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 - The Makropulos Case (Janáček), National Theatre Brno, 2017 Hong Kong Arts Festival

Emilia Marty - Annalena Persson
Albert Gregor - Aleš Briscein
Vítek - Petr Levíček
Kristina - Eva Štěrbová
Jaroslav Prus - Svatopluk Sem
Dr Kolenatý - František Ďuriač
Janek - Peter Račko
A Stage Technician - Jiří Klecker
A Cleaning Woman - Jitka Zerhauová
Hauk-Šendorf - Jan Markvart
Chambermaid - Jana Hrochová

Orchestra and Chorus of the Janáček Opera of the National Theatre Brno

Marko Ivanović (Conductor)
David Radok (Director)

The purpose and cost of longevity is interpreted with fascination and strangeness in Janáček's The Makropulos Case. Emilia Makropulous, the protagonist, disguised herself through centuries in different forms and engineered her path to eternity carefully. The tale is presented as a detective story to unfold the past and secrets through sequence of actions. It all culminates to a sympathetic understanding of Marty's fate, yet the development can be seen bizarre at first encounter. Despite David Radok's production convention by outlook, the dramaturgy was able to realise the transformation of realism into a surreal and dramatic end. The law office scene was where all the main characters being introduced, and Marty surprised everyone by solving an inheritance dispute with all the missing information that no one knows. Her entry into office was also random, but yet she made a logical and cool impression in helping out Gregor.

The symmetrical office space gradually changed into theatre sets at a backstage in act two. Marty's reception of her male admirers varied and more welcoming to older ones. She remained blunt to Gregor, who did not know he was her son, and even threw the bouquet to floor after he sent her with affection. Yet kind towards her old acquaintance Šendorf when he recalled her as a gypsy in his youth. She in turn sexually subdued Prus, who wanted to reveal the secrets of her past, but that led to his son Janek's suicide, who was tormented and overwhelmed by his secret affection for her. She was manipulative and cruel in order to obtain the formula to prolong her life by all means.

By last act only a bed left with a sink and dressing desk next to an open corridor. Although Marty acquired the prescription list from Prus, she became lost and emotional when Kolenatý questioned of her past. Despite long life kept her soul alive, physically she was a living dead and yearned for salvation by reciting the first line of the Lord's prayer. The complex personality of Marty was also inspired by Kamila Stösslová, who kept a friendly distance from Janáček even he was strongly attracted to. The Makropulos Case was also arguably a romanticised portrayal of his entanglements than simply a novel fascination of age. He seems on purpose to complain Stösslová's coolness towards him, but the same time his fascination of her was given a heroine treatment.

Musically, the orchestra was underwhelming and sloppy at the first evening. Whether to do with the layout of winds on one side and strings the other, the brass fanfare in the overture did not project well and sounded unsure. Later the band dragged the tempo throughout act one and lacked direction in its playing. Muffled sound produced by the horns and woodwinds were at times chaotic in coordination. In act two, the orchestra was often a fraction behind the singers and the produced tone rather thin in body. Some improvement in the last act for tidier playing but the momentum did not always flow naturally. The end was again underwhelming and far from producing the impact as it slowed down too much. It was more successful the following night in terms of precision and more bites during the horns' melodic section. There was more shapes in the music and the brass were able to deliver the dramatic impact.

Annalena Persson, as Marty, did not possess a rich tone and lacked the desired warmth. The climb to the higher vocal register was not smooth especially in the lyrical and expressive last act. Tuning was shaky and the first attempt was crying out the notes than singing it. Lesser vibrato in the second evening improved the articulation but diction remained blurry. Her tessitura was more comfortable and secured in the mid range and effective as an actress. A vivid portrayal of Marty by capturing the contrast in emotions and characters in her dealing with men. She sustained the focus and intensity by turning the protagonist into an ultimate heroine. Aleš Briscein's Gregor was more natural in phrasing the text and music, which carried more direction and better intonation. Svatopluk Sem gave an intensive exchange when Prus threatened Marty of revealing her past while making sexual advance. Youthful timbre from Eva Štěrbová and Peter Račko produced a transparent tone with a bell like colour. Rest of the supportive roles were presentable with the ideal tone colour that suitable to their roles. As a whole, seeing the opera twice helped to understand the symbolism, but only an inspiring production and a stronger cast of singers would attract a future revisit.