical background. The purpose was to use dramatic scenes to keep the audience entertained and even a simplistic teaching of life lessons. First scene told why Han Xin was inspired and motivated to embark a military career; followed by a banquet between rival fractions that involved an attempted but unsuccessful assassination; the third saw Han Xin again and Xiao He persuaded him to stay loyal to his lord Liu Bang; the penultimate was a great battle demonstration and the last saw Yu Ji suicided as Xiang Yu faced ultimate defeat on the battlefield. All these scenes had a focused theme action wise or singing display. There were also sword dance and acrobatic imitation of an energetic horse. Even the music stayed lively and dramatic before turning lyrical in the sentimental last act. The cast had a good mix of veterans and emerging artists, yet one could detect the aged actors had their brief moments of not synchronising with the ensemble, and even some spontaneous make up of the text. The scenography was rather old fashioned with cardboard backdrop, but the exaggerated diction hold the attention throughout. Yet I enjoyed this revisit of cantonese opera thoroughly after not seeing one since the age of five, and the new Xiqu centre opening later this year is eagerly awaited.

2018 Hong Kong Arts Festival - Sacred and Profane - B'Rock Orchestra & Vox Clamantis

Sounding Stories, Hong Kong City Hall Concert Hall, 1 March 2018

Overture in d minor, N4 (Fux)
Battalia à 10 in D major, C61 (Biber)

Concerto in F major, RV569 (Vivaldi)

Concerto in A major, TWV51:A4 (Telemann)

Concerto in D major, E112 (Fux)

Concerto in D major, RV562 (Vivaldi)

B'Rock Orchestra
Dmitry Sinkovsky (director and violin)

The performance by B'Rock Orchestra was rather forward looking in terms of playing style and effects than other leading Baroque ensembles that I experienced in previous editions of the Arts Festival. The unconventional and exaggerated approach injected the much needed theatrical excitement than a pure technical display. The use of col legno and martellato, which meant using the bow stick to hit the strings, and making a hammered and accented effects, enhanced the rhythmic momentum and colour. I also had the benefit of sitting two rows from the stage with the full visual experience, and saw Dmitry Sinkovsky energetically signalled phrasing to the players through body movement, humming and even stamping the ground loudly.

The selected works too had their humorous jokes like the fugue in Biber's Battalia developed wrong deliberately with clashing harmony, and later pizzicato on the double bass made drumming effect answered by a playful solo violin above. The aria instead pretentiously graceful yet glissando employed on strings made the sound alike cat growls, finished by a coda in sentiments. Whereas Fux's concerto began with a chant played tutti in unison before bursting into a lively response but on a different harmonic key. Later the echoes between lower strings and oboes imitated snoring against the energetic parts on the upper strings. This was rather different from his French overture with heavy ornaments and even being serious musically.

The first and last movement of both Vivaldi's concertos made a flamboyant and heroic display. The winds played fanfare was alike introducing a celebrated singer in opera and the spotlight focused on the virtuosity of the solo violin. Such was the cadenza in the last movement of Vivaldi's concerto in D which Dmitry Sinkosky gave a brilliant technical display. Though the second movement in contrast was mysterious, tragic and even introvert. Sinkosky surprised the audience by singing as countertenor during encores to demonstrate his multi-talented musicianship. He, with Bart Aerbeydt's contribution on the natural horn, gave a fine account of 'Va tacito' from Handel's Giulio Cesare after playing the stormy first movement of Vivaldi's concerto 'summer'.

O Sacrum Convivium, Hong Kong City Hall Concert Hall, 3 March 2018

Ubi caritas et amor (Duruflé)
Pange lingua (Duruflé)
Psalm 141 (Kreek)
Kas on linnukesel muret (Kreek)
Le Lai de Nostre Dame (Machaut)
Quatre motets pour un temps de pénitence (Poulenc)

Leine Litanei (Pärt)

Morning Star (Pärt)

O sacrum convivium (Messiaen)

Vox Clamantis

Jaanika Kuusik (soprano)

Jaan-Eik Tulve (conductor)

The music style of Vox Clamantis was in opposite of what the B'Rock Orchestra did two evenings ago. Instead of dramatic excitement and virtuosic display, the beauty of blend voices and spiritual meditation formed the focus. The music landscape was vast, smooth and progressed gently. It also featured the root of western music with plainsong being sung between the motets by Duruflé and Poulenc. Machaut's poetic tribute to the Virgin Mary was the only solo item, and Jaanika Kuusik delivered a sublime account in her beautiful timbre with pure tone. The ensemble of 10 singers sustained great clarity and good intonation throughout. There were no sign of strain in the voices and the singing flowed naturally even in the harmonically challenging French works, especially the Poulenc and Messiaen. If one had to be picky, the adopted tempo for both Duruflé works were rather awkward. Ubi caritas was too swift whereas Pange lingua became a slow boiling of chord progression. Works by Cyrillus Kreek and Arvo Pärt instead being lyrical, close harmony and tuneful by comparison. Otherwise, I felt very moved towards the end and appreciated the alternate interpretation.