Review - Porgy and Bess (Gershwin), The Metropolitan Opera, 30 September 2019

Porgy - Eric Owens

Bess - Angel Blue

Crown - Alfred Walker

Sportin' Life - Frederick Ballentine

Clara - Golda Schultz

Serena - Latonia Moore

Metropolitan Opera Orchestra and Chorus

David Robertson (conductor)

James Robinson (director)

Porgy and Bess served as a good introduction for my first visit to the MET. Besides as an 'American' opera showcasing the talents of African Americans, it highlighted social and political issues that still happen nowadays including racial discrimination and the struggle of social outcasts in communities. Peter the honeyman summed up the injustice of police unsophisticated detective work, which wrongfully sent him to the prison, poignantly: 'De white folks put me in, an' de white folks take me out, an' I ain' know yet what I done'.

The use of spirituals and folk tunes connected the audience to a more down to earth music landscape, also the use of dialect mixed with slangs and expression of the time, in contrast to the seriousness and formalness deployed in the composition style of European operas. It was also a colourful tale of African American community, rich and complex, differentiated from Greek mythology or ruling class power struggle that dominated the topics explored in operas. Vocally the lyric emphasis placed more focus on tone beauty than big dramatic singing. These led to the debatable impression of Porgy and Bess whether as a Broadway musical or opera as such.

Despite the progressiveness and social relevance, this production by James Robinson was too 'comfortable' in contrast. The set made an impressive structure on stage turn table alike a fortress for the residents of Catfish Row. The stage light mostly set out a sunny day except the storm in act two. The outlook of the residents looked if they were having a bygone tea party than demonstrating the hardship and struggle in a vulnerable environment.

The dramaturgy lacked the depth in conjuring the tension and violence arose from emotions and even deceptions. Dramatically it left to the lead singers' own device in demonstrating the protagonists complicated and often uneasy relationships. Bess was the most complicated character of all, but this production put her in equal with Porgy, Crown and Sportin' Life. It reduced the focus on her vulnerability and bohemian character negotiating in a male dominant environment. Neither visually sufficient to suggest why Porgy strongly attached to Bess despite her fidelity.

Musically it was a fine evening began with a lovely rendition of 'Summertime' by Golda Schultz. When Angel Blue finally got her voice warmed up, the singing was more connected and tidy. The duet of affection exchanged between Porgy and Bess were beautifully executed. Though Eric Owen did not always match Angel's good sense of music phrasing when there were a few moments that he was saying than singing his line. The special augmented chorus sang nearly without any detection of vibrato and always carried the rigour and choral excitements when necessary. The orchestra accompaniment was tidy and responsive under the baton of David Robertson, who after a natural approach to the music than an overt dramatic rendition.

Photo credits: The Metropolitan Opera

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.