Review - Anne-Sophie Mutter, Daniel Barenboim and Staatskapelle Berlin, Philharmonie, Festtage 2017

Nostalghia (Takemitsu)
Violin Concerto (Beethoven)
La Mer (Debussy)
Three pieces for orchestra (Berg)

Anne-Sophie Mutter (Violin)
Staatskapelle Berlin
Daniel Barenboim (Conductor)

A rather ambitious programme, which displayed vast music colours and styles, began this year count down to the Easter weekend by the Staatskapelle Berlin. It began with Nostalghia, a twelve minutes work for solo violin and orchestra, as a minimalist reflection of the poetic film in the same title by Andrei Tarkovskij. Instead a reference to the plot and character, Takemitsu, also a cineast, was more interested by the form, movement and sound of water in the film. A slow and mysterious but moody opening was given with long notes hanging in the air. Scalic climb in diminished seventh reached the higher sonic range with harmonics. Glissando on strings evoked an eerie impression and double stops appeared randomly on the solo violin part. The slow tempo suspended the air in stillness reached a brief injection of emotions but faded again. A sudden violent outburst led to the cadenza passage for solo violin with a lot of vibrato at the climb to upper positions. Double stops were then replaced by harmonics and raw sound on the strings. Solo cello played a tense and expressive theme, before returning to the mysterious sound landscape with long notes on strings towards the coda.

In contrast to Takemitsu's dreamy and surreal sound landscape, the violin concerto by Beethoven was muscular, reassuring and bold. Though the employed tempo and phrasing made a sluggish performance despite the produced tone was polished and beautiful throughout. The orchestral introduction was rather full bodied and grand, but also rather vertical looking. Barenboim left the orchestra to phrase the music and only indicated entries than showing direction. A smooth and unhurried entry from Mutter though intonation was far from accurate on higher positions. Compare to Takemitsu, her playing carried more shape because of familiarity since playing the Beethoven's concerto for many years. Though she and Barenboim continued to be sluggish, which the playing began to feel unnecessarily slow and lacked momentum. A rather broad tempo at the cadenza with much rubato, and also heavy on vibrato and bow weight. Tuning also went flat in the technical demanding closing of the first movement.

Strings' lyrical opening of the second movement was tender but again too steady for my taste. Mutter consistently gave a sweet and clean playing but the slowness dragged the orchestral accompaniment along. One felt bored by the effect despite she achieved the intimacy with the softness in dynamics. The dramatic transition was rather abrupt by development and pouring more emotions at the passionate transition when reaching the last movement. Mutter finally loosen herself, which she gave a virtuosic technical display and more able to deliver the ebb and flow of emotions. The orchestral gallop was energetically corresponded by the beautiful tone quality. It was neither hurry over the double stops and gave sufficient time for each note to sing. An exquisite sweet and tender cadenza, which again Mutter's playing was seamlessly smooth in switching positions preceded the brilliant finale with urgency. Even so, I was not too thrill by the playing as a whole due to many questionable rubato employment and lacked the forwardness.

Interestingly the orchestra had more shape in its playing and regained the interest in their music making at the second half. The mysterious and eerie opening of Debussy's La Mer was followed by an ongoing of ebb and flow of emotions and dynamic contrasts. Though one still sensed the orchestra was observing than driving the momentum, and Barenboim seems rather cool on phrasing by only indicating entries. Yet the sunrise scene was beautifully played with a radiant tone colour followed by a romantic and rhythmically ever changing second movement. The playing was more connected and flowing than before, but it stayed within the vertical shape than moving forward. There was more momentum throughout the tempestuous third movement that depicting the wind and sea, compare to the calm and sunny state in previous movements. Strings gave a strong pulse in building up the violent gallop and answered by a magnificent brass fanfare. It was crisp and precise to sustain the dramatic outlook for an explosive finale.

Berg's music style instead took away the impressionist outlook and replaced with a disfigured appearance. The prelude had a level of weirdness in its development and unsettling as where it headed into. An explosive blast quickly tranformed into an expressive yet violent theme, while the percussion played continuously until the music died away. The second movement, titled 'round dance', was a deconstruction of tonality and the music returned to a fragmented state. The orchestra was far more engaging with direction when ploughing through the ebb of flow of violence and strangeness. Blazing brass reinforced the grotesque impression of the third movement, which followed by a tiring descend into the abyss before a dramatic return for more wild screams. The orchestral layers became more transparent and articulated despite the irregular rhythmic patterns. A war like bombardment from the brass and percussions for an exploding march to conclude the piece with a loud bang. It was as if the musical giant had reawaken for an energetic display but should have happened early on than at the end.

Photo credits: Staatsoper Berlin

Review - Dream of the Red Chamber (Bright Sheng), 2017 Hong Kong Arts Festival

Dai Yu - Pureum Jo
Bao Yu - Yijie Shi
Lady Wang - Hyona Kim
Bao Chai - Amanda Li
Granny Jia - Qiulin Zhang
Princess Jia - Karen Chia-ling Ho
Aunt Xue - Yanyu Guo
Maid - Carol Lin
Ladies in waiting - Wang Xi, Li Yang, Carol Lin
Eunuchs - Jasper Sung, Felix Suen, Alexander Chen

Die Konzertisten
Hong Kong Philharmonic Orchestra
Muhai Tang (Conductor)
Stan Lai (Director)

A second opera in full production was given to conclude this year Arts Festival instead compare to the past years. Commissioned by the San Francisco Opera, Bright Sheng composed the music based on an abridged libretto of the well known classic novel by Cao Xueqin. The festival attempted to be more forward looking in its month long programmes but still retained a degree of conventional comfort within. Familiarity quickly captured the locals' attentions and both performances were already sold out in the early booking stage. Interestingly, the project was also advocated and supported by the Chinese American at first. For them seems an attempt to reconnect to their cultural root though presented in a western opera style. Neither difficult to see why this novel was chosen instead that the complicated plot resembled to a baroque or classical opera. The tale comprised a romance met by parental opposition and triangle love, which further developed by the royal household's favouritism and the mythical origin of the lovers from a divine rock and crimson flower.

Although the libretto was a convincing summary of the lengthy and complex plots, both the production and music quality were a mixed affair. Stan Lai's staging focused on scenic beauty and elaborate costumes alike those on a premium television drama. The grand hall of the Jia clan was spectacular with a grand entrance and in the background a full pictorial view of the Daguanyuan, which was the family vast landscaped garden. Scenes such as the dreamy representation of Dai Yu sailing to enter the Jia clan, and later video projecting of calligraphy symbolised the poems she wrote with Bao Yu, were visually effective and beautiful. It had a sense of emotional intimacy through colours and display of simplicity. Nevertheless, the black stage floor was a let down that below professional level with stickers, intended for markings and positions, visibly scattered around and particularly a big cross in the middle. One wondered why a special flooring was not use instead to match the quality backdrops. The moving of stage props during scene change was also noisy and not always sleek.

There were also many 'park and sing' routine, and dramaturgy often underwhelming and not able in realising the underlying emotions nor metaphors. The end of act one particularly resembled a septet coda alike operas by Rossini or Mozart, but the singers and chorus stood there for a cardboard wooden display than showing the mixed reactions as result of the emperor's wishes. Neither a sense of the majestic grandeur as the imperial messenger entered in slow march to announce the royal decree. The fallen Jia clan later during imperial guards' confiscation was far from demonstrating the emperor's will at its abusive height, which the guards were somehow too polite and soft for any violence. Bao Yu's erotic fantasy was also tame with dancers only flashing long linen cloths around him yet without any display of flash nor intimate contact. There seems to be a moral restrain to portray Bao Yu afraid of his physical desires, but an understatement of his playboy image in numerous relationship with housemaids instead of the lone romantic with Dai Yu.

The lavish display of stage sets gave the sense of time with an imaginative nostalgic glimpse, but far from providing the depth in examining the metaphorical symbolism that this novel emphasised heavily on. The beggars were supposed members of the fallen Jia clan recounting their past to present, but often their appearance seems sudden and took time for the cognitive realisation at first instance. Their first appearance at the mystic opening was also supposedly spirits than a fallen clan. Neither did the staging able to highlight the divine quality of the couple being transfigured from stone and flower, whom seeking for romance after three thousand years of nurturing. A stormy opening with heavy stage smoke was given for a quick theatrical display, but hardly an insight to the transformation from nature to mortal while the souls living as both in parallel. The dreamy conclusion seems a distant memory of the past, but it needed an answering to the mysterious opening instead of an open end in gloominess.

Bright Sheng's music style mixed a balance between tuneful lyrical passages and dissonant violent passages. There was a recurring motif alike an arpeggio in most expressive passages. Some pastoral moments even recalled the romanticism in the style of Delius. Thus, it was not difficult nor challenging for the ears to digest, but I found the repetition gradually lost my musical curiosity as the evening went on. The coda to each scenes was often abrupt and lacked intention for continuity. Otherwise, the music performance standard was generally on a high standard, even not a total success but compensated the shortfalls in the staging. Yijie Shi, as Bao Yu, had a good sense in phrasing the vocal line with a ringing tone. He projected his voice with focus and managed to sustain energy for the vocal presence. His tessitura could manage very high notes without sign of strain in the passionate duet with Bao Yu at act one. Though during Bao Yu's sorrowful aria on Dai Yu's worsening health and their passionate duet on committing to each other, his lower vocal register was not that secure and timbre lacking the tenderness and warmth. Sign of tiredness became apparent in the later half of act two as the voice colour became dull and diction was audibly difficult to understand.

Pureum Jo, who sang the role of Dai Yu, had a more transparent timbre and carried the line with ease. Her singing consistently produced a rich and solid tone colour, and particularly passionate in the

expressive duet with Bao Yu in act one. Diction was always clear and able to display the feelings effectively. Singers in the lesser roles like Hyona Kim, as Lady Wang, and Qinlin Zang, as Princess Jia, were also vocally strong. Kim made an impression of an emotional character particularly in act two being saddened by the death of Granny Gia and the imminent threat of Jia's clan falling out of royal favour. Her furious exchange with Bao Yu's refusal to marry Bao Chai was highly dramatic. Zang had a pleasant timbre with good vocal projection. Her recalling of caring for the young Bao Yu was moving, which the sung text were well phrased and always aimed the line with direction. Though Amanda Li, as Bao Cha, was rather weak that the voice did not able to project and lacked body in vocal volume. Her diction and tuning were not secure when Bao Yu rejected Bao Cha's persuasion for marriage. Yanyu Guo, who sang of Aunt Xue and mother of Bao Cha, was even less ideal with a wobbly voice and one hardly understood what she was singing.

I could be biased to praise my choir Die Konzertisten delivered many strong moments by sympathising to the challenges that my fellow choir members encountered. Without a prompter on stage, it was difficult for them to see the conductor's from distance, particularly when the men were in heavy armour costumes and formation. The choral singing maintained clarity of the text throughout, secured intonation and rhythmic precision, especially during the opening and ending chorus at such swift tempo. The philharmonic orchestra also provided a strong backbone as the orchestral accompaniment. Their playing was well balanced with the singers and never drown them out, and gave dramatic playing when required. Muhai Tang's conducting was uneven though, which the coordination between orchestra and singers was more secured in the first half than second. There were moments that one could detect the band was behind the singers, and felt Tang did not always have a structure in mind that as result the playing was sluggish and sometimes out of shape. Perhaps that was why towards the end the focus seems lost and became a dull affair away from the fascination captured at first place.

Review - The Fair at Sorochyntsi (Mussorgsky), Komische Oper Berlin, 9 April 2017

Cherevik - Jens Larsen
Khivrya - Agnes Zwierko
Parasya - Mirka Wagner
Kum - Tom Erik Lie
Gritsko - Alexander Lewis
Afanasiy Ivanovich - Ivan Tursic
The gypsy - Hans Groning

Vocalconsort Berlin
Choir and Orchestra of Komische Oper Berlin

Henrik Nanasi (Conductor)
Barrie Kosky (Director)

Musically this lesser known opera by Mussorgsky has all the varieties from melancholy to lyric sentiments, and the rather dramatic choral version of night on bald mountain, which is arguably the composer's most familiar tone poem. Though the plot is rather naive in contrary to its wide spectrum of music styles. It centres on the villagers' superstition of a haunting tale and their fear trigger bizarre yet comical reactions. The gypsy plays the role of a wizard that attempts to make people afraid psychologically. Alongside there was a romantic affair between a young couple, but complicated by their feelings and parental interference. The sole dramatic high point is the witches' sabbath when hell broke loose with demonic figures, but that is a nightmare vision of Gritsko and none actually happen in the village. By morning, normality resumes and happily ever after for Gritsko and Parasya.

Nevertheless, this time it was the production itself and musical execution that lifted the appeal to this not so inspiring libretto. The opera choirmaster David Cavelius made choral arrangements, of Mussorgsky's songs and dances of death and the Hebrew song by Rimsky Korsakov, to be sung

between scenes. Accompanied by the pluck string instrument Balalaika, the choral singing reinforced the Russian folk context yet felt religious than the irony expressed in the lyrics. Even so the music colour was dense and sung under dimmed lights, which added that haunting sense of death in mind. Though one would probably more appreciate the arrangement on upper level, where I sat, to admire the fresco while the choir sang from different parts of the hall. One experience a hair raising moment when the rich choral voices flooded from behind during the fourth song called 'Field Marshal', which depicted death commanding the fallen soldiers. But those at the boxes or stalls might not share the same experience as they sat in the dark and not much to look at.

The strength of Barrie Kosky's staging was the humourous touch through exaggeration, command of a fluid dramaturgy and also retained a level of seriousness to the tale. The chorus sang magnificently

even under complicated choreography including dancing wildly, and adjusted their singing colour accordingly. One could sense the excitement when the crowd went arm in arm at the celebration. The silly quarrels and incidents between Cherevik and his wife Khivrya were particularly hilarious during the chaos at the kitchen. She was at no mercy to slap her drunken husband, breaking eggs on his forehead when he slept on the kitchen table, and woke him up by putting his hand on the stove. Her short fling with Afanasiy developed into a comical affair when she tried to hide him from Cherevik. She first mistakenly by throwing the cake cream into his face and in hurry put his head inside a chicken. As the crowd recounted the ghost tale of red coat, Afanasiy sudden bizarre appearance scarred them off.

After Gritsko gave the eerie and melancholic lullaby describing death put a sickened baby into eternal sleep, the feast of devils saw animal headed figures filled the stage. Again Kosky's big scene choreography was effective as a spectacle and unleashed the wildness in full. Pigs and cockerels

jumped and serenaded along to the music of night on bald mountain. A pig headed leader commanded the devils and the rest wearing high heeds joined in the colourful feast. Though afterwards the return to normality in a plain staging and Russian folk costumes, it felt losing the theatrical focus and dramatically lacked a continuity from before. The choral Hebrew song was sung again in a candlelit set up to finish the opera but one wondered the purpose of it. It also felt the sequence was alike clusters of events than a build up towards a climatic point, which was why one felt the story was not inspiring and questioned the attractiveness of it.

The magnificent bass tone from Jens Larsen filled the hall with his powerful projection. Clear on diction and flexible to change his vocal colour to fit into different emotions. He portrayed Cherevik as a bossy but drunken and clumsy figure. Agnes Zwierko had the richness of a mezzo in her timbre, but her singing sometimes vertical in direction and not always sustained the full value of the notes.

Both Mirka Wagner and Alexander Lewis possessed the youthful and lyrical vocal colour. Though Lewis was more consistent in sustaining the warmth and projection in his singing, also more able to convey the emotions such as the anguish and frustration when Gritsko met opposition from Cherevik to marry Parasya. Wagner vocally sounded thin at first in Parasya's song of disappointment and timbre rather unique, only later produced a fuller tone as her emotion gather as the village celebration went in full swing. The choir was generally in good intonation and produced a sound of wall that not many opera choruses consistently able to. Though a few hesitations that affected the tuning and momentum probably due to unable to see the conductor clearly and no prompter on stage. The orchestra under Henrik Nanasi produced many dramatic playing with urgency to maintain the music flowing forward. It produced a more bodied tone and tidier coordinations than my previous encounters of the same group. As a whole, the music had the edge this time for atmospherically beautiful whereas the production would benefit from some rethinking to be on the same par.

(Photo credits: Monika Rittershaus, Komische Oper Berlin)

Review - Oslo Philharmonic and Vasily Petrenko, 2017 Hong Kong Arts Festival

14 March 2017:
Peer Gynt Suite No 1 (Grieg)
Cello Concerto No 1 (Shostakovich)
Symphony No 2 (Rachmaninov)

15 March 2017:
Excerpts from 100 Folk Tunes from Hardanger (Tveitt)
Cello Concerto (Elgar)
Symphony No 2 (Sibelius)

Oslo Philharmonic
Truls Mørk (Cello)

Vasily Petrenko (Conductor)

A fine selection of symphonic and concerto works from the late romantic period up to the post war period were given by the leading Norwegian orchestra. Though the weakest moment happened at the start in the iconic Peer Gynt Suite by Grieg. Whether due to Petrenko being impatient with the tempo or the orchestra was sight reading the score, woodwinds' dialogues depicting the scene of rising sun in the well known morning mood were messy at entries. Their playing lacked a flowing momentum with much hesitation and uncertainty in direction. Strings' sorrow theme on lamenting the death of Aase were more secured and flowing. It achieved a spellbinding pianissimo, but one could sense that Petrenko rather preferred to move things forward than indulging broadly. Strings were also able to produce the lightness and dynamic contrast in the tipsy dance like third movement. Though the wild gallop at the hall of the mountain king was somehow underwhelming that lacked the energy by its indifferent playing.

Shostakovich's first cello concerto in turn marked a contrast from the optimistic sunny outlook by an enigmatic impression. It began with the solo cello playing at the end of fingerboard, and felt like ironic and restless. Solo horn's entry though was late and not secure with tuning. Screaming winds and heavily scored solo cello part continued until it came to an abrupt end. A sorrow start to the second movement by the solo cello again and this time inward looking yet tragic. Violas and clarinet played a gloomy and lifeless Russian folk tune, later increasingly eerie and grotesque as the music became more dissonant from the celesta and strings. Emotional anguish was realised by the solo cello with double stopping in wide interval jumps and irregular rhythmic patterns. It made a dramatic contrast to the lament expressed at the meditative start of the third movement. The orchestral response was sarcastic but the tone quality of the horns did not match the rest. A stormy coda with wild cries and hurried gallops from the winds and strings. For encore, Truls Mørk played a movement from Bach's cello suite that carried a sense of solitude.

Emotional outpour and the unending search for positivism in Rachmaninov's second symphony finally gave assurance and hope, which departed from the sadness that dominated the first half. Despite a bleak and dark beginning, emotions gradually culminated and eventually some glimpse of positivism. Beautiful strings playing at the dance like section, subtle and seamless in the romantic driven dialogue between parts. Ebbs and flows of movement produced waves of emotional charge, though constantly negotiated between tragic and optimism. Brass made devastating cries that heightened the tension and conjured a rather tempestuous scene. In turn, strings responded with a sweet tune at the unison lyric passage before plunging back into the intense conflict. Momentum sustained as the playing descended into the lower range with an explosive ending to the first movement. Romantically rich tune began the second movement with a fiery gallop, which the strings' attacks were dramatic and swift. The heroic ride developed from a fast and passionate drive into a full scale of wildness. Horns' tone quality improved at forte with a sheer dramatic impression.

Calmness returned at the third movement with a sublime and tender clarinet solo. Strings responded to Petrenko's indications on dynamic difference, and again created waves of emotions to build climatic points one after another without any lingering. The dialogue between solo clarinet and violas had a wonderful sense in phrasing the lines. Ethereal sweetness rounded off the third movement in a sublime heavenward climax. Sheer brilliancy during the triumphant and carnival like start to the last movement, which the orchestral playing flowed with strong direction. It was answered by a sweet and expressive passage before a stormy transition returned. The contrast was marked by the dynamic change from the softest dynamic into another muscular climatic point. A resounding finale as the match towards the coda coupled with fanfare to give an ultra romantic send off. It was definitely a very memorable and brilliant deliverance from Petrenko and the Oslo Philharmonic.

In terms of produced tone quality and technical security, the second evening had the edge as the orchestra felt more at home with the hall acoustics. Tveitt's adaptations of folk tunes showed a variety of orchestral effects and moods even short in durations. The gallop built on a witty folk tune until it reached an explosive end in Friar-foter. A sorrow theme was played on the strings which began the next movement titled 'Du' with a haunting impression, but softened up by the winds playing a sweet tune. Percussive effects was focused in the following Langeleik tune with pizzicato and col legno on strings. Instead the brass played a deformed tune at a muscular tutti section near the end for a sarcastic portrayal of a drunken wedding party. The last movement, titled 'Hardanger ale', was majesty in style and had some influence of the blue music. A tipsy theme on the brass developed into a glorious fanfare, joined by the whole battery of percussions, for a colourful and festive finale.

For me, Elgar's cello concerto is a difficult piece to understand compare to his other works. Whether because it dwells on raw emotions in full tragical sense, or the absence of a noble and sentimental theme, one never know how to embrace the enigmatic outlook. Truls Mørk employed a lot of vibrato in his playing at the sorrow start, which accommodated by the lower strings and winds at a considering pianissimo. Though the climb to the end of fingerboard was not entirely smooth, Mørk probably preferred a more relaxing tempo whereas Petrenko tried to push the orchestra's playing forward. Interestingly tuning was not too good at first position even with a lesser reach for the fingers. Strings were more able to shape and dramatise the music from the moody part into a charging tremolo. A romantic and emotional start to the middle movement, which was tender and meditative throughout. Orchestra remained sensitive to dynamic balance and never overwhelm the soloist. The solo cello took the lead again in the third movement with an emotional outpour yet tragic by style. Notes heavy on the solo part compare to the flickering texture in the orchestral parts, which rhythmically more energetic in driving the momentum forward. Towards coda, it again went into a negotiation between mixed feelings with melancholy strings one hand and sorrowful solo cello the other. The unending gallop at soft dynamic rather bewildering by its infinite direction and left an open end impression where it was heading to.

The ice cold vast landscape in Sibelius's second symphony was the answer, but Petrenko also injected much thoughts and insight in his conducting to aim for a dramatic rendition with sonic impact. Strings and winds began the dance like opening in a rich bodied tone and passionate playing to draw out the emotions in full. Tempo was on the swift side made a strong sense of direction to sustain the energy and momentum. Blazing brass fanfares that muscular in sound with urgency to drive the music further forward. It made a fiery impression and injected more warmth to the tone colour. A moment of tranquillity returned at the beginning of the second movement when the bassoon played a noble folk tune with pizzicato on the lower strings. Though the peace was broken again by the explosive and emotional strings' parts against the devastating tragical calls from the winds. The image was increasingly bleak and violent til the end, while brass made a strong lead in the midst of the ebbs and flows of emotions. Despite the reappearance of the folk tune, it did not have the meditative stillness but tempestuous instead.

The storm continued into the third movement that reinforced dramatically by the brass again. There was a brief moment of lush sunny passage from the woodwinds but yet quickly restated by violence, which was rather sturm und drang by composition style. The last movement was sentimental and expressive as the strings built up a lush and majestic triumphant theme. It reached a solemn and heavenward climax but the negotiation did not stop. A variations on the theme followed until reaching an emotional outpour of an expressive theme. Lower strings in turn played a mournful chromatic march and developed into a thick textured furore. Even so, the coda was a victory over darkness after a long crescendo and blazing brass for a resounding finale. As a whole the performance managed to paint the picture vividly and one could felt the dramatic surroundings of nordic countryside.

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.