Review - Tannhäuser (Wagner), Konzert Theater Bern, 8 April 2017

Tannhäuser - Daniel Frank
Wolfram - Jordan Shanahan
Elisabeth - Liene Kinča
Venus - Claude Eichenberger
Hermann - Kai Wegner
Biterolf - Andreas Daum
Heinrich - Ralf Simon
Reinmar - Carl Rumstadt
Junger - Emilie Inniger

Chor und Extrachor Konzert Theater bern
Berner Symphonieorchester
Kevin John Edusei (Conductor)
Calixto Bieito (Director)

Tannhäuser is probably Wagner's dilemma on nature of love than a search on whether love can bring salvation. The struggle between sensual pleasure and moral codes has led to an open end as what form of redemption is achieved at the end. Bieito's thought provoking staging woven this binary context and reach a plausible outcome that the two sides come together eventually. A realist approach to realise the violence and rejection that social power put in place whereas the outcasts suffered from the confrontation. It made the impact of sufferings more powerful and disturbing the same time, when one could detect the pain and madness being culminated in full. The journey that Tannhäuser embarked on no longer easily distinguish good or bad, but the experience of loss being out of place while yearning for behavioural freedom.

Instead of the cliche that Venusberg being erotic and colourful, a dark and misty forest formed the opening scene in the overture with trees spinning around. Venus touched herself erotically at first and then sprinkled water on her body as the music became increasingly sensual. She was possessive of Tannhäuser, and their emotional affection was genuine and raw by further erotic contacts. Here Bieito perceived the relationship alike cruising in the park while trees seems metaphorically represented the sexual organs. Venus disappeared when the pastoral call was played by the cor anglais, a shepherd

climbed on the protagonist and the purity image became an ongoing burden. Tannhäuser was later bullied and mocked by the minnesingers from Wartburg. They were presented as a rough militia by painting themselves with blood and roaring loudly to reinforce their manhood. When Wolfram mentioned Elisabeth, Tannhäuser was seen as troubled by the name and uncomfortable to stay around the minnesingers. Their rough edge behaviours and wildness realised Venus's prediction that Tannhäuser would struggle to return to society.

A Greek temple with tall columns made the interior of Wartburg's castle in act two. Elizabeth's reception of Tannhäuser was a mixed affair. She shared his dislike of the pretentious and male dominated crowd in their fine outlook and robotic movements. Instead of wearing the beautiful dress and high heels, she would rather put on his oversized military uniform. She too had a rebellious personalities and that suggested why she could relate to Tannhäuser. Though at first she refused and pretended not to accept his attempt of reconciliation since disappearance. Wolfram showed his jealousy towards the couple even he had to rely on Tannhäuser in order to see Elizabeth again, who rarely seen in public. He was in agony when she continued to defend Tannhäuser from condemnation. The crowd were horrified and angry when Tannhäuser praised the sensual love and took off the suit he was wearing. They behaved increasingly demonic and put blood on their faces again. Elizabeth was raped by the minnesingers and they spanked the ground with tree branches frantically. Like his production of La Juive, Bieito referenced the act to the biblical tale of purifying the temple in Jerusalem by expelling the traders however violent and brutal. Theatrically it was intense and made the social hostility to Tannhäuser more poignant.

Dramaturgy and symbolism in third act was most enigmatic and mysterious of all. A ruin of the temple remained and gradually consumed by the forest with a water fall. Elizabeth and Wolfram were more exhibited over their eccentric love and hate relation. They exchanged affections but quickly rejected each other again. Elizabeth became mentally unstable and even attempted to self harm. Wolfram watched her from distance at first and later tried to strangle her. He also became aggressive and confronting as Tannhäuser reemerged. When Venus reappeared, Wolfram first climbed into the water pond before putting dirts on his body. His act seems also a personal dilemma between physical love and self righteous. Later the crowd entered the court as Tannhäuser calling the name of Elizabeth. They appeared like ghosts and the final praise of redemption became an irony itself as they pleaded in desperation. Perhaps Bieito felt the final act was an imagination when the two ideological camps came to term and they decided to go after the spiritual satisfaction. Aggression and conformity vanished at last but not Venus the seductive figure nor Elizabeth the spiritual fountain. An undecided outcome and one could only make the choice through a journey like the one experienced by Tannhäuser.

The orchestra continued to deliver quality accompaniment throughout the evening and kept the music flowing with momentum and shapes. Brass made a confident and bodied sound at the overture, later beautiful woodwind playing during the lush and romantic interlude in act three. I was surprised that some of the singers, like Carl Rumstadt who sang the role of Figaro the evening before, filled the minor roles or even sang in the chorus for Tannhäuser. Big choral moments always carried the sheer impact of the sound of wall and filled the hall in full. Diction was clear and the singing was rather clean with minimal vibrato. Singers in minor roles met the technical challenge in the thick vocal layer and sustained a dramatic sense throughout.

Daniel Frank accurately portrayed the protagonist as an emotional and vulnerable figure. The recalling of Elizabeth in last act was particularly effective that captured Tannhäuser's dilemma between affection and physical pleasure. His timbre was rather dramatic in colour but lyrical enough not to lose the warmth in tone. Tuning was always secured and the voice never strain even reaching at higher register. I encountered Liene Kinča as an impressive Chrysothemis in Elektra at the Flemish Opera few years ago. A powerful voice with a rather bright and silvery timbre with great energy to sustain a long singing line. Though her singing was more able to realise the tenderness later at Elizabeth's prayer than the lyrical opening of act two. Jordan Shanahan, as Wolfram, sang majestically in a rich bodied tone. His sense of phrasing maintained a natural flow in tempo and legato enough to connect the lines seamlessly. Wolfram's prayer to stars and Venus in act three was romantic and poured out emotions in full. Claude Eichenberger's voice suited better to the role of Venus than Marcellina the evening before. Phrasing was natural and more able to project her rich voice smoothly. As a whole, the renovated opera house with comfortable seats and well maintained interiors added another attraction for future revisit on top of the high music standard.

Review - Ray Chan & Julio Elizalde, 2017 Hong Kong Arts Festival

Violin Sonata No 1 (Beethoven)
Violin Sonata No 1 (Saint-Saëns)
Sonata No 4 for solo violin "Fritz Kreisler" (Ysaÿe)

Suite Popularie Espagnole (Falla, arr. Kochanski)

Czardas (Monti)

Ray Chen (Violin)

Julio Elizalde (Piano)

This concert programme formed a chronological order of works from late classical period up to the early 20th century.Technical demanding pieces filled the upper half and a more relaxing affair towards the end. Whether because Beethoven's first sonata was the opening work or saw a need to fill the hall acoustic, Ray Chan's playing was unnecessarily weighty and bombastic throughout. Heavy vibrato was employed, and aggressive bow attacks on double and triple stops. The scalic passages though were not always legato neither tuning was secured on the high finger positions. Showmanship and pushing the tempo vigorously undermined the appropriate performing style, which was to be transparent, a natural flow and silky. The violin was supposedly accompanying the piano in the second movement but that partnership dynamic here was reversed. A rather passionate and rich playing was given on the violin part, which sacrificed the elegance in a wrong dramatic sense. It was no surprise that the forceful approach continued into the third movement. Even so, it gave a virtuosic display and strong momentum by the energetic playing.

In contrast, Ray Chen's bold playing style was more suited to Saint-Saëns first violin sonata. The tempestuous and violent impression was vividly produced during the nervous and tense introduction of first movement. Again at virtuosic passage the sheer sense of dramatic intensity was carried and technically excelled, which one sensed the architecture and direction the performers had in mind. Though during lyrical sections in both first and second movement, the tone impression often lacked contrast and never relax. Emotional outpours overflowed and sometimes affected the tuning again on higher positions. By reaching the dance like scherzo of the third movement, intimacy was more able to realise by the sleek and light playing. Rhythmic precision in the semiquavers opening of the last movement sustained the musical excitement. Beautiful ringing tone in the long notes yet did not indulge over expressive lyrical part. The coda was breathtaking by the crescendo of intensity and momentum through the technical display. It had also manifested a close working partnership between Ray Chen and Julio Elizalde with the same mind on phrasing and seamless dialogues in their playing.

Ysaÿe's fourth sonata was the only solo violin piece on the programme and again meant to impress by the challenging technicality. Ray Chen's tuning and technique were again impeccable in the first movement, but far forming a structure than a stream of notes. The tone colour was only rich and muscular than shading any contrast again. Pizzicato orientated second movement was again shapeless and tuning was not secure at the cross strings climbs. Phrasing improved in the final movement and the tone quality was more beautiful than before. Virtuosic brilliancy marked the lasting impression, but it needed further thinking how to shape the music than merely sailing through tricky corners.

Kochanski's arrangement, of Falla's Spanish folksongs for violin, made a change from demonstrating pieces to a more inward looking and meditative atmosphere. Both first and last movement melodically rich but never carry any big gesture. The mute was used in the second and fourth movement respectively. Tender and gentle lines intertwined between expressive emotions and sorrows. Appropriate rubato was employed to shape the dance like movement in a radiant tone colour. The fifth movement was alike a gentle ice skating with smooth harmonics slides. Monti's Czardas wrapped up the night in all theatrical exaggeration like bird squeaks by playing on the end of fingerboard. Though the tone control and tuning did not match the high standard set early on. Encores included Sarasaste's Habanera and Theme from the Schindler's List, which were given a fine rendition and the latter was particularly moving. 

Review - Il barbiere di Siviglia (Rossini), Opera Hong Kong, 6 May 2017

Figaro - Steven LaBrie
Rosina - Stephanie Lauricella
Il Conte D’Almaviva - Edoardo Milletti
Dr. Bartolo - Kevin Glavin
Don Basilio - Kevin Thompson
Bertha - Bobbie Zhang
Fiorello - Zhou Jian Kun
Ambrogio - Frankie Fung

Hong Kong Sinfonietta
Hong Kong Dance Company
Opera Hong Kong Chorus

Roberto Gianola (Conductor)

Lorenzo Mariani (Director)

Director Lorenzo Mariani’s light-hearted and action-packed reinterpretation of the much loved opera is doubtless a creative innovation. Drawing on the parallels between flamboyant Rossinian dramatics and the creative elegance of 1930s American musicals, Mariani set the opera against the glitzy background of Hollywood. The stage was filled with bright costumes and objects inspired by musicals and films of that time. Scenes and arias were also interwoven with ceaseless flows of action which served to enliven and emphasise the sung text - especially during Don Basilio’s ‘La Calunnia’, the ‘All'idea di quel metallo’ duet and the ‘Don Basilio – Cosa veggo’ quintet. A particularly memorable scene was towards the end of Act I where Mariani courageously broke the mould of traditional narratives of how Count Almaviva was released: instead of revealing to the officers his identity, Count Almaviva bribed them, and the officers began to distribute the cash amongst themselves surreptitiously.

That said, there were times when Mariani's explicit sense of humour fell flat and turned trite. For example, it was not entirely easy to make out why there were swimsuit figures on the top of a pool slide in Dr Bartolo’s mansion or why Figaro’s shop resembled a phallic structure with a large bulb on top. There were also other times, often after repetition of long sequences and excessive action, when less would actually have been more. Finally, although the production should not be analysed in terms of strict logic, Mariani’s rather abstract reconceptualisation had the tendency of compromising the very physical and chronological details which made the opera comical and exhilarating in the first place. For example, the disappearance of the massive cage in which Rosina was locked after the first scene created a bit of spatial confusion as to where Rosina actually was. Similarly, the highly abstract escape scene at the end of Act II failed to bring out clearly how the ladders were intended to be a means of escape or how they were ultimately removed to frustrate Figaro’s plan. At those places a more conventional and conscious treatment would have probably enhanced the drama and its hilarity. While the creative aspects of this production were generally admirable, they became counterproductive when overdone as the opera gradually devolved into hammy acting and choreographed singing.

The cast was overall a strong one. Figaro was sung by Steven LaBrie with swashbuckling bravado

and an air of effortlessness, but his character had considerably less stage presence than the rest of the cast. ‘Largo al factotum’ was executed perfectly and was accompanied by an amusing choreography. Mezzo-soprano Stephanie Lauricella made a strong impression as the love-struck, baffled, bitter but endearing Rosina, and sang the runs and coloratura with remarkable precision and stunning agility. Though well supported, her lower register is less pleasant and lacks the velvety quality of her upper range. A solid bass with a resonant and gathered tone, Kevin Glavin breathed life into the irascible and scheming Dr Bartolo with compelling presence and believable acting. Yet his voice was slightly drowned out in the presto passages of Dr Bartolo’s signature aria 'A un dottor della mia sorte’ – one which could have merited a more comical treatment in general.

Edoardo Milletti as Count Almaviva was underwhelming. Initially struggling with intonation in his first few solo arias, Milletti carried the legato lyrical lines disappointingly and often brought them to abrupt and unpleasant brakes – a persistent problem in ‘Ecco, ridente in cielo’. Phrasings reflected poor taste and his voice is insufficiently agile to traverse the florid passages with confidence. Constantly brandishing his baton, Kevin Thompson’s Don Basilio was perhaps the oddest of all characters whose repeated antics became more of an annoyance towards the end. Thompson has a massive and extremely resonant voice but unfortunately suffers from a rather bland tone. The orchestra was generally satisfactory but missed the opportunity to bring Rossini’s animated music to life, certainly coming off as lacklustre and vapid in the Overture, only to be marginally rescued by the choreography on stage. It was also very obviously out of sync with the entry of Fiorello in the first scene. Overall, while credit must be given to Mariani's visually exhilarating and dynamic production, the whole Hollywood concept ran the risk of turning the opera into a one-dimensional slapstick drama with over-the-top Americanised humour.

Photo credit: Opera Hong Kong Facebook Page

Review - Le nozze di Figaro (Mozart), Konzert Theater Bern, 7 April 2017

Count - Todd Boyce
Countess - Evgenia Grekova
Susanna - Lee Yun-Jeong
Figaro - Carl Rumstadt
Cherubino - Eleonora Vacchi
Marcellina - Claude Eichenberger
Bartolo - Stephen Owen
Don Basilio - Andries Cloete
Don Curzio - Andres Del Castillo
Barbarina - Daniela Ruth Stoll
Antonio - Kai Wegner

Chor Konzert Theater Bern
Berner Symphonieorchester
Jochem Hochstenbach (Conductor)
Markus Bothe (Director)

Despite some spectacular demonstrations of stage machinery and effects in Markus Bothe's production of the marriage of Figaro, the dramaturgy centred heavily on the chaotic and complicated relationships yet retained the comical aspects. Rivalry between the aristocrat and their social subordinates did not become apparent until the garden scene in the last act. This left an impression that the stage direction lacked some level of depth by a near literal portrayal, instead of articulating the political and social changes pressed by enlightenment.

The overture gave a kaleidoscope of the key figures and set the opening scene alike the television drama 'Upstairs Downstairs'. They climbed up and down the ladders between two rooms or appeared from the doors on the ground. Interestingly except Susanna and Figaro in servant outfits from early 20th century, the rest still wore powdered wigs and fashioned to the early 18th century. Generation gap was exemplified by fashion changes but it would require the stage choreography to reinforce the ideological conflict than merely a visual impression. An example would be the count, who wore silk coat to symbolise his status, as a naive figure in this hide and seek game, though far from portraying an authority failed to preserve and exercise his feudal rights. He was also soft with Figaro that only frustrated than raged over the growing mistrust after attempting to seduce Susanna.

The countess bedroom scene looked rather chilling by the displayed cold coloured dresses and tired stage lights. It captured the countess's loneliness in a loveless marriage though omitting the emotional torment over her husband's infidelity. A warmer light scheme returned when Susanna and Cherubino entered the room. Although the latter was a pant role, the flirting over serenade became rather like a lesbian threesome affair. Later confusions was dramatically unfolded as the count tried to trap everyone in further hide and seek chasing. The best moment was the flood of shoes collapsed when the count opened the cupboard to discover Susanna but not Cherubino hiding in there. Though it was rather straight forward to find the countess reconciled with the count quickly neither did she put much efforts to stop the forceful advance. The portrayal did not inject much character to the role than only a weak and submissive wife. Even so, intensity was able to kept tightly during the exchange between Figaro and the count on Cherubino's commission letter while confronting with Antonio. One could sense the sheer tension gathered up by the chaos in its fullness sense at the brilliant sextet conclusion of the first half.

Compare to the first half as a playground of confusion, hostility was more apparent in the second half. The count was furious by Susanna's further betrayal and confronted Figaro over the marriage arrangement than only being tossed around by actions. In turn, Figaro was anguished by the count's further distrust and vicious plot. He was still upset after the wedding and even angry at Marcellina even recognised she was his actual mother. The party itself made another statement that the class distinction no longer clearly defined, and the aristocrats gradually losing the respect and courtesy from the household.

One high point of this production was the confetti celebrating the marriage later formed the garden maze in the final scene with long colourful strips. Visually it was effective from the audience perspective, though singers had difficulty to manoeuvre around in their long dress. The finale was appropriately not a jubilant celebration and the count lost his plot altogether even the countess forgave him, who probably the only one left had a soft spot for his misdeeds. Both minor roles, Barbarina and Don Basilio, were also given more perspective in this production. The former appeared throughout and she not only flirted with Cherubino, but also the count even he rejected her wild advance. Basilio wore a flamboyant outfit and acted as a key player in first half trying to side with anyone who ever came to his interest in revealing scandals.

One was amazed by the high musical standard from both singers and orchestra at first hearing. Carl Rumstadt, as the protagonist, delivered a confident start for being clear on diction and a resonated voice with the desired warmth and vocal body.  His singing had the flexibility to realise the emotion changes in each arias through switching vocal colour, and phrased the music naturally. Perhaps tiredness sunk in towards the end of the evening and his vocal energy was not as sustain as before. Lee Yun-Jeong, who sang the role of Susanna, improved immensely as the evening went. Mostly vowels were audible in the opening entries even  with a beautiful timbre and smooth articulation to keep a flowing momentum. Later the singing carried the ringing tone more and the voice never show any sign of tiredness. Register changes were smooth and flexible, also paced the tempo naturally.

Todd Boyce, as count, was rather muddy in diction and portrayed the role as a naive figure at first. He gradually built up the character over arguments with the countess in act two and plotting for revenge in act three. His singing became more dramatic to convey the emotions and richer in vocal colour to add the weight as a bass-baritone. Musically the weakest link of the evening was Evgenia Grekova who sang the role of countess. She preferred a slower tempo but the voice was rather thin in body that did not carry much direction. During her duets with the count or Susanna, her projection was often underweight compare and the vocal energy faded gradually in the second half. Heavy vibrato and rather closed way of singing vowels did not help her singing to keep the pitch level from going flat.

Among the minor roles, Andries Cloete's Don Basilio was most suited in terms of timbre and characterisation. Despite not a beautiful voice, his singing was smooth and flowing throughout the only extended aria in act one. Eleonora Vacchi's Cherubino was a mixed affair that tuning went flat in the text heavy passage and the voice was more projected only by reaching the higher register. Her vocalisation improved during the serenade to the countess but tempo was too quick for my taste. Daniela Ruth Stoll was more audible in the recitative than Barbarina's only aria in the second half. Claude Eichenberger as Marcellina had a rich powerful voice but at times one felt the vocal body too big and rich for the part. Stephen Owen was rather heavy on vibrato in the role of Don Bartolo and often speaking than singing his part. The orchestral playing was generally crisp, tidy and responsive to the direction of Jochem Hochstenbach. Only the brass was occasionally flat on tuning and sluggish. There were no moment I felt dull and a surprise to find such a capable ensemble from a regional opera company.

Review - Camerata Salzburg and Piotr Anderszewski, 2017 Hong Kong Arts Festival

Divertimento No. 7 (Mozart)
Piano Concerto No. 12 (Mozart)
Piano Concerto No. 11 (Haydn)
Symphony No. 49 'La Passione' (Haydn)

Camerata Salzburg
Piotr Anderszewski (Piano solo and conductor)

This programme is not merely a functional display of classical works by Mozart and Haydn, but also forms an indirect relation to the passiontide. Mozart's piano concerto was to provide subtle entertainment when theatres were closed during the lenten season of 1783, whereas Haydn's symphony made a dramatic realisation of emotions expressed through the Passion theme. Except the piano concertos, violin first desk led the ensemble without a conductor. This required the players to coordinate through listening to each other attentively and established dialogues by phrasing, but sometimes the produced tone quality was raw and being impatient.

A relaxing start to the divertimento with two horns and strings before turned into an energetic Allegro, which the major and minor keys intertwined like waves. Though the strings could have employed more hairs on the strings for a fuller tone than hurrying along. This later resulted in some abrupt playing during the Adagio and violas had different ideas on tempo coordination. Eventually the band settled down for a more tender and elegant rendition. Horns' callings depicted a lively hunting scene in the second minuet. It unleashed sheer energy by galloping through the presto and able to produce a dramatic contrast of dynamics. Though one still found the down bow attacks rather aggressive in a harsh tone and rather vertical reading of the score.

The lesser use of vibrato among strings in Mozart's piano concerto improved clarity and sustained the line with more direction. Viola's part was more prominent at the rather operatic orchestral introduction. Anderszewski's tempo was on the swift side, his touch was rather muscular and bold but far from an elegant rendition. As a result, the playing was again rather vertically directed and wrong notes were even audibly detected in the scalic patterned cadenza. Strings were impatient and not refine during the ebb and flow of dynamic changes in second movement. Only until reaching the cadenza, Anderszewski switched for a meditative approach by softening his touch on the keyboard and the band responded with some gentle playing. Though strings quickly resumed the aggressive bow attacks in the energetic Allegretto that the produced sound rather harsh and rough. The piano cadenza was strangely inward looking than a technical showcase in contrast.

Featuring Haydn in the second half was more suited to the bodied tone of both the ensemble and pianist. The music carried a certain level of urgency and energy for technical display. Transition into the minor key was actually more elegantly delivered, and the cadenza was better structured in terms of textual progression. Strings' tone was more ringing in the swift and yet majestic second movement. Anderszewski carried the momentum in his playing and direction to aim even under a strong touch. The ebb and flow of emotions was dramatically realised, and still beautifully executed even being bold in style. A witty start to the cadenza alike an improvisation before returning to a dreamy and still state. The last movement was an exotic flair of alla turca with humorous effect and also a virtuosic display. Energy was maintained throughout the wild gallops and precision was achieved for a brilliant technical showcase.

The Passion symphony in turn changed the mood completely from the sunny and heroic state to a sorrowful strings opening. Dramatic contrast of dynamics and emotions were vividly produced, but again needed more time to let the long notes to sing out and a warmer tone than rawness. The second movement marked a tragic negotiation and the ensemble responded seamlessly between parts. It also sustained intensity by energetic bites at entries. The minuet of third movement recalled a gentle but rigid dance in old form. Lower strings produced a rich bodied tone and winds with more solo moments kept the music flowing at a good pace. Tempest returned in the stormy Presto marking with more attacks and bites from the strings, but tuning was not always accurate as they reached higher positions on the fingerboard. As a whole, it gave a rather theatrical depiction of the passion scene and sent the crushing impact in fullness.

Review - Vespro della Beata Vergine (Monteverdi), Concerto Italiano, 2017 Hong Kong Arts Festival

Concerto Italiano
Rinaldo Alessandrini (Conductor)

Despite Vespers is part of the daily divine office in the Roman church, Monteverdi's work not totally intend for a liturgical function. While a testament of religious loyalty and belief, it also serves as a job testament to the establishment and probably wishing that the workplace is musician friendly. The five additional concerti sacri forms an intriguing set in addition to the traditional setting. Instead of

responding directly to the psalms, the motets not only praising the Virgin Mary but also other female saints. An elaborated formation of instrumental ensemble is required, the vocal parts are also virtuosic and operatic by style. The music texture also has a large space in mind, which resembles a resonated church building with side chapels and levels for the theatrical sound effects.

This performance took place on the main stage in city hall due to the layout, but one felt that moments like 'Duo Seraphim' the soloists could sing antiphonal from the side boxes. Instrumentalists were placed on a platform behind the vocal ensemble consisted of 10 singers except the two theorbists. Whether due to Alessandrini's approach or technical imbalance among the soloists, the second half was probably too energetic preceded by a rather dull and uninspiring first half. An underwhelming flourish was made at the beginning and intonation was flat during the choral responses. Vertical reading of the music under a broad tempo hardly created momentum by the singing. There was a balance issue too that the two sopranos were vocally underweight and lacked body in compare to the male counterparts.

Introduction of the first psalm, Dixit Dominus, lacked intention and neither the part entries had a shape in mind, which resulted messy coordination and unable to make a crisp impression. Repeated notes would need to sing in fuller value than rushing through to secure the intonation. When 'De torrente in via bibet' was reached midway of the psalm, the singing finally became more dramatic with the intention to lead the music forward. Though to sustain the tone would require more legato and to maintain direction even under a broad tempo. Diction was blurry that one only hear the vowels but consonants were in absence. Singers lacked the flexibility at the runnings in the following motet, Nigra sum, and far from producing the virtuosic impression. The adopted tempo for the second psalm, Laudate pueri, was too slow and sluggish. It affected the music to sound dull and lacked energy even with a bodied tone. The two sopranos were again underwhelming in vocal volume and not able to sustain the line in the next motet 'Pulchra es'. Some blend ornaments were given that far from realising the period style.

The beginning of 'Laetatus sum' was shapeless and not much phrasing of the text nor the music. Most efforts went into the difficult runnings later and the male voice projected better vocally. Later tenors relaxed their singing more during Duo Seraphim. They were more able to sustain the vocal energy and produced a ringing tone. Though gradually returned to the hard edged timbre at the recapitulation of Sanctus that again lost the radiant quality set before. 'Nisi Dominus' involved the tutti chorus and the text was narrated in different lines simultaneously at a lightning tempo. Singers managed to drive the momentum forward throughout the heavy texted passage with more shapes in the dialogues. Though there was a balance issue that the men vocally had more weight and volume than the sopranos. Doxology that conclude the first half was majestically rendered followed by a brilliant gallop in the Amen passage.

Theatrical echoes in Audi coelum was not effectively realised when the two singers had a rather

different timbre. The tenor on stage possessed a brighter tone and more in style with the trills and rhythmic precision, whereas the quintus-echo at the backstage did not match the exact quality and sometimes struggled to imitate. The choral singing was more musically rendered than before when reaching Lauda lerusalem. Articulation improved and appropriate stress on important words for a dramatic realisation of the text. Tempo no longer sluggish and carried more direction with a bodied sound. Instead of a treble choir, the two sopranos sang the hymn like Sonata sopra Sancta Maria but again underwhelming in projection. Instrumental ensemble though gave a rather lively account of their virtuosic part with elaborate ornamentation, though perhaps too energetic and vigorous than the prayerful impression had in mind.

The vocal quartet in Ave maris stella blended well with a homogenous tone, but rather impatient with the long notes at the doxology. At Magnificat, instrumentalists again made a stronger impression in majestic playing with rich ornaments during the elaborate cornetti dialogues. Singing though was uneven that the lower voices gave a rather creamy and dreamy state in 'Et misericordia', but tenors' timbres did not always compliment each other. Tuning among the sopranos went flat again and lacked the smoothness in their singing. These left a mixed impression at the broad and solemn ending, which the performance as a whole was far from a ethereal experience.

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.

Review - Borusan Istanbul Philharmonic Orchestra and Sascha Goetzel, 2017 Hong Kong Arts Festival, 15 Feb 2017 & 16 Feb 2017

15 February 2017:
Capriccio a la Turque (Tüzün)
Violin Concerto (Macmillan)
Encore: Il carnevale di Venezia (Paganini)
Scheherazade (Rimsky-Korsakov)
Encore: Köçekçe (Erkin)

16 February 2017:
Ogelala (Schulhoff)
Piano Concert No. 1 (Saygun)
Islamey (Balakirev)
Belkis, Queen of Sheba (Respighi)
Encore: Köçekçe (Erkin)

Vadim Repin (violin)
Gülsin Onay (piano)
Borusan Istanbul Philharmonic Orchestra
Sascha Goetzel (conductor)

Despite this year Arts Festival began with the Borusan Istanbul Philharmonic Orchestra, strangely it was the Bavarian State Ballet marked the opening an evening later. Even so, the orchestra was impressive than anticipated. Technically sections of the orchestra were balanced with a unique colour in the playing style despite some questionable interpretations. The programme also reflected the orchestra versatility in romantic and contemporary works. The will to engage experimental music made a progressive appearance. Yet the intellectual exercise still reached a fine balance with the oriental outlook to recall its diverse cultural legacies. Exuberant rhythmic movement also made a festive start of the festival with diverse repertoire than the usual staple diets.

Tüzün's Capriccio a la Turque carried a contemporary oriental impression and structurally complex. The opening tutti was rhythmically energetic and muscular in texture but not too dense. A sedate state followed with a fusion of blues and dissonant music. String's tremolo produced a rocking and dreamy state before concluding in a vigorous and wild dance. Though a more transparent tone colour would have elevate the brilliancy than culminating a heavy taste.

Macmillan's Violin Concerto was a bold choice to perform but the orchestra not always able to shape the music meaningfully. At first, Vadim Repin's playing sounded timid by positioning rather into the first desk circle. The soloist role seems a supportive one than leading. Ongoing rhythmic passages hurried along but structurally misty. The climatic point by horns would need more ritardando to build up the intension. There seems a homage to Stravinsky's The Rite of Spring in the following tribal dance passage. In turn, the glockenspiel, piano and woodwinds gave a surreal bell tolling moment. The coda was abrupt and enigmatic during the tutti ascend. Refined solo violin playing even in dissonance at the dreamy and surreal beginning of the second movement. Though one felt that the orchestra was playing the notes than phrasing the music.

An enigmatic transition from a sorrow and moody lament by lower brass into a folk like section, which played by various percussion and harmonics on the solo violin. After the fanfare from brass it developed into a grotesque outlook but Elgarian sentiments the same time. The folk like theme returned on the piccolo led to a flickering and inconclusive end. A violent start to the third movement with strong rhythmic momentum and aggressive climbs. The solo violin part was more prominent than the accompanying role before. A tribal dance section followed that recalling the music of Leonard Bernstein. The violin solo part was heavy on scales and employed percussive effects with bow on the strings. More so in the cadenza display of virtuosity with repeated double stopping on arpeggios. Though the orchestra would need a broader tempo so the devastation would carry more the crushing impact than hurrying through.

For the second half, the symphonic suite Scheherazade made a more familiar appearance in terms of repertoire but with a twist. Two traditional instruments, oud and qanun, played between movements and added percussions to encapsulate the oriental impression. Though Goetzel's execution of tempo changes and allowance of rubato in instrumental solos were not always convincing. The opening tutti progression was broad and even feeling slow, despite sublime and legato violin solo by the orchestra leader Pelin Halkacı Akın. Tutti strings were polished in their playing but at first felt short from producing a rich tone. The outpour of emotions in full as gearing towards the climax. Magnificent brass playing in a radiant tone with confidence. Alike a lute, the Oud rendered middle eastern tunes and set the scene for the second part. Solo parts took time in their playing but often overdone by elongating the tempo. The violin solo was more musically shaped and secured in tuning, whereas the bassoonist approached with a broad tempo and meditative in mind. Oboe solo was noble in style but too relax than driving the music forward. The extra use of traditional percussion enhanced the middle eastern characters and gave a unique colour to the music. The employed rubato in the clarinet's solo was not very musical later in the violent and war like calls. Only the heroic majesty tutti was more dramatically delivered in sustaining the galloping momentum.

The qanun interlude followed was surreal in style compared to the sweet and passionate string tutti that later began the third movement. Majestic cellos' playing in because but rather steady with tempo. The violin solo continued to be sublime and the phrasing carried a level of depth. Different solos tried hard to draw out the sentiments and beauty alike an operatic dialogues within parts. The intention seems more inward looking at the music but ignoring the dance like rhythmic movement. Oud and qanun played a duet in the final interlude before the last movement. It was more positive looking at first before fading away. Violin solo was slightly underweight in first entry and dragged the tempo along. Later the ebb and flow of emotions had the thinking of a sophisticated dance in mind. The accelerando at the passionate and explosive gallop was dramatically captured by the orchestra. Nevertheless, coordination between parts were messy sometimes and the music did not flow naturally towards the conclusion. One did not find the interpretation as a whole always convincing, but the orchestra had successfully to interpret the work with distinctive characters.

First half of the second evening consisted of two works by Turkish composers that composed in the first half of the twentieth century. Schulhoff's Ogelala was highly dramatic and texturally dense as a ballet piece. It began with a moody and dissonant march then built up to a violent climax. Bombastic percussions created a gripping intensity followed by a melancholic flute solo. A majestic march formed the mid section with an exotic colour before returning to the war like conclusion. Strong rhythmic movement and energetic percussion units evoked a wild tribal dance but came to an abrupt end in a grotesque form.

Saygun's first piano concerto carried influences by Rachmaninov, Prokofiev and Bartok, but also mysterious and surreal in outlook. The gallop that began the first movement was answered by a chromatic piano introduction in dreamy state. Woodwinds' transition was aimless at first and abstract. The music went increasingly violent with piercing cries from winds to evoke a horror scene. Thick orchestral texture during the ebb and flow of dynamics by crushing tutti blows. A moody and mysterious piano cadenza even had some hint of Rachmaninov's romanticism. Wild cries from the orchestra made a grotesque conclusion but far from producing a devastating impact. The second movement was in an abstract form played by two flutes and bassoons. Onay tried to maintain a level of warmth and weight in her playing even the piano solo was supposedly bleak in colour. The rest was between a dreamy lullaby state and a sorrowful dissonant sound world. Towards the end it turned into a meditative state and remained abstract, only the energetic attaca gave a more positive looking in the final movement. Harmonically complex in the piano part when pentatonic and chromatic sequences intertwined. The coda was marked by a wild orchestral gallop in crescendo for a reassuring end.

Works in the second half again carried strong rhythmic movements and a study of orientalism. Balakirev's Islamey began in an energetic dance followed by a lush romantic theme from the cellos, though could employ less rubato to drive the music forward. A beautiful orient dance passage gave a calm moment before the return of energetic dance section. The orchestra paced well in building the accelerando and made a brilliant end of the fantasia like conclusion. An exotic and heavily orient influenced flute introduction made an enchanting introduction of Respighi's Queen of Sheba. A majestic march theme, played by the brass along with bells, was answered by an emotional cello solo. The strings played in a rich bodied tone before fading away. Third movement was muscular and war like in style with an orient theme led by the clarinet. In turn, the last movement was more gentle and sedate at first to evoke a pictorial dawn at the dessert. The subtleness was then replaced by an erotic tribal dance that muscular in body. Vigorous percussions and magnificent brass playing delivered a triumphant finale by the sheer sound impact. Despite Erkin's Köçekçe was colourful in scoring, one would have prefer an encore for a light affair than another bombastic and dance heavy featured work.

Review - Siegfried (Wagner), Hong Kong Philharmonic Orchestra, 19 Jan 2017 & 22 Jan 2017

Siegfried - Simon O'Neill
Wanderer - Matthias Goerne
Mime - David Cangelosi
Brünnhilde - Heidi Melton
Alberich - Werner van Mechelen
Erda - Deborah Humble
Woodbird - Valentina Farcas
Fafner - Falk Struckmann

Hong Kong Philharmonic Orchestra
Jaap van Zweden (Conductor)

Siegfried, the scherzo of the monumental ring cycle, is often overlooked by its fairy tale outlook. Wagner spent fifteen years to complete the work, and the plot is more complex, challenging and progressive than Rheingold and Walküre. On surface a hero appears for an adventure, learning fear after meeting his opposite sex for the first time and eventually falls in love with her. Though arguably it is about Wotan being the master planner, who nearly succeeds in saving his legacy by all means but ultimately the consequence turns against his will. Whether Siegfried is an unconscious slave of fulfilling Wotan's objectives or a child of nature forging his own path is debatable. He learnt from the forest and befriended with animals as an orphan, instead of Mime who took him in at Sieglinde's request before she died. But later Siegfried destroyed Wotan's staff in half with the sword Notung, which released Wotan from all bindings and promises after a careful engineered sequence of events. The unorthodox affection between Siegfried as nephew in love with his aunt Brünnhilde, promises to bring change and free will that conventional relationship cannot not in Wagner's ideology. However, Siegfried fearless self-confidence set himself to trap later in Götterdämmerung. The ring never return to Wotan as planned and Brünnhilde, who promised to guide Siegfried to the goal, allows the free hero to seek his adventure further into the Rhineland. The high risk strategy, which Wotan adopted to save himself, runs offtrack and Brünnhilde's revenge on Siegfried's betrayal leads to the final destruction. Vocally it is also a demanding role for the protagonist, who has to be capable both dramatic and lyrical singing, maintaining the stamina for four hours long and ideally possess a pleasant timbre for the ears.

Surprisingly, it was Cangelosi's Mime who nearly stole the show for being so brilliantly sung with vivid characterisation. He had the right timbre for the role, clear diction and effective phrasing of the music and the text. His bright tone and more projected voice gave more colours and dramatic contrast to the lengthy dialogues. A poignant impression when Mime recalled the past, accused Siegfried being ungrateful of his care and vowed for revenge. Mime was also felt to cunning, intelligent and more greedy than Alberich in these performances. Their fierce argument over the sharing of treasures was dramatically intense, but more successfully realised at the Thursday performance. Mime was no longer a minor role and held the fate of events that triggered the course of actions. The downfall of Mime was his arrogance and covetous of power, than because of Siegfried learnt the true intention after covering in dragon's blood. The only moment Cangelosi could not penetrate through the thick orchestral texture was the crushing crescendo, when Wotan left Mime in horror with flickering flames growing in his hut. He seems also developed a cold and sometimes lacked the vocal weight in the Sunday performance.

Simon O'Neill should be credited for his professionalism in covering Mime's part briefly on Thursday. Cangelosi was visibly struggled with coughs at the ironic moment when Mime attempted to poison Siegfried. O'Neill seems more appreciative of the orchestra and tried very hard to portray the role. Though his timbre and vocal weight were not ideal for the role of Siegfried but better as Mime. In both performances one felt underwhelmed by his voice in the exuberant and masculine passage of the first act. The nasal tone was not appealing for the ears and sounded thin in body. Diction was often muffled and difficult to understand. It did not have the youthful energetic tone colour but the impression of an elderly man instead. The interruption and humiliation of Siegfried at Mime was tame and ineffective. Orchestra had to hold back the volume during the forging scene of Notung to accommodate the balance, which reduced the sheer brilliancy and excitement of the music. Although later his was more audibly detected over the leaner orchestral accompaniment of act two and three, the tone colour was bland and lacked any emotional intention. Siegfried's challenge to Wotan also fell short from the hostile intensity. Later the discovery of Brünnhilde was more a dreamy awakening scene, than the life changing sensation when Siegfried finally learnt fear at last. Even so, the lyric moments were more suited to his rather legato singing style. Projection improved at the call of entering Brünnhilde's rock, timbre was more pleasant and refined during the exchange of affection. Though the outcome still made an impression of Siegfried as a supporting character than on equal partnership, which was supposedly in reverse.

Matthias Goerne improved vocally with better characterisation of Wanderer/Wotan compare to Rheingold and Walküre previously, but still work in progress. Despite a better sense of phrasing, projection and vocal presence, he had a coordination problem with the orchestra at the first attempt. During Wotan's test on Mime regarding giants and gods, Goerne sang dangerously ahead of the orchestra. The problem was rectified in the second attempt with a more fluid progression. Though his rather covered way of singing style produced a cloudy sound than a ringing tone. Diction was often unclear, lacked the vocal richness nor the authoritative impression of Wotan as the master planner. Interestingly, Wotan's summon of Erda was his best moment I reckon. Brightening the vowels and opened up his voice helped the projection and injected more emotion to the singing. It was more attractive to listen to and a sense that he was in command of the situation.

Although Brünnhilde only appears in the later part of act three, it demands the soprano to meet the wide vocal range with limited space of time to warm up the voice. The best part of Heidi Melton's timbre was her rich and creamy mid range with warmth. Her voice filled the hall nicely with a ringing tone, and captured Brünnhilde's negotiations between doubt, fear of change and her affection for Siegfried effectively. Though problematic as her tessitura reaching the higher register and the reach to top notes were not always accurate. The first performance was often a forceful cry that hit and miss with tuning. She was more steady with the tempo in the Sunday performance and more successful at the climbs. Though the switch between registers lacked the smoothness and sounded rough sometimes.

Lesser roles further confirmed that villains had the upper hand with their singing than the goodies in these performances. Pleasant and refined singing from Werner van Mechelen as Alberich. Diction was clear and words were appropriately stressed to flow naturally with the music. The confrontation between Alberich and Wagner before waking Fafner was dramatically delivered. But I am convinced that Mechelen's voice is more suited to Wotan than being a villain, which requires the roughness in timbre than a noble colour. Falk Struckmann, who had recorded Wotan before, carried the depth and vocal weight in his ringing bass tone. The battle between Fafner and Siegfried was dramatically realised when he inserted mockery laughters and painful cries. Mixed results with Valentina Farcas's Woodbird though that her singing lacked the flexibility and direction. Tuning was flat the first time but rectified in the second performance. Beautiful legato singing from Deborah Humble with a rich mellow alto voice. Erda's heated exchange with Wotan was fierce that she was indifferent to his claims nor desires. Though to capture the dreamy state of Erda, a cool tone would have been more effective than passionate.

Jaap van Zweden continued to draw magnificent playing from the Philharmonic Orchestra, and lifted the performance level to a high standard that more than an achievement. Probably due to the performing hours and energy levels, tempo was swift on Thursday compare to Sunday. The bassoon and tuba opening in both occasions though sounded moody and tired than creating a haunting forest scene. Lower strings' built up with tutti brass would need more bites for the violent effect. Tuning among the horns were much better and more confident on Sunday. Strings were particularly alert and responsive to the ebbs and flows of emotions in act one. It would have been dramatically exciting and energetic at the forging scene of Notung if the orchestra did not have to sacrifice for the balance. The spooky and chilling introduction of act two was also more successfully produced on Sunday, particularly the ring motive that made a crushing and devastating effect. Cor anglais's mimic of birdsong was slightly too refined than the out of tune intention in mind. French horn solo of Siegfried's call was accurately rendered but the finishing diminuendo seems exaggerated than a natural recline. Polished woodwinds' playing to evoke the sweet and beautiful forest scene, which Siegfried was excited by the woodbird foretelling the prospect of meeting Brünnhilde finally.

The majesty and masculine introduction of the third act was magnificent rendered on Thursday, which the brass playing was wild in its fullness sense. Though signs of tiredness began to surface on Sunday when the concentration began to lose and drag with the tempo. In both performances the orchestra still managed to elevate the hostile exchange between Wotan and Erda with dramatic playing above the ebbs and flows of emotions, despite the singing lacked dramatic intensity. Later the lush upper strings' playing produced a magical sensation and wonderment at Siegfried's discovery of Brünnhilde. The music spoke for its beauty and tenderness when the idyll theme was played. A magnificent conclusion as the orchestra sent out the ecstatic state of affection in full. The naive hope of love and joy put smile on our face and the sheer thrilling excitement, even after wrongdoings and evil plans are ongoing in this epic tale.

Travel - Morocco, for the second time, November 2016

Last November, I travelled to Morocco for a week-long holiday - it was in fact the second time I'd been to the country, and I was curious to see how, if anything, had changed.  The first time I was in Morocco was for a short 3 day trip to Marrakech in 2010, and the dust, dirt and brown / orange clay was still a vivid memory in my mind.  Not just the clay, but the sheer frenetic pace of the medina, particularly in the main square of Djemma el-Fna, which seemed to rival only in Hong Kong for its energy late into the night and wee hours of the morning.  I did have a few goals for the trip, however - to see the Majorelle Gardens and Bahia Palace again, to visit the La Mamounia hotel, which was undergoing renovation when I was there last, and to see the desert (if I wasn't going to get a new country, at least I could come within 50 miles of a new one!)

First things first, however, was a day in Casablanca, where ironically the movie itself was never filmed, as far as I can tell.  Although there is a Rick's Cafe, but it seemed far too stuffy and formal for my liking.  Truth be told, there isn't a lot to see in Casablanca from a tourist's point of view, but I did enjoy walking through the medina - unlike Marrakech's, it is slightly more functional and modern and not dotted with tens of vendors selling the same wares.  It was purely residential and concrete but just as disorienting.  After a short walk along the seaside, we arrived at the immense - and it is literally immense - Hassan II Mosque, the largest in Morocco, and 13th largest in the world.  Although we couldn't go in, even from the outside it was hard to be impressed by the sheer scale and size of the structure.


The next morning, we woke up early - if you're only spending a day in Casablanca for transit and going onward via train, I recommend staying near Casa Voyageurs out of pure convenience - for our 3-hour train ride to Marrakech.  Having never taken the train before, I admit being a bit apprehensive, but even in second class, we had a small cabin that we shared with various travellers throughout the journey, and safety was never a concern.  Going through the country via train was a new experience, and it was interesting to see how the landscape shifted and changed.

Upon arriving in Marrakech and making our way through the medina to our marvelous riad, the Riad Melhoun, I was quickly reminded why I loved the place so much the first time.  Yes, it's sensory overload, but all in a good way - there is such an infectious energy to the place, where everyone just seems happy and overjoyed to be there.  Sure, some of these are tourists who are glad that stepping out of their comfort zone isn't as bad as they thought, but Morocco in general is such a friendly place.  And the riads are simply the best thing anyone has in hospitality has ever invented. When you go to Morocco, you must, absolutely must, stay in a riad.  And truthfully, you may never want to leave.  Their design is just so beautiful, and the staff are so incredibly hospitable, and it's just so darn cheap.


In terms of what there is to see in Marrakech, well, there is plenty.  Given that it was a sunny day, we took our chances and made our way to the Majorelle Gardens, which were designed in part by Yves Saint Laurent.  There is a blueness to the place that cannot truly be appreciated until you first step inside the grounds, but suffice to say you would never have thought that such a place could exist in the desert in Morocco.  It is simply gorgeous.  Just walking around the grounds, staring up at the gargantuan palm trees, and taking in the oasis in the desert for a few hours is an excellent way to kick off (or conclude) your trip to Marrakech.

Another highlight of Marrakech for me is the Bahia Palace, which offers some of the most stunning and colorful mosaics I've ever seen.  Even the second time around, just walking from one courtyard to another and anticipating what special designs or colors I would see next was incredibly special.

After 2 full days in Marrakech, we decided to venture out of the city, and through our riad arranged a 3 day tour to the Sahara desert, with stops in between. First stop, Ait Benhaddou and Ouazarzate, where many a movie has been filmed, including the likes of Gladiator and Spartacus.

The ancient city is impressive upon first sight, and the scale of the place again doesn't really hit you until you walk for what seems like forever to get to the top of the hill to get a 360 degree view of the Atlas Mountains and desert all around you.  A huge bonus for travelling in November?  You get to see snow in Morocco!  That night, we arrived near the Todra Gorge, and spent a night in what is undoubtedly the coldest hotel room I've ever slept in.  6 thick, wool blankets, plus all my winter clothes, plus wearing long pants, a fleece and a Heattech shirt from Uniqlo, were just enough to help me pass the night without freezing to death.

The next day, after walking through the Todra Gorge - personally, I am biased because I've been to Jordan and walked through the valley to Petra, so I wasn't that impressed, but others in our group certainly were - we drove for what seemed like hours to finally get to the edge of the Sahara desert.  Guess what, Morocco is huge!  I would only realize just how huge the next day, but more on that later.

Riding on a camel through the Sahara desert is truly a bucket list experience.  Forget the fears about MERS for a second (or longer, I guess, since we rode the camel for an hour, and it seemed like an eternity), or the sore bum you will have for days afterwards, and the sore inner thighs, and basically the entire sore lower body.  It's so worth it.  Riding on a camel as the sun sets, watching the sand change color from a brilliant bright yellow to a glowing orange, and just really feeling yourself being taken back to time to what life was like centuries ago, having ridden a bus for 5 hours and thinking to yourself just a day ago I was trapped in a souk with a million other people, to this.  That is what makes Morocco really special.  The camp itself wasn't much to speak, but the sky.  It is a sky you will never forget - stars upon stars upon shooting stars upon planets lighting up every single inch of the night sky, and it is truly awesome.  And if you don't want to hike up a 200 foot tall sand dune for 30 minutes in the dark like we did, that's totally fine.  The view is just as amazing from your tent.  Which, despite being outdoors, is still warmer than the hotel we stayed at the night before.

After waking up at 5 am to catch the sunrise - which somehow, didn't happen till 7 - we walked back to the "entrance" to the desert, and caught the bus back to Marrakech.  11 hours in a small bus with 17 other people could be worse, but at least you get to catch up on sleep.  Because, lest you forget, you woke up at 5 am to wait 2 hours for the sunrise.  And because you didn't really sleep for much of the trip anyway, since Morocco is a place to experience at all hours of the day and night because everything is always moving, always changing, always smiling, and waiting till the next time you come back.

Review - Orphée aux enfers (Offenbach), Opéra royal de Wallonie-Liège, 29 December 2016

Orphée - Papuna Tchuradze
Eurydice - Jodie Devos
L'Opinion publique - Alexise Yerna
Jupiter - Pierre Doyen
Pluton/Aristée - Thomas Morris
Cupidon - Natacha Kowalski
Vénus - Julie Bailly
Diane - Sarah Defrise
John Styx - Frédéric Longbois
Mercure - André Gass
Junon - Laura Balidemaj
Minerve - Alexia Saffery
Fortune - Yvette Wéris
Cérès - Sylviane Binamé
Pomone - Chantal Glaude
Flore - Palmina Grottola
Mars - Marc Tissons

Orchestra, chorus and dancers of Opéra Royal de Wallonie-Liège

Cyril Englebert (Conductor)

Claire Servais (Director)

Offenbach's burlesque take on the tragic myth of Orpheus is arguably best remembered by the Infernal Galop of the second act. Instead of emotional sadness and sentiments encapsulated in Gluck's Orfeo ed Euridice, ironically the protagonists want separation in this comic take and as always gods' involvement complicate matters further. Musically though the operetta is not as extensive and sophisticated as The Tale of Hoffmann. Humorous and witty dialogues stand at the centre stage but without surtitles in English I struggled to follow. The revived staging of Servais received an update to retain its sparkling outlook. The underworld scene was the most elaborate and colourful in terms of staging with the full company. Singers and orchestra under the direction of Cyril Englebert delivered some quality musical moments, but I felt unnecessary to repeat the Infernal Galop so many times as encores.

A relatively small orchestra with less than 50 players to begin the evening with an overture, which was the longest instrumental part of the work. The band was responsive to Englebert's tempo changes with fine playing, but the brass was underwhelming by holding back in volume. Public opinion was an elderly woman and introduced the work with sarcastic remarks from a box alike a television host, while on stage Euridice was ironing in a laundry room. Devos possessed the flexibility in her singing with a rich voice and clarity in diction. Tchuradze as Orphée in compare was rather hard in tone and not pleasant for the ears. The solo violin playing rendered by the leader of the orchestra though was beautiful. Euridice was told off by the conductor when she threw the music into the orchestral pit. Pluto appeared in disguise as a beekeeper and drove a van carrying the Angelus by Jean-François Millet, whatever was the intention. Morris's timbre was distinctively bright, not a smooth voice and rather heavy on vibrato. A red light flashed when Euridice fell into the trap and Pluto's van transformed into a speed car. During the scene change, a group of children attempted to play violins but tuning was bad.

Orpheus reappeared with shopping bags in underwear only, and changed into a period outfit to resemble the classical outlook of a shepherd carrying a harp. He was then chased after by lions, tigers and rats before the scene changed into the assembly of Olympus. The gods were first asleep inside the ocean blue coloured room until a prolonged arguments broke out over their morality. Kowalski as Cupid and Doyen as Jupiter both had a pleasant voice with good bodied vocal volume. Exaggerated entrances when Mercure rode a bike on a string, and the hounds of Pluto were portrayed by men in leather outfits. Jupiter hided behind the speaker's stand when the company of gods decided to descend to the underworld and complained of his infidelity. Choral singing concluded the first half behind the stage curtain resembling the windows of an Olympus Airlines.

Male dancers in erotic outfits as the devil figures began the second half and saw Euridice resting on the couch of a backstage dressing room. Devos's coloratura was not smooth enough in ascending to the upper register even tuning was good. She covered her supervised guard, John Styx, with a leopard patterned sheet who wore a pink stripes underwear only and attempted to drink from her high heels. Kowalski, as Cupid, was more natural in her coloratura but insecure with tuning of the top notes. Flies duet between Pluto and Styx in the style of a fugue were hilarious and the scene ended in a chaotic catch. Later the underworld scene was flooded in orange colour with the whole company in exaggerated outfits. More athletic dance moments for the demons in contrast to the gods' static and convention routine. The conclusion was more a celebration of can can dance and not interest in the separation of Orfeo and Euridice. The protagonists simply moved on along with the festivity even how ridiculous their outlook were.

(Photo credit: Opéra royal de Wallonie-Liège)