Review - Stabat Mater (Dvořák), National Theatre Brno, 2017 Hong Kong Arts Festival

Pavla Vykopalová (soprano)
Jana Hrochová (alto)
Aleš Briscein (tenor)
Jiří Sulženko (bass)

Orchestra and Chorus of the Janáček Opera of the National Theatre Brno
Jaroslav Kyzlink (Conductor)

Melodious tunes marks Dvořák's Stabat Mater with simplicity and subtleness. It is not after theatrical dramatisation of the text but almost an inward hymnal meditation. The soft music in tenderness and steady tempo seems a consolation in answering the mishaps of Dvořák's children died during infancy and also illness. Though the orchestral playing at the misty opening lacked a flowing sense, despite the tone colour was more transparent than it was accompanying the Makropulos case. Choral entries was more able to create the contrast from the still opening through into the vigorous ebb and flow of dynamic changes. A sheer energy geared towards the climax and made an impact. Disappointingly Aleš Briscein sounded unsure in the tenor solo part and dragged the tempo along, which as a result messy coordination with the orchestra. Only the tutti choral moment joined by the vocal quartet later produced a more heavenward and majestic impression. Different voice parts complimented each other in a homogenous sound and minimal employment of vibrato. The crescendo at the emotional coda would have been effective if the orchestra had driven the momentum forward than being too steady.

Broad tempo stayed in the second movement 'Quis est homo' and the alto soloist Jana Hrochová was rather underwhelming in her vocal projection. Neither the tragic sentiments were effectively

captured but a dreamy state and cloudy sound instead. This was quickly rectified by the chorus at the passionate 'Eia Mater, fons amoris', which sustained more energy and direction in their singing. Although diction was rather muddy, the choir produced a ringing bright tone and smoothness alike they were chanting. The fifth movement, 'Fac, ut ardeat cor meum', was the only solo item for the bass soloist. The choice was probably to reflect the personal yearning for internal renewal of soul and mind by purpose. Jiří Sulženko gave a pleasant rendition of the lyrical yet rather calm singing part. Though the dialogue between brass and strings was messy along with sluggish woodwinds' playing. Pipe organ registrations were also rather heavy for such intimate movement.

The following 'Tui nati vulnerati' was atmospherically pastoral and the music stayed tender despite an abrupt change in tempo. Intonation of the tenor solo in 'Fac me vere tecum flere' was flat while singing soft. Tuning improved as the dynamic increased to forte but the repetitive folk tunes were rather dull to listen after a while. Although the choir maintained the bright tone colour and good tuning in the lullaby like 'Virgo virginum', the produced shape was rather square than a flowing impression. Soloists in both 'Fac, ut porten Christi mortem' and 'Inflammatus et accensus' were insecure in their singing parts, which further prolonged the musical boredom. Jana Hrochová was especially underweight and one hardly could understand the words she was producing. Emotions and drama finally released in sheer force in the last movement 'Quando corpus morietur'. Choral singing sustained the intensity of the exuberant and triumphant fugal finale, but let down again by the messy strings' playing at the scalic climbs towards the end.

Review - Ozno, Haydn, Dvořák, Hong Kong Philharmonic Orchestra, Hong Kong Cultural Centre Concert Hall, 3 December 2016

Oikogneia, Book 1 (Ozno)
Sinfonia Concertante (Haydn)
Symphony No. 7 (Dvořák)

Hong Kong Philharmonic Orchestra
Michael Wilson (Oboist)
Benjamin Moermond (Bassoonist)
Jing Wang (Violinist)
Richard Bamping (Cellist)
Jaap van Zweden (Conductor)

Oikogneia consists of music fragments associate with the composer's family members, and subsequently orchestrated from the original MIDI version. The set has referenced to 20th century film music style but also quirky with originality. The first movement is alike a grand exotic ceremonial march similar like Rózsa's works for Hollywood Roman films. The percussions plays a prominent role to generate the rhythmic pulses while high notes for the woodwinds. It is loud in dynamics and finishes abruptly. A light hearted mood follows in the second movement alike the dance sequences of Bernstein's West Side Story, even to do with golf as described by the composer. The third movement is more conventional for being formal and square in patterns. Flourish from the brass while the strings play the melodic lines. The music has a vibrant colour and stays loud throughout, and again a sudden finish off with handclaps.

Rhythmic momentum marks the fourth movement with a narrower music range. The bass clarinet has its solo moment and with an impression of hurrying along the road. The fifth movement reminds the Japanese animation music in Miyazaki's works. Tutti moments has a relatively grandeur outlook and colourful playings from the percussions, with an enigmatic ending that nothing definite. More inward looking in the sixth movement like a military band retreating in distance. It gradually builds up to a slow dance follows by repetitive passages in the brass playing. The last movement is more varied and experimental than before. Glissando on the strings, follows by another Latin dance passage for the brass and percussions, then returns to some plain melodic woodwinds' playing. The music turns into a chase with syncopated rhythmic patterns excitedly marks by the percussions. The dynamic increases to fortissimo or more, with the brass gives a concluding lead and finishes abruptly like previous movements. The set is appropriately programmed to begin this performance, and desirably the rest will perform in future for a better understanding structurally.

After featuring the orchestra lead percussionist as a composer, Haydn's Sinfonia Concertante is an interesting showcase for the principal players of the upper and lower parts in strings and woodwinds. The first movement is regal and majestic in style. The orchestra was able to switch from the energetic Oikogneia into stylish and elegant for the Haydn. Fluid playing among the four soloists with the music flowed with direction and sweet in tone. The violin solo led the melodic line mostly but tuning was not secure as the range went up the fingerboard. The pastoral and sedate like second movement has the violin, oboe and cello take turns in solos. The ensemble achieved the right balance with the soloists and a ringing tone produced by the violin and cello in their duet. It was a pity though that the French horn was flat when finishing off the movement. Structurally the last movement is strange and fluctuated, which Haydn's experimental intention as an operatic showcase for instruments is a work in progress and rather indecisive on tonality. The solo violin was heavy on bow weight and far from producing the thrill of a coloratura flourish. A demanding climb to the very end of the fingerboard for the cellist and the tuning was far from ideal again. The bizarre format left a mixed impression and one not sure whether a future revisit is desirable.

Poor intonation in the horns' introduction of Dvořák seventh symphony, but the strings redeemed the disappointment with their full bodied tone and responded to the style change after the Haydn. The tragic impact would be even more devastating if more weight in the strings' playing. In turn, the produced sound was more suited in the positive outlooking expressive section. Confident horns' playing at loud dynamics, but the woodwinds dragged the tempo slightly and reduced the driving momentum. The crescendo to the climatic expressive moment carried the sheer dramatic impact. Though grainy tone in the horns did not make a refine coda when the music died away slowly. A polished sound from the woodwinds in the pastoral opening of the second movement, but the employed rubato not really able to phrase the music in the right shape and articulate the contrasting moods. In contrast, the strings were better in phrasing even though the tempo would need to be swifter. Beautiful playing from the woodwinds, except the horns, in the lyrical end.

The orchestra would need to dance more in the third movement instead of being rigid and heavy footed. Tempo was on the broad side, and the horns did not match the tone quality of the woodwinds and lower strings. A good bodied of sound from the strings but it could bite more to produce the wildness more effectively. The last movement was dramatically intense in a swift tempo. Brass and strings vividly produced the tempestuous effect and danced with the music in the lyrical expressive passage. The horns were at its best when playing loud in long notes. The contrast in dynamics ably to reflect the ever changing emotions in negotiation between the tragical sense against the heroic force galloping gloriously. The brilliancy sent the audience in enthusiastic reception but the middle movements would need a rethink for a more successful outcome.