Review - Symphony No. 2 (Mahler), Taiwan National Symphony Orchestra 台灣國家交響樂團, 19 May 2018

Taipei Philharmonic Chorus 台北愛樂合唱團
National Symphony Orchestra (Taiwan) 國家交響樂團(台灣)
Chen Mei-Ling 陳美玲 (soprano)
Shin I-Chiao 石易巧 (mezzo-soprano)

Günther Herbig (conductor)

I often appreciate Mahler's second symphony less than other symphonies, which probably because as a work the composer was still locating his voice despite structurally mature no doubt. Yet this performance at a broad tempo and the restrain from unleashing the sheer sonic excitements til the end, made a different impression from my past encounters. One was impressed by the acoustics of the national concert hall in Taipei at my first visit. The double bass entry at the first movement resonated in a beautiful tone with the depth. Though the woodwind was rather polite with the accents than the confident brass. The horns were unsure in coordinating with the strings, whose produced a brighter tone and more ably carried the forward momentum.

The tempo slowed to walking pace alike pondering, which made the ethereal theme less flowing yet delicate texturally. Interestingly the horns had more confidently playing at loud dynamics than soft. Herbig hold the orchestra from being bombastic at the tense climax and stayed polish only. The flute solo gathered more direction than before, but the recapitulation of the opening theme was lesser devastating than expected. It left no room for sentiments at another violent climax yet steady and blazingly bright. Dramatic intensity gradually built up with screaming parts from the brass, but losing momentum again at the return of the lyrical theme. Pondering was the impression at the coda of first movement, which also lacked the sonic depth and rather mysterious where it was heading into.

Herbig took a rather steady tempo for ländler in the second movement, but very shaky when the woodwinds nearly missed their entries. It became uncertain and soft, which was not quite the majestic impression in mind. The building of nervous tension gathered more pace but still rather loosely driven throughout the pizzicato only passage. Perhaps Herbig approached from an inward looking perspective than a lively dance. The introvert approach continued into the gallop at the beginning of third movement, which hold back the masculine and heroic excitement. There was not much differentiation in dynamics either and felt stiffly robotic. Brass fanfare restrained excitement and the following ethereal theme also was out of shape. The culmination into the devastating climax also lacked impact but a big polished sound. Again the playing felt lost when the strings had the rocking theme.

Shin I-Chiao's tender, majestic and beautiful singing in the fourth movement gathered more interest for the audio appreciation. Her switching between vocal register was smooth and seamless. Effective projection that ably filled the hall, also sustained a long phrase with good breathe control. Attaca to the explosive opening of the final movement was swift, though holding back the intensity so soon was questionable from Herbig. Then came the weakest moment of the entire evening when the woodwind made wrong entry and being sluggish. Tuning of the off stage horn was not good and on stage the winds' coordination at the syncopated passage was very messy. The produced tone became very loose while the brass played the solemn theme heavily and not flowing. Surprisingly the triumphant climax gave a reassuring lead out of the foggy playing, which the orchestra carried a better road map by playing loud than quiet. Thundering percussion with the triumphant brass gave a confident statement against death. In turn, the strings expressed sentiments on the tragic theme against the screaming winds that depicted the horror scene in last judgement.

Herbig's conducting seems pulling the orchestra away from its wildness, but it knew where heading to finally and unleashed the energy in full. The brass dialogue on the last judgment antiphons were smooth and coordinated very well with the piccolo. The chorus entry experienced a quick swell to sink into the right pitch, and some tendency to go flat while singing softly. Chen Mei-Ling's timbre lacked the youthful tone in mind and the tendency to go below the pitch. A broad tempo for the tender lyrical theme while the choir's diction was audibly covered. With such long negotiation between salvation and death it began to become repetitive and seems forever not reaching the shore. Though the vocal duet broke the cloud finally and developed into an exuberant climax. The emotions finally poured out wholeheartedly without restrain and gave a radiant finale. 

Review - Carmen (Bizet), Opera Hong Kong, 16 May 2018

Varduhi Abrahamyan (Carmen)

Jean-François Borras (Don José)
Li Yang (Micaëla)
Vittorio Vitelli (Escamillo)
Apollo Wong (Zuniga)
Joyce Wong (Frasquita)
Bobbie Zhang (Mercédès)
Albert Lim (Dancairo)
Chen Chen (Remendado)
Alexander Chen (Moralès)

The Song and Dance Troupe of Fujian Opera Dance and Drama Theatre
Opera Hong Kong chorus and children chorus
Hong Kong Sinfonietta
Yves Abel (conductor)
Jean-Romain Vesperini (director)

Besides Carmen is very audience friendly with the hearty and tuneful music, it also provides opportunity to showcase the house emerging singers, children choir and the dancers. Along music visualisation of dance movements, Spanish bullfighting spirits and gypsies' carefree lifestyle, the stage focus is easily turned to celebrate cliches alike a cabaret show. This new production by Jean-Romain Vesperini attempted to avoid such trend of approach, and reminded us that death was the final outcome. Video projections of animal skulls with extras wearing ghost masks and the atmospheric bleakness, all suggested a sad finale. The rotating stage set was simple yet effectively to transform spaces into the city walls, bull ring and even tavern. It fitted well in proportion to the grand theatre stage, which simplicity preferred than cramping too many things in a tight box. Stylish visual design and stage lights scheme, by Christophe Chaupin and Etinenne Guiol, set the scenes for many pretty visual moments.

Nevertheless, the dramaturgy was sometimes cardboard like only to look good for the moment but far from enhancing the narrative flow. Such as the chorus flooded the stage at the beginning of act three with lanterns but nothing to relate with their smugglers' activities. Yet the chaos arose from the fight between Carmen and factory girls, also the final scene where Don José murdered Carmen in an empty arena, were rather effective in conveying the tension and emotions. Whether it was Vesperini's idea or the company's preference, the special placing of children's choir never fit with rest of the choreography. The march of the street children in act one felt to be a separate entity to please the parents and patrons seeing them performing on stage, but ignoring the underlying message that women and children worked and lived at the tobacco factory to stay away from the streets. Then in the last act again positioning them in front of the main chorus rather than mixing. Their colourful outfits and cheerful dance undermined the growing intensity as death haunted the scene.

Sometimes an action also lacked a natural happening and one could predict what would happen next. Such as the first appearance of Carmen descending the staircase alike the entrance of a star, but lacked the carefree wildness to draw the attention of Don José. His introduction also felt intentional rather than emerging from the crowd. Same with Carmen's escape without a struggle or chaos when the factory girls surrounded the officers. Moreover, part of the conceptual idea lacked development than a brief suggestion. For example, the theme of death with extras in death masks and animal skulls disappeared after the overture and not to be seen until the last act at the bull ring. It could have been more eerie and haunting at the telling of fortune from cards on Carmen's fate. There is also the question on which performing version to be used. The adopted format in this performance favours  musical flow with big numbers following one another. Though the significant reduction of dialogues, which would have been practiced by the original opera comique structure, reduce the psychological insight and depth as the tale unfolds. Although one understand the stubbornness of Don José's feelings towards Carmen clearly, her change in feeling for him is abrupt than a gradual progression.

Though importantly, the music quality of this performance added further excitement on top of the visual appreciation. Varduhi Abrahamyan possessed the rich smoky timbre that very much ideal for the role of Carmen. Her vocal colour stayed same and smooth when changing registers. She was a good actress too that demonstrating the confidence, independence and seductive side of Carmen. Vocally she and Jean-François Borras both delivered a good projection that filled the hall effectively, and also flexible to match lighter voices such as the trio with Frasquita and Mercédès. In comparison, Borras was not as consistent as Abrahamyan. Probably because he and conductor had different ideas on the tempo, the flower song in act two was not very legato. He was swelling through and not able to sustain the vocal lines. Yet the duet with Micaela, Parle-moi de ma mere, also later confrontation with Carmen, he sang with much better flow and confidence that carried the dramatic intention, and brought out the vocal richness of his timbre. Li Yang was more successful in the duet 'Parle-moi de ma mere' than her solo item later in act three 'Je dis que rien ne mepouvante'. Diction was clear, but her vocal projection was more effective at higher register than in the chest voice, which nearly inaudible at times.

Mixed impressions from Vittorio Vitelli that oddly he hesitated with muddy diction in the supposedly majestic toreador song, but far more natural later in the teasing and confrontation with Don José at act three. Confident singing and clear diction from Apollo Wong even though slightly stiff in his acting. Among the minor roles, Joyce Wong and Bobbie Zhang lacked the vocal richness and felt underweight when singing along with Abrahamyan. Albert Lim made a good start with the desired vocal colour but like Chen Chen their diction did not sound convincing. The sinfonietta played better with a more spirited tone and better intention than some past occasions I encountered. They were responsive to Yves Abel's conducting, but he sometimes seems impatient with the tempo. The swiftness kept the momentum forward but not necessarily accommodating the singers' rubato. Otherwise, choral singing was on a high standard by maintaining good intonation and projection throughout, vibrato free, also clear with the text. The ladies had demonstrated they could manage complicated choreography while singing together in act one. A huge improvement than past productions, which credited to Alex Tam for his good work.

(Photo credits: Opera Hong Kong)

Review - Hosokawa, Falla, Mendelssohn, Debussy, Hong Kong Philharmonic Orchestra, 31 March 2018

Circulating Ocean (Hosokawa)

Nights in the Gardens of Spain (Falla)

The Hebrides (Mendelssohn)

La mer (Debussy)

Hong Kong Philharmonic Orchestra

Ingrid Fliter (piano)

Jun Märkl (conductor)

This mostly sea themed programme displayed vivid imagery of landscape and movements. A sequence from darkness to light was also carefully planned. Hosokawa's circulating ocean began the concert with its slow grow and weighty outlook. A vast space, probably describing a long shoreline, set the beginning with bells chiming in distance and long notes sustaining among strings. Further tension added to the mysterious impression with crushing bass drum alike roaring tides. The raging percussion effects created an eerie impression, while brass and winds made chilling cries of a tempest.

The bleak landscape marked a contrast from the warmth and rhythmic activeness later in Falla's musically painting of Spanish gardens. The first movement, which depicted the Generalife at the Alhambra in Granada, had the brightness in tone though the ebb and flow felt like waves. The orchestra made a blazing sound, while the solo piano seems accompanying with an improvisation part than carrying a leading theme. The orchestra galloped in the second movement rather than a vigorous dance with dynamics swelling throughout. The run speed up in the last movement with an explosive entry of horn fanfare. It was more symphonic with the thick texture but occasionally heavy footed that lost some of the dance quality. Towards the end it became more lyrical and emotionally expressive, which the majestic coda recalled the fantasia like second movement.

Märkl adopted a rather swift tempo in the Mendelssohn. The misty opening was clear up by the tempest with sheer intensity in the strings' tremolo. The orchestra responded well to the changing moods in tone colour and dynamics, which ably built the momentum forward.

Among all four works, Debussy's la mer was arguably most vivid in scenic depiction and musically sophisticated. Märkl continued the swift tempo in keeping the motion forward and urgency to float. The colour bloomed and rhythmically exciting as the sunrise scene was gloriously portrayed by the brass. It was alike an ecstasy in celebrating a blazing moment. Dialogues between parts were seamless in the second movement. Märkl was able to draw them to articulate their parts and employed rubato effectively. The contrast in dynamic and rhythmic changes again produced a colour image with excitement. Though the brass seems less focused and intense than the lower strings in the stormy scene of the third movement. The growing emotions nonetheless maintained the heroic and majestic impression, which was memorable as a whole.