2018 Hong Kong Arts Festival - Danish National Symphony Orchestra, Hong Kong Cultural Centre Concert Hall, 20 March 2018

Overture to The Flying Dutchman (Wagner)
The Rite of Mountains: Concerto for Percussion and Orchestra (Wenjing)
Don Juan (Richard Strauss)
Symphony No 5 (Nielsen)

Danish National Symphony Orchestra
Li Biao (percussion)
Fabio Luisi (conductor)

Under the direction of Fabio Luisi, the Danish National Symphony Orchestra gave an explosive start to their sole performance this time in Hong Kong. It made a crushing full sound that realised the stormy scenes in Wagner's The Flying Dutchman. The brass sustained a bright tone throughout whereas the woodwind managed to hold back for the soft and sweet passages. Though Luisi sometimes indicated randomly and his conducting did not help to coordinate the sectional solos. The crescendo was also suddenly progressed in such hurry that the rubato followed felt odd. The resolve from the triumphant climax too felt too slow after the bombastic built up.

The orchestra's big noise continued into the first movement of Wenjing's The Rite of Mountains, a percussion concerto that commemorated the devastating Sichuan earthquake of 2008. Despite a depiction of the crushing noise when the ground was broken up, whether to do with Luisi's robotic conducting, I felt the clashing chords rather heavy footed and tiring to hear after several bombardments. Interestingly it also made the impression of a roaring crowd being definite than the screaming in horror. Even so, the marimba part was gentle and more flowing. Solo violin and woodwind interchanged to decorate above. In contrast, soft gongs began the second movement quietly. Clarinet played only with mouth piece that imitated the sound of an ocarina and pizzicato on untuned string instruments. It seems to suggest a village festival in the countryside. Tempo gained momentum from a walking pace before an outburst of wild noise. The end again recalled the opening surreal sound effects and faded away. A taiko introduction on the bass drum marked the opening of the third movement. There were violent moments with drums played in furore and the orchestral part turned into a wild tribal dance alike the Rite of Spring. It developed into a nightmarish climax before the drum gave a virtuosic cadenza. An impressive conclusion with the orchestra timpanist and Li Biao played together in fiendish rhythmic tempo.

Interestingly I thought Luisi's rather impatient tempo on romantic repertoire worked rather well in Strauss's symphonic poem 'Don Juan'. The orchestra did not linger on the fantasia like passages and kept the music very lively. The lyrical response was romantically expressive and flowed smoothly. In contrast, the triumphant climax was in exuberant mode with great momentum to sustain forwardness in the playing. It was followed by a lovely oboe solo moment that was tender and beautifully rendered. At the recapitulation of the heroic theme the musical intensity and brilliancy maintained. Probably because it had been so positive throughout that the tragic ending seems lacked the poignancy.

I had mixed feeling by Nielsen's fifth symphony that it had many sonic glorious moments, yet harmonically restrained from making emotions and repetitive on rhythmic patterns. The extensive first movement began an extended description of landscape but not as vivid as Sibelius. Then there were the marches that suggested a military scene, but not as bleak as or carried a political message as in Shostakovich nor Prokofiev. There was no big gesture on creating an emotional charge but a blazing sonic outburst with brass fanfare. A rich and vigorous tutti began the second movement but rhythmically spacious with repetition from the winds. The fugue developed in a peculiar way that the gallop gradually became a wild climax. The strings reset the fugue on higher notes but this time it finally felt more tormented. An abrupt transition set for the ultimate glorious end in blazing sound.

2018 Hong Kong Arts Festival - Pelléas et Mélisande (Debussy), Hong Kong Cultural Centre Grand Theatre, 15 March 2018

Pelléas - Jacques Imbrailo
Mélisande - Jurgita Adamonyté
Golaud - Christopher Purves
Geneviève - Leah-Marian Jones
Arkel - Alfred Reiter
Yniold - Rebecca Bottone

Die Konzertisten
Orchestra and chorus of the Welsh National Opera
Lothar Koenigs (conductor)
David Pountney (director)

Death and torment were the recurring themes in this production of Debussy’s operatic response to Wagner’s Tristan and Isolde. Pountney probably found the moment when Golaud moaned about the dead surrounded them poignant. A large circular metal cage in skeleton shape dominated the stage surrounded by a pond, possibly a reference to Debussy’s orchestral colour associated with the movement of sea. The set made a daunting appearance alike a prison trapping its residents and haunted them in an eerie environment. The old men in the sea cave became ghost to the horror of Pelléas, a nightmarish illusion when Mélisande was first frightened by their sudden presence. Later in the dungeon, Pelléas saw the zombies and terrified by what he saw.

Yet beautiful light effects and starry backdrop could transform into a romantic setting where the protagonists exchanged their affections. The sublime revealing of Melisande’s beauty in the moonlight created the sensual attraction that not only Pelléas was madly in love with her, Arkel too as he later marvelled the beauty of his daughter in law. This was very different from Golaud, brilliantly portrayed by Christopher Purves, who was driven by jealousy and obsessed with domestic violence. His wife, brother and son were treated as his properties like sheep and he felt as he was their shepherd, as Yniold metaphorically described during act three. In rage, Golaud shaked Mélisande violently in the pond and pulled her hairs, in prior told Yniold off as he lost temper when the spying came to no prove of fidelity, and later threatened Pelléas in the dungeon telling him to stay away from Mélisande. Even at Mélisande’s deathbed, Golaud could not come around as she confessed she did not love him yet he felt guilty by killing Pelléas.

Although the inner plot was about the introvert romance between Pelléas and Mélisande, I felt the outer plot had more weight in this performance, which became a frantic investigation of Mélisande’s infidelity by Golaud and his self-conflict madness within. One could still sense the passionate emotions on surface but there seems lacking a level of depth in displaying the more complex inner psychological connections. Perhaps the portrayal was so realist and plainly symbolic, it did not leave much room for the mysterious and surreal portrayal. Such was the red outfits that Pelléas and Mélisande wore before the murder, which seems suggested both the climatic affection between the two yet later the colour of their blood when Golaud stabbed.

It was strange to ask for more strangeness but the basis of this opera was to let the unspoken and silence provoked the feeling. Pountney probably saw it differently and left with few unexpected: the doctor resembled Debussy himself but he was there to justify Golaud's action and nothing musical; Geneviève throw the newborn child into the pond but became white powder on the surface; Mélisande died but her reappearance at the very end wrapped in white cloth got us back to the beginning. Like me and my colleague singing in the offstage chorus, we made a loud voice heard in distance but never appear on stage, despite the protagonists described us as the sailors sailed into a storm. There were no clear answer to all these puzzles, but created the enigma to indulge and continued guessing who were these people and their purpose after all.

Yet this was one of the best opera productions I experienced in Hong Kong since Fidelio by Komische Oper back in 2004. Besides the set looked spectacular, it was in the right size for the grand theatre stage. The brilliant light effects also produced many visual stirring moments. Dramaturgy was excellent throughout with the sheer dramatic intensity that sustained the theatrical excitement. Besides a great actor, vocally Christopher Purves filled the space of the auditorium with his full bodied voice, and he coloured the words so vividly. He kept the beauty in tone yet very flexible in switching the vocal colour while dramatising the text. Jacques Imbrailo had a warmer timbre than some other singers I experienced as Pelléas before, which often very bright and silvery by comparison. Both his singing and portrayal of the role carried more emotions that felt more human and passionate. Vocally Jurgita Adamonyté was lighter in body yet lyrically fluid. Diction probably could have been clear but acting wise Mélisande was the most challenging of all. She nonetheless very ably realised the vulnerability and sadness of Mélisande in front of Golaud, energetic and excited in seeing Pelléas, and the mysterious outlook when the character became an object. Rebecca Bottone carried the right timbre for Yniold and her struggle with Golaud was dramatically intense. The orchestra was very responsive to Lothar Koenigs's direction and delivered many silky playing. It neither overwhelmed the singers, but also provided the lyrical backbone as the main block of shaping the delicate harmonic colour. As a whole, this production worth a future revisit.

2018 Hong Kong Arts Festival - Tristan and Isolde, Bosch Dreams, Farewell My Concubine (霸王別姬)

Tristan and Isolde, Hong Kong City Hall Theatre, 10 March 2018

Tristan - Saburo Teshigawara
Isolde - Rihoko Sato

Teshigawara's take on Wagner's tale of separation and passion as a dance form reminded me the state of calm and clarity in Tai chi. The physical movement followed the music by beginning in a sensual yet still state until reaching the climatic liebestod. Harmony and emotion reservation slowly built into a free and expressive state. Technically it did not aim for an athletic display, but a repetitive process that cultivated an introvert display. In contrast to the opera, Tristan became focus throughout two third of the performance that his desire, illusion and frustration were magnified. Whereas towards the end then Isolde had the stage to her own and no longer merely accompanying Tristan. The differentiation of light and darkness in a surreal setting also created the enigmatic surrounding, and later developed an energy that beyond the oppressive surrounding could hold. These elements made up the beauty and fascination of this production, but would have felt underwhelmed if one was not familiar with the context and struggled to connect.

Bosch Dreams, Hong Kong Cultural Centre Grand Theatre, 11 March 2018

Les 7 Doigts
Theatre Republique

This circus production borrowed Hieronymus Bosch's unorthodox and exaggerated paintings, which highlighted religious metaphors and moral concepts, for the inspiration of a multimedia spectacle. There were some breathtaking technical display like the aerial act on a key ring holder, and visual stunning moments such as the kaleidoscope of mixing painting fragments and a pleasure garden filled with red balloons. It also highlighted some fascinating parts with the close up and reference to Dali. Though otherwise it lacked a clear development of story telling and action in most scenes was random with not much going on. There was also a sub plot with the daughter of a professor, a Bosch's specialist but not very inspiring, embarked an adventure in the fantasy. Though often there was no connection between scene changes and fell short from staying focus mostly. The circus part seems tame too and only demonstrated some level of talents than the wow factor. It certainly needed a rethink for better dramaturgy than a colourful appearance.

Farewell my concubine (霸王別姬), Hong Kong City Hall Concert Hall, 11 March 2018

Xiang Yu - Yau Sing Po, Law Kar-ying
Han Xin - Leung Siu Ming
Yu Ji - Wan Fei-yin
Xiao He - Yuen Siu-fai
A woman - Lam Po-Chu
Fan Zeng - Sun Kim-long
Fan Kuai - Song Hung-bo
Liu Bang - Liu Kwok-sum
Xiang Bo - Wan Yuk-yu

Despite the title, the actual farewell did not take place until the last scene. Unlike Tristan and Isolde that focused primarily on the emotions and agony of the protagonists, this Cantonese opera adaptation from the same title in Peking opera spent more time on the historical background. The purpose was to use dramatic scenes to keep the audience entertained and even a simplistic teaching of life lessons. First scene told why Han Xin was inspired and motivated to embark a military career; followed by a banquet between rival fractions that involved an attempted but unsuccessful assassination; the third saw Han Xin again and Xiao He persuaded him to stay loyal to his lord Liu Bang; the penultimate was a great battle demonstration and the last saw Yu Ji suicided as Xiang Yu faced ultimate defeat on the battlefield. All these scenes had a focused theme action wise or singing display. There were also sword dance and acrobatic imitation of an energetic horse. Even the music stayed lively and dramatic before turning lyrical in the sentimental last act. The cast had a good mix of veterans and emerging artists, yet one could detect the aged actors had their brief moments of not synchronising with the ensemble, and even some spontaneous make up of the text. The scenography was rather old fashioned with cardboard backdrop, but the exaggerated diction hold the attention throughout. Yet I enjoyed this revisit of cantonese opera thoroughly after not seeing one since the age of five, and the new Xiqu centre opening later this year is eagerly awaited.

2018 Hong Kong Arts Festival - Sacred and Profane - B'Rock Orchestra & Vox Clamantis

Sounding Stories, Hong Kong City Hall Concert Hall, 1 March 2018

Overture in d minor, N4 (Fux)
Battalia à 10 in D major, C61 (Biber)

Concerto in F major, RV569 (Vivaldi)

Concerto in A major, TWV51:A4 (Telemann)

Concerto in D major, E112 (Fux)

Concerto in D major, RV562 (Vivaldi)

B'Rock Orchestra
Dmitry Sinkovsky (director and violin)

The performance by B'Rock Orchestra was rather forward looking in terms of playing style and effects than other leading Baroque ensembles that I experienced in previous editions of the Arts Festival. The unconventional and exaggerated approach injected the much needed theatrical excitement than a pure technical display. The use of col legno and martellato, which meant using the bow stick to hit the strings, and making a hammered and accented effects, enhanced the rhythmic momentum and colour. I also had the benefit of sitting two rows from the stage with the full visual experience, and saw Dmitry Sinkovsky energetically signalled phrasing to the players through body movement, humming and even stamping the ground loudly.

The selected works too had their humorous jokes like the fugue in Biber's Battalia developed wrong deliberately with clashing harmony, and later pizzicato on the double bass made drumming effect answered by a playful solo violin above. The aria instead pretentiously graceful yet glissando employed on strings made the sound alike cat growls, finished by a coda in sentiments. Whereas Fux's concerto began with a chant played tutti in unison before bursting into a lively response but on a different harmonic key. Later the echoes between lower strings and oboes imitated snoring against the energetic parts on the upper strings. This was rather different from his French overture with heavy ornaments and even being serious musically.

The first and last movement of both Vivaldi's concertos made a flamboyant and heroic display. The winds played fanfare was alike introducing a celebrated singer in opera and the spotlight focused on the virtuosity of the solo violin. Such was the cadenza in the last movement of Vivaldi's concerto in D which Dmitry Sinkosky gave a brilliant technical display. Though the second movement in contrast was mysterious, tragic and even introvert. Sinkosky surprised the audience by singing as countertenor during encores to demonstrate his multi-talented musicianship. He, with Bart Aerbeydt's contribution on the natural horn, gave a fine account of 'Va tacito' from Handel's Giulio Cesare after playing the stormy first movement of Vivaldi's concerto 'summer'.

O Sacrum Convivium, Hong Kong City Hall Concert Hall, 3 March 2018

Ubi caritas et amor (Duruflé)
Pange lingua (Duruflé)
Psalm 141 (Kreek)
Kas on linnukesel muret (Kreek)
Le Lai de Nostre Dame (Machaut)
Quatre motets pour un temps de pénitence (Poulenc)

Leine Litanei (Pärt)

Morning Star (Pärt)

O sacrum convivium (Messiaen)

Vox Clamantis

Jaanika Kuusik (soprano)

Jaan-Eik Tulve (conductor)

The music style of Vox Clamantis was in opposite of what the B'Rock Orchestra did two evenings ago. Instead of dramatic excitement and virtuosic display, the beauty of blend voices and spiritual meditation formed the focus. The music landscape was vast, smooth and progressed gently. It also featured the root of western music with plainsong being sung between the motets by Duruflé and Poulenc. Machaut's poetic tribute to the Virgin Mary was the only solo item, and Jaanika Kuusik delivered a sublime account in her beautiful timbre with pure tone. The ensemble of 10 singers sustained great clarity and good intonation throughout. There were no sign of strain in the voices and the singing flowed naturally even in the harmonically challenging French works, especially the Poulenc and Messiaen. If one had to be picky, the adopted tempo for both Duruflé works were rather awkward. Ubi caritas was too swift whereas Pange lingua became a slow boiling of chord progression. Works by Cyrillus Kreek and Arvo Pärt instead being lyrical, close harmony and tuneful by comparison. Otherwise, I felt very moved towards the end and appreciated the alternate interpretation. 

2018 Hong Kong Arts Festival - The Russian Connection: Anna Karenina & Shukshin's Stories

Ballett Zürich: Anna Karenina, Hong Kong Cultural Centre Grand Theatre, 24 February 2018

Stiva - Kevin Pouzou

Dolly - Chinatsu Sugishima

Alexei - Manuel Renard

Anna - Anna Khamzina

Levin - Jesse Fraser

Vronsky - Alexander Jones

Christophe Barwinek (piano)

Lin Shi (mezzo-soprano)

Christian Spuck (choreography)

Since I am no expert in ballet dancing, a short impression will be shared instead of the usual full review. Compare to previous years, the Arts Festival found the right production to kick off the month long cultural gourmet. This relatively new production of Anna Karenina, adapted from Tolstoy's novel, by Christian Spuck focuses on fluid narration and multi art forms. The classical tradition is retained through costumes and part of the choreography, yet it also employs simply projection and contemporary body expressions to realise the complex emotions and chains of events. It manages a fine balance between physical elegance and inner psychological states than sheer technical display. The fine execution of dramaturgy synchronise complicated movements and lines into an integrated forward momentum. The minimal use of stage props provide more space and visual focus that fit to the theatre size, than filling it like a cramped storehouse as many other productions disproportionately did. As audience the first half is portrayed as if we also experience the confusion of multiple relations at the same time. Whereas the second half the spotlight turns onto the protagonist, who fallen from the prime moment of her love life to the sad state of suicide and being abandoned by those related or knew her personally. Though one felt the downfall was a rushed affair, that lacked a progressive pacing and also pasticcio of part one that so brilliantly captured the essence of the novel. Otherwise, the lighting, choreography, skills and sound control all contributed this promising and much enjoyable start.

Theatre of Nations (Moscow): Shukshin's Stories, Drama Theatre of HKAPA, 25 February 2018

Evgeny Mironov
Chulpan Khamatova
Yulia Svezhakova
Natalia Nozdrina
Dmitry Zhuravlev
Alexander Grishin
Alexander Novin
Pavel Akimkin

Alvis Hermanis (director)
Monica Pormale (photos)

Tolstoy felt the Russian countryside as a hardworking ground for the serf, also a place to transform oneself and against the unjust system imposed by the ruling class. Yet Vasily Shukshin saw village life beyond the romanticised scene of sowing and ploughing fields, and every story served as a portrayal of realism. The eight short tales touched wide ranging themes of humour, murder, family, age, education, city and village division, infidelity, obsession, eccentricity and mental illness. Though it was primarily based on a male perspective, a woman never play a role as protagonist that trigger the ripple in actions. Both half began with a light hearted sketch and finished on an emotional climax. In between it could be an inconclusive scenario that saw humanity struggled to negotiate with obsession or misunderstanding in relationship. Object, outfit or their physical expressions marked each scene in a memorable and unique way. Yet the last story, titled Stiopka, was most heartbreaking on a fugitive who missed his family so much, and his arrest saw the retarded sister fought hard for her dear brother from dragging away to prison. The love and emotions were raw and exhibited in full. Compare to aristocrat quarrel and pretence, here contemporary rural Russia was more direct, honest and human than their imperial past. The eight actors excelled themselves by playing multi roles and sustained the interest over the three hours long performance.

Review - Götterdämmerung (Wagner), Hong Kong Philharmonic Orchestra, 21 January 2018

Gun-Brit Barkmin (Brünnhilde)

Daniel Brenna (Siegfried)

Shenyang (Gunther)

Eric Halfvarson (Hagen)

Michelle DeYoung (Waltraute)

Amanda Majeski (Gutrune)

Peter Kálmán (Alberich)

Eri Nakamura, Aurhelia Varak, Hermine Haselböck (the Rhinemaidens)

Sarah Castle, Stephanie Houtzeel, Jenufa Gleich (the Norns)

Hong Kong Philharmonic Chorus

Bamberg Symphony Chorus

State Choir Latvija

Hong Kong Philharmonic Orchestra

Jaap van Zweden (conductor)

The philharmonic orchestra ring cycle project since 2015 finally reached its finale. In between I saw other ring cycles in Melbourne and Berlin, but theatrical experience was different from the setting as a concert presentation. Since there was no staging, the audio appreciation became the focus inevitably. Yet one could not ignore the ideology, philosophy and symbolism, and the contemporary relevancy. Like Rheingold, the theme of cunning plans, lies, greed and violence was revisited extensively in Götterdämmerung. Despite the solution to end all woes was already known at the beginning, which to give up the ring and return to the rhinemaidens. It was not until Brünnhilde made the unexpected move by sacrificing herself, which put an end to the old establishment.

To stay true and honest seems more difficult than exercising self interest, selfishness and manipulation. Such paradox still happens in our society, and never fail to amaze us of how much excuse one can deploy to legitimise mistakes. Though it is too simplistic to make Hagen solely as an example of evilness, who was also a by-product of Alberich and inherited that loveless power driven desire. Siegfried too failed to be a total hero as he did not realise the bigger picture, also stubborn enough not to give up the ring at the advice of rhinemaidens and warned him that death looming. Neither the ring nor the tarnheim brought the promised power and protection, instead those desired or possessed the two items brought themselves to destruction. Yet unorthodox partnerships and father-daughter reconciliation sometimes broke off the cruel world by celebrating the power of love and humanity, which gave us hopes that the world could change for a better future. The ring told a painful lesson, but only until Die Meistersinger and Parsifal that Wagner suggested for social transformation only through arts and ideological transformation would succeed.

Musically this performance of Götterdämmerung had successfully delivered the full package. Arguably the best display of the entire cycle and also most satisfying concert experience of the current season so far. The vocal line up were more pleasant for the ears than previous instalments, and technically outstanding that exceeded the expectation. Although the work was lengthy in duration, the orchestra never lose shape under the baton of Jaap van Zweden and every line being phrased meaningfully. It was also worth breaking the bank to augment the choir with reinforcements from abroad. Despite lacking a sonic depth and could have accented more on the chords, a polished and majestic orchestral entry was given at the prologue. Sarah Castle, the first Norn, sang poetically and injected much colour to her diction, yet the lower register seems slightly soft for the vast acoustic. Stephanie Houtzeel, in the role of second Norn, improved her diction and tuning as her voice warmed up. As she sang the passage that described Loge's involvement and fate, her singing tone was richer and gave a colourful painting of the text. The third Norn had the highest vocal range of the three and texturally more fluid. Though Jenufa Gleich would need to articulate consonants more to improve her diction and flexibility in switching registers.

The orchestra kept the momentum forward and responsive to the thematic transitions between the breaking of the thread and the sunrise scene. The devastation was felt with sheer intensity and urgency as the thread broke, followed by a still and mysterious passage on the cellos that depicted the break of dawn, and reached the climatic exultation of passionate love and sunrise brilliancy as the tutti excitement culminated in full. Gun-Brit Barkmin debut as Brünnhilde surprised me by her rich mezzo soprano timbre and still could reach the rather higher vocal range. She was steady with tempo at first and carefully phrased the lines. As she warmed up, her singing became more relaxed and opened up that enhanced the clarity in diction. Daniel Brenna, who already several stage experience as Siegfried, carried more space and warmth in tone, also acting out the role for interaction. His timbre made a pleasant impression of his line but vocal weight slightly light for the hall acoustic. He too was cautious with the words and the register changes. The pair maintained the passionate exuberance, and showed no sign of vocal strain to reach the climatic top notes. The thickened strings' layers during Siegfried's Rhine journey was rhythmically energetic and excited, but slips were audible from the horn solo. It all built into a majestic and polished tutti bold moment with dynamic contrast, but could swing more to lighten up the thick texture.

The orchestral introduction of Gibichung Hall was less eerie and dense than expected. Shenyang's Gunther felt very commanding than a puppet by his confident singing, whereas Eric Halfvarson's dense and rich bass tone recalled Fafner than the cunning Hagen. Both made the impression that they were in command of the situation even before Siegfried's arrival, which added the chilling weight as the assassination plot gradually unfolded. As Gutrune, Amanda Majeski had the right timbre for the role and stayed fluid in her singing despite tuning on high register not that secured. At Siegfried's entrance, the brass produced a crushing chord that seems marking the beginning of the end for the hero. Yet at the description of treasures that Siegfried had, Halfvarson lacked the urgency in portraying Hagen's underlying desire and some stage realisation would have given some visual context. The orchestra again responded vividly to the emotional changes as Siegfried took the potion that Gutrune had prepared. Brenna and Shenyang too delivered a dramatic interaction on the adventure to Brünnhilde's rock, and marked the swearing of brotherhood more daunting as what to follow. The brass ably produced the youthful excitement yet could have loosen up more to unleash the wildness. In contrast, the orchestral playing could be more chilling and bleak as Hagen narrated his cunning plan alone. Instead the lower brass created the atmospheric heaviness of curse by its tragic and gloomy tone colour.

The tender love theme in reintroducing Brünnhilde on the rock was short-lived, but horns were muddy at announcing the arrival of Waltraute. Barkmin interpreted the sisters' reunion as an emotional charge with a dramatic reception, while Zweden drove the orchestra to celebrate the joy of recalling the past. As always, Michelle DeYoung phrased the music poetically with very clear text and her voice filled the space effortlessly. Her narration of the fall of ash tree and Wotan's preparation for final destruction realised the varied emotions of horror and sadness. Here Barkmin carried more warmth in the her lower register and clear with her diction. She also effectively conveyed the ebbs and flows of emotional response with colourful contrast in the words. Upon Siegfried's return, the orchestral transition was warlike and tense in opposite to Brünnhilde in rapture. Though disguised Siegfried in tarnheim and confrontation between the pair would be more vivid with stage actions than solely relied on music narration. Instead the orchestra gave an eerie accompaniment as Brünnhilde was devastated by the betrayal and cried in horror.

Instead of an eerie dreamy impression, the orchestral introduction of act two carried more warmth than expected. Visually Peter Kálmán made a youthful Alberich compared to Halfvarson's Hagen, yet his baritone like timbre lacked the same resonance and richness. Though the portrayal was accurate as Alberich was eager on retrieving the ring, whereas Hagen stayed dreamy and uninterested to his father's urge. The bass clarinetist gave a subtle and smooth account of Hagen's awakening, but Siegfried's return seems slightly soft in presence on the orchestra part. Perhaps the intention was to leave room for the war like summon as Hagen sounded the alarm, in turn the combined male chorus thundered with a wall of sound. It gave the much desired dramatic intensity and the choral singing stayed bright and ringing. Gunther's announcement of the marriages was clear and definite, whereas Barkmin portrayed herself as an emotional Brünnhilde, who questioned the confused Siegfried and raged over the betrayal. Her vocal entries carried the urgency and furious impression, which was achieved by colourful word painting that conveyed the emotions. The orchestral underlay responded along by some raw playing on the strings, and increasingly violent as the misunderstanding and hostility deepened. The chorus also gave a bombastic questioning over the confusion and sounded very big in body. As the assassination plot was drawn up, the orchestra gave a devastating and dramatic finish.

The horns gave a blazing account of Siegfried's hunting calls that began the last act. Again the orchestra was able to intertwine between the witty playful part of the rhinemaidens and the chromatic recalling of curse and destruction. The three sopranos as rhinemaidens blended well together with a lot of active vocal energy on high tessitura passages. They drove the momentum forward with great intensity, which was in contrast to Brenna rather fluid and light timbre. It made a contrasting portrayal of the rhinemaidens being very noisy in their complains against Siegfried's disbelief of their warnings and his arrogance. Later when Siegfried recalled his past memory at Hagen's suggestion, Brenna gave a colourful account of his part. Yet he began to struggle in sustaining the legato at the thematic imitation of the woodbird, and swelled in order to reach the top notes. Even so, he managed to sustain the vocal energy and kept the tuning by giving his all. In turn, the orchestra made a crushing built up towards the assassination point, responded with a lush and sentimental transition to mark Siegfried's last declaration of his love to Brünnhilde.

For whatever reason, I was very moved for the first time by the funeral march, which was rendered majestically and bold. Perhaps the orchestra's tone colour carried more the tragic sentiments than solemnity, or truth was finally revealed after all the preceded lies and chaos, which allowed emotions to pour out in full. Hagen's terrifying announcement of Siegfried's death and the blaming game with Gunther and Gutrune were as expectingly tense, but only stage action could realise the visual bloodshed. Zweden adopted an unhurried tempo for the immolation scene that aimed for a monumental and emotional end. Although Barkmin's higher register lacked the warmth of her lower vocal range, she phrased the music poetically and stayed smooth in her vocal switch. One felt particularly poignant and emotional when Brünnhilde recounted the past wrongdoings and betrayal, yet the moment of destruction and cleansing had arrived finally to undo it all. Along with radiant brass playing, the long crescendo built into a highly moving conclusion of this landmark project. The philharmonic orchestra had demonstrated it had reached a new musical height, and delivered an exceptional memorable performance. 

Review - Don Giovanni (Mozart), Semperoper Dresden

Lucas Meachen (Don Giovanni)
Maria Bengtsson (Donna Anna)
Danielle de Niese (Donna Elvira)
Anke Vondung (Zerlina)
Matthew Rose (Leporello)
Martin-Jan Nijhof (Masetto)
Edgaras Montvidas (Don Ottavio)
Michael Eder (Il Commendatore)

Staatsopernchor Dresden
Staatskapelle Dresden
Omer Meir Wellber (Conductor)
Andreas Kriegenburg (Director)

The fascination of Don Giovanni is the psychoanalytical aspect that allows various ways of exploration. It can be seen as a naive hide and seek game; or an examination of the paradoxical love and hate relationships between characters, particularly between Leporello and his master; or the conflicting psychological state after unending sexual and rebellious freedom. It also leads to question whether Don Giovanni is a ruthless murderer and raper, or mentally vulnerable and responds by being a deviant figure against social norms. All these inevitably can only be stopped and ended by the dramatic falling to hell with all the motives that trigger and driven to such terrifying downfall.

The stage set of Kriegenburg's production was of high quality including a showcase of stage machinery, but as a whole far from creating the depth and focus. The whitewashed apartment, on a high rise building with balcony, and the dark underground space, where party and dining took place, form the two levels. Though it was not a binary contrast between heaven and hell since the murder of the commander, orgy party aftermath and the hunt on Don Giovanni all happened at the same apartment. Instead the apartment was where incidents happened yet the protagonist did not have to bear an immediate consequence, whereas the underground was when his mischief was discovered followed by the downfall.

The sequence of actions though felt rather accidental than laying the triggers that later led to the judgement scene. Don Giovanni seems shocked after he murdered the commander with a dagger while the room was holding a model audition. While the Donna Anna and Octavio were raged over the killing, the models did not notice and admiring the skyline on the balcony instead. Flooding the underground floor was also far from creating the surreal state that previously used in Kriegenburg's Wozzeck for Munich opera, and the purpose seems for visual beauty by reflecting the light in the dark.

Dramaturgy improved at the wedding scene as the chaos and confrontation unfolded. Leporello distracted Masetto by insulting him and let his master attempted to rape Zerlina. The confusion followed as Masetto thought Zerlina was unfaithful and did not realise a trap was set by Anna and Elvira. Don Giovanni blamed Leporello by pushing him onto the ground but the crowd turned hostile as they realised his deed. He then shut the stage curtain in humiliation that ended the first act. First part of the second half focused on Leporello as he made advances on Elvira and Zerlina, also fooling Octavio. Despite sharing the same passion of eroticism like Don Giovanni, Leporello seems more naive and careless as he simply let his desire led him to traps. Here Zerlina showed herself as the dominatrix over Octavio, who was easily subdued by her flirts, and punished Leporello with a taser. Their flirtatious nature coupled with hardcore doings put the protagonist tamed in comparison.

The final ensemble scene was omitted in contrast to current practice, and the downfall coda was perceived as a nightmarish illusion that saw Don Giovanni being dragged to hell. One sensed the eeriness when ghostly figures lurked behind the dining table in heavy mist. Elvira and Leopello became emotional as they tried to convince the protagonist to save himself from destruction. The fall was dramatic as expected with lots of smoke and stage lights in red flashing at the audience. Though it still felt lacking the motive as why Don Giovanni deserved such devastating fate, and also a surreal sense that the end was an accident than punishment of his sinful behaviours.

Lucas Meachen's Don Giovanni felt rather noble and composed. A lot of legato in his singing but the smooth timbre was far from the seductive impression in mind. Yes he kept his diction clear especially during the wordy passage. As Leporello, Matthew Rose was denser with the warmth in vocal colour. He injected the much needed emotional contrast and word painting in his singing. The final scene saw him sustained the dramatic intensity as Leporello witnessing the fallen of his master to hell. Danielle de Niese was as ever a good actress but mixed impression by her vocal style. One did not feel her tessitura sat comfortably in the part of Donna Elvira and often lacked body. She sang with very bright vowel in a forward tone that one felt strange to hear the Italian produced in such way. The top of her vocal range was more audible but tuning often on the verge of going flat in her solos. Though she should be credited on capturing the conflicting personality of Elvira, who emotionally had a complex love and hate relationship with the protagonist.

Anke Vondung sang in a rather covered and full tone in the role of Zerlina, which was far from the sleek and light timbre I had in mind. In contrast, Maria Bengtsson's singing carried more clarity and brighter with the vowels as Donna Anna. She gave more contrast to the dynamic changes and effectively created the desired emotions through her singing. Her tessitura also sat comfortably on the high vocal register, but tuning in the running not always secure. Edgaras Montvidas employed a lot of vibrato and lacked the smoothness in switching vocal register, which one felt his vocal approach not in style. One could only remember Martin-Jan Nijhof portrayed Masetto as a frustrating figure, as Leporello distracted him away from Zerlina, and later hot headed to trap Don Giovanni in revenge. Michael Eder lacked some level of vocal richness in his brief appearance as the commander.

The orchestra gave a swift and spirited rendition of the dramatic overture under the direction of Omer Meir Wellber. It aimed at the devastation and dramatic development to drive the momentum forward with great excitement. Though when the protagonist attempted to seduced Zerlina at her wedding reception, I agree with another critic that Meir Wellber's continuo style by imitating modern lounge music went too far from the music style at first place. It became an odd musical moment and rather distracting by the mismatch. In sum, I was slightly disappointed by the evening that neither the production and casting culminated to some memorable moments, yet one felt it could be enhanced for a far more satisfying result.

(Photo credit: Semperoper Dresden)

Review - Charles Dutoit, Nikolai Lugansky & Hong Kong Philharmonic Orchestra, Hong Kong Cultural Centre, 18 November 2017

Roman Carnival Overture (Berlioz)
Piano Concerto no. 3 (Rachmaninov)
Encore: Prelude op. 23 no. 7 (Rachmaninov)
The Song of the Nightingale (Stravinsky)
Daphnis and Chloe Suite no. 2 (Ravel)

Nikolai Lugansky (piano)
Charles Dutoit (conductor)
Hong Kong Philharmonic Orchestra

Despite an attractive programme with a reputable conductor and pianist, the performance was far from a success and even some shockingly disastrous moments. Though the problem was not apparent at first in the festive and lively Roman Carnival overture, which Kwan Sheung-fung played the cor anglais solo beautifully after an electrifying introduction by the strings. Yet Dutoit's conducting was rather square and not indicating the line, and let the orchestra to phrase the line on its own. Soon the playing lost focus and rather vertically looking. The strings produced a warm tone and Italianate in style, but too polite overall than carrying the dramatic urgency in mind. They were also sluggish and lacked the bite on the attacks until the winds gave a crushing entry at the time change. The brass fanfare added the wildness and intensity to the tone colour, which lacked before at the presto ending by merely being full and broad.

Compare to other works on the programme, Rachmaninov's third piano concerto is more symphonic and arguably the more familiar to the audience. A flowing start but already signs of untidiness among the orchestral playing. Lugansky preferred a rather swift tempo in the tranquil theme but Dutoit's indication on the pulse was rather random with his right hand, which seems confused the orchestra. Despite the piano solo was majestic, the thick descending passage did not stay together with the winds. Lugansky also placed a lot of weight in his left hand playing and rather cloudy on the pedal that produced a dense tone. The phrasing felt rather out of shape at the rhythmic tricky part and also some wrong notes on the piano playing. Yet the duet between the flute and oboe were played beautifully with a bell like tone. The recapitulation was relaxing and played at a soft dynamic but odd when Dutoit suddenly speed up the tempo to reach the coda.

The orchestral playing of the second movement introduction was uncertain, which Dutoit was unclear in his conducting and even at times followed the players' tempo. Lugansky's left hand was heavy on the touch again and created a dense colour on the sentimental theme that lacked contrast. Then the pianist and orchestra were dangerously out of synchronisation for few bars when Dutoit seems at lost. Despite Lugansky tried to hide the disaster by being very expressive on his part and possibly improvised, the music was structurally out of shape and randomly developed. Although a virtuosic and muscular start to the third movement on the piano, the orchestra was still lost and confused by Dutoit's conducting. Strangely enough everything got back together in the dream like section, but the concentration and focus were lost already with the slow tempo. Heavy handed playing at the heroic and exuberant passage, but tempo suddenly gone slow by half, and it was a surprise that everything finished together in the end. One was also amazed by the rather enthusiastic reception to such chaotic performance.

Luckily everything was back on track in the second half that Dutoit's conducting seems more in place even the orchestra was leading the direction. Percussions and winds made an explosive entry to Stravinsky's rather colourful score of the song of the Nightingale. The harmonic language imitated festive Chinese instruments but fragmented. Megan Sterling's flute solo carried the rhythmic energy by being crisp in her playing, but the music became abstract and moody as the dialogues of night music dominated. It sprang back to the excitement half way onward with the winds' energetic playing and kept the rhythmic momentum forward. Emperor's nightmarish vision was realised by the sudden cry on the strings and shapeless dances on the woodwind part. At coda it became even more mysterious with a grotesque slow march on the strings, but jazzy blue solo on the trumpet that sounded certain among the cloudy music that being built upon.

The soft blurry impression continued into the dreamy opening of Ravel's second ballet suite of Daphnis and Chloe. The calm image of ocean with ripples was tenderly realised, and one felt the vastness of sound when the strings built up the sunrise climax. Megan Sterling again gave a confident lead between the lyric expressive part and the energetic rhythmic driven section. The impressionistic sound landscape was played in a broad sense as waves but cloudy. All was clear up when the winds played the gallop wildly and explosive during the exuberant dance section. The orchestra had more bites in its playing finally that added to the desired dramatic intensity and became an energetic beast. It seems the leaner orchestral parts had the upper hand this evening and sentiments failed to excel as in the Rachmaninov.

Review - Jonas Kaufmann & Helmut Deutsch, Shenzhen Concert Hall, 11 November 2017

Die Forelle (Schubert)
Der Lindenbaum from 'Winterreise' (Schubert)
Der Jüngling an der Quelle (Schubert)

Der Musensohn (Schubert)
Lust der Sturmnacht (Schumann)
Erstes Grün (Schumann)

Wanderung (Schumann)

Frage (Schumann)

Stille Tränen (Schumann)

Invitation aux voyage (Duparc)

Le manoir de Rosemonde (Duparc)

Chanson triste (Duparc)

Phidylé (Duparc)

3 Sonetti del Petrarca (Lizst)

Heimliche Aufforderung (Richard Strauss)

Wozu noch, Mädchen (Richard Strauss)

Breit über mein Haupt dein schwarzes Haar (Richard Strauss)

Ich liebe dich (Richard Strauss)

Befreit (Richard Strauss)

Freundliche Vision (Richard Strauss)

Cäcilie (Richard Strauss)

Encore:

Zueignung (Richard Strauss)
'Dein ist mein ganzes Herz!' from The Land of Smiles (Lehár)

'E lucevan le stelle' from Tosca (Puccini)

Jonas Kaufmann (tenor)

Helmut Deutsch (piano)

Jonas Kaufmann and his regular accompanist Helmut Deutsch gave a substantial programme, comprised of lieder, Italian songs and mélodie, for this recital in Shenzhen. Besides a showcase of singing in three different languages, it was also a technical demonstration of varied vocal styles and emotions.

The recital began with lieder by Schubert and Schumann, which focused on diction clarity, line shaping and tone control. Audience familiarity was probably in mind with Die Forelle as the first item, which Kaufmann sang in a bright tone and flowing momentum. He started Der Lindenbaum gently and poetically phrased the lines. The tone colour switched dramatically during the violent mid section before tranquility returned in the music. Falsetto was used to keep the lullaby like Der Jüngling an der Quelle stayed on the dreamy state. Tuning was on the verge of going flat during Der Musensohn, and the tessitura did not feel comfortable despite the heroic approach.

Among all the pieces, Kaufmann seems musically less successful with Schumann's works. One felt he lacked a clear road map how to shape the music and diction was often muffled. He belt out Lust der Sturmnacht in full but that lacked differentiation of vocal colours. Phrasing felt rather random at first in Erstes Grün yet eventually became more focused and flowing. Wanderung was more suited to Kaufmann's rich timbre with the vocal energy sustained through the heroic gallop. The depth of stillness was realised in Frage, but the singing was too covered for Stille Tränen despite tenderness on the upper range achieved by using falsetto.

For Invitation aux voyage, a smooth transition from chest voice to falsetto instead and did not force his way up to the higher vocal range. The French vowels helped to brighten his timbre and his singing seems more at home than previously. He approached Chanson triste rather dramatically and operatic, with the vocal colour became more muscular and darker. The overall effect was majestic and highly romantic for the lyrically expressive passage, yet a warmer tone was preferred than the hard edged tone. Phidylé began alike a nocturne before emotions sank in. Tenderness maintained and momentum was subtly paced that encapsulated the focus. Dynamic contrast and emotional intensity built into a rich sentimental coda.

Despite disturbance from mobile phone ringing and loud coughing at the start of the three sonnets by Liszt, it did not affect Kaufmann's concentration. He was smooth with the interval jumps in Benedetto, and carried a hopeful impression on the romantically expressive passage. There were more contrasting emotional changes in Pace non trovo which began with a dramatic recitative. The climax was broad and full as the singing turned operatic with a commanding voice. Tuning on Falsetto was lesser secure but words were poetically phrased for a tender closing. Sentiments returned in I vidi in terra angelici costumi and intense as the emotions heightened. It all came to a tender resolve but one felt Kaufmann's covered tone slightly unique for the ears. Compare to his French, his Italian diction also felt less natural and artificially produced as my friends felt.

Interestingly, one reckon Kaufmann was more passionately with the songs by Richard Strauss and the emotions expressed by his singing had a personal touch. A bold and expressive start to Heimliche Aufforderung in a commanding tone, then story telling like that was appropriate as a drunken song. Tessitura and the vocal colour suited to Kaufmann's timbre and vocal range very well. The smooth and convincing impression also added to the emotional intensity. In turn, Wozu noch was tender in a relaxing tone with more falsetto employed, and the lines were poetically phrased. Instead of a soft sing to Breit über mein Haupt dein schwarzes Haar, Kaufmann gave a rather heroic account that felt alike a wholehearted embrace of the text than indulgence on sentiments. Ich liebe Ich too was operatically rendered and the dramatisation made a definite declaration of affection. Vocally he carried a lot of energy and very bright on the vowels on top of the thick piano part.

Calmness returned to the rather invert looking Befreit, with more legato in a broad shape to develop the sentiments. The crescendo was beautifully built up for a prayerful closing. Kaufmann switched to his covered tone again for the dreamy and soft Freundliche Vision. The softness was kept with pianissimo sustained through for a spellbinding effect. Elaborate piano part in Cäcilie while emotionally tense for the final heroic and commanding finale. Familiarity again formed the final part with encore from The Land of Smiles, which once was the only known western opera in China under the close door era, and a fitting final piece from Tosca, 'E lucevan le stelle', to conclude this enjoyable vocal feast. Helmut Deutsch should be credited for his seamless and sensitive accompaniment on the piano, who was an experienced specialist after years of partnering Kaufmann and many other great singers like Hermann Prey. His playing was alike a cushion to support the singing and never overpower with careful balance on dynamics and keyboard touch.

(Photo credit: MNA 牛耳藝術 Facebook page)

Review - Simon Rattle, Seong-Jin Cho & Berliner Philharmoniker, Hong Kong Cultural Centre, 10 November 2017

Don Juan (Richard Strauss)
Piano Concerto in G (Ravel)
Encore: Clair de lune (Debussy)
Symphony No. 4 (Brahms)

Seong-Jin Cho (piano)
Sir Simon Rattle (conductor)
Berliner Philharmoniker

The revisit of Berlin Philharmonic to Hong Kong marked the final Asian tour with Simon Rattle as its chief conductor, before Kirill Petrenko to assume the role in 2019. Besides local public screenings of both performances across the city, orchestra principals like Emmanuel Pahud and Amihai Grosz also gave their own recitals in town. Despite steep ticket price, with the top category charging nearly four hundred US dollars, the performance quality was as high as expected with many memorable moments. Over the two days a diverse programme was given ranging from Russian to Korean, though the first evening focused on the core German repertoire with Ravel's piano concerto sandwiched in between.

The full bodied sound, at the dramatic opening of the symphonic tone poem 'Don Juan', made a thrilling sonic impression. With such great energy, swift tempo continued at the following soft passage before rubato culminated the built up to a crushing climax. The intensity stayed throughout the gallop, but lacked some dynamic contrast at the mysterious flute leading interlude. The lyric like oboe solo was beautifully played while the strings sustained the soft and ethereal impression. The horns responded with a majestic and confident announcement of the main theme. During the thick and expressive transition, the orchestra managed not to create a vigorously violent tone. Rich tutti playing with sheer momentum drove the energy forward at the recapitulation of the highly romantic expressive theme. Though it could have been more patient with the tempo at the moody coda than too eager in reaching the end.

Probably due to where I sat behind the orchestra, the hall acoustic did not help to project the solo piano too well in the Ravel and sounded rather distant. Seong-Jin Cho's playing was rather stiff at first, in contrast to the energetic orchestral playing which was crisp and carried more direction. One felt the orchestra had a clear road map in mind and produced much colourful playing to the witty and jazzy passages. Elegant harp solo at first and Cho began to play with more momentum towards the end of the first movement . He finally sank into the performance when the lyrically expressive piano solo was given at the start of the second movement. His touch and dynamic achieved a fine balance with the vast space and carried the direction. Sublime winds' solo followed in their entrances and maintained a flowing impression that the tempo neither drag nor in hurry. The cor anglais played its solo beautifully and accompanied by the piano for a sweet and dreamy song without words.

Slick playing began the third movement with woodwind being smooth and secured in their jazzy passages. A rather playful piano part for Cho who maintained the lightness yet also the weight to keep the direction forward in the gallop. Excitement continued among the orchestral playing with transitions seamlessly woven together and accommodated the soloist with consideration on dynamics. For encore, Cho selected Clair de lune to continue the French theme and also a foretaste for his forthcoming album on piano works by Debussy. Not only he played elegantly, but also a good musical sense of phrasing the line naturally that never lose the intention. Even at the elaborated development that his playing was not aggressive and the smoothness sustained throughout. His exquisite touch on the tranquil music held me spellbound and deserved a second hearing in future.

Despite I generally had difficulty to appreciate Brahms's symphonic work generally, the high music standard that being set at the first half kept me interested in what to follow after the intermission. The fourth symphony itself was one that I struggled to understand. Like Tchaikovsky's sixth symphony, the composer would have a rather cheerful third movement but followed by a rather gloomy ending for the sake of seriousness. The first movement was also enigmatic and far from having a clear expression. Instead, the performance gave a rather different approach to the symphony than what I expected. It convinced me that the composer could have been less restrain on his emotions after all. Yet the orchestra took some time to settle at first by being uncertain and untidy in the syncopated entries. There was a level of eagerness to hurry the tempo along, while the strings were heavy footed with the pizzicatos and vibrato heavy. Structurally dialogues between strings and winds did not synchronise naturally and lacked the seamless connection that was effectively executed early on. Momentum gradually regained when reaching the lengthy echo of suspended main theme between parts. The lush tutti sound poured out the emotional tragic sentiments in full and crushingly violent at the coda.

In contrast, the second movement began with the winds playing a broad and majestic dance motive. Sectional entries were seamlessly woven together and stayed on the same dynamic level throughout. The strings entered confidently and expressive on emotions, which carried the sonic intensity but not explosive. It gradually built up the sentimental climax into a rich and vast sound world. The sonic depth gloriously rang out in the hall before calmness hold the emotions back once again. The overall approach to the third movement focused on romanticism than the celebratory mode. Sunshine and positivism broke through the cloudy closing of the previous movement, yet the playing remained majestic and lush than hastening through. Entries were closely connected, and the music was phrased into one long breath so that the intensity was kept throughout.

These all left room for a natural development when the tragic bleakness returned at the beginning of the last movement. Heavy vibrato on strings might not be the current fashionable performing style, but it had expressed the emotions effectively in full at this point. Yet the orchestra did not indulge with the sentiments but kept the momentum forward. Exquisite flute solo on the sorrowful theme answered by some hopeful glimpse from the brass. Violent respond on the strings instead, and was breathtaking to hear the crescendo being built in seven steps as one progressively more intense than before. Ebbs and flows of emotional tides in contrasting dynamic aimed for a tense coda, which culminated the wall of sound into a rich sonic ocean with depth. It took the breath away and worth even the expensive cost to hear this great orchestra on another musical inspirational high point.

(Photo credits: Berliner Philharmoniker; Cultural Presentations Section of Hong Kong)

Review - Die Frau ohne Schatten (Richard Strauss), Staatsoper im Schiller Theater Berlin, 2017 Festtage

Burkhard Fritz (Die Kaiser)
Camilla Nylund (Die Kaiserin)
Michaela Schuster (Die Amme)
Wolfgang Koch (Barak)
Irene Theorin (Baraks frau)
Roman Trekel (Die Geisterbote)

Staatsopernchor & Kinderchor
Staatskapelle Berlin
Zubin Mehta (Conductor)
Claus Guth (Director)

Although this opera is often regarded as the magic flute of Richard Strauss, its metaphorical symbolism is more complex than a relative straight forward fairy tale of redemption. It examines how the empress discovers herself through the mystery of birth and death, and the search for a shadow is the key witness to life. Like Salome and Elektra, the dealing of death is the rite of passage to prove oneself existence. Yet by resisting tricks and redemption, she gains the shadow eventually than slaughtering.

Claus Guth's production conceived the tale as the empress negotiated her conscience within a surreal world of nightmare and illusions. She was first seen as a dying patient being unconscious in a sanatorium. Her nurse became a devil figure that manipulated and possessed her mind. She left no room for the empress to consider an alternative, but put her under the spell to lure Barak's wife into a moral trap that would lead to renounce her shadow. Though the temptation was presented alike a fantasy with parallel figure of Barak's wife in glittering outfit while the fishes as infants sang the enchanting chorus, and later a naked young man covered in gold appeared as a physical wonder. On the other hand, the nurse was the aggressive option which the empress could take to become mortal and avoided from separating from the emperor. Yet that contradict with her original and pure form as gazelle, which we noticed from the animal headed figure appeared throughout in parallel.

The animals added to the mysterious and dream like impression, also reinforced the fantasy side of the story. They appeared as mortals but their actual forms were the shadow itself and never separate, at least from the empress's perspective. The falcon represented the messenger of the empress's father, who did not appear until the judgement scene. It also became a haunted reminder to the empress that her fate was hold by him. They sometimes also became the silent companion as she reflected alone. Their existence realised the inner thoughts and emotions delicately that what the empress would have desired. Like Guth's staging of Der Rosenkavalier before, the abstract recalling of the past, present and future magnified the psychological state of the protagonist bounded by doubts and contradictions. Rest were as sequence of her decision making, which constituted the process of self examination.

The question in the room though was whether the empress actually had any affection for the emperor. It seems not when she appeared in agony by the emperor's declaration of love for her, and her gazelle collapsed on the ground with wounds the same time . Later in the second act after the falcon warned again, the emperor even wanted to straggle the empress as he thought she was being unfaithful by lurking into a human household. Neither in the third act they appeared together again but stayed in distance, though their gazelles showed forgiveness to each other. Claus probably felt was never the empress's intention to mend the broken relationship and the past encounter resolved subtly.

Yet through Barak and his wife did the empress discovered what true love could lead to the happiness of fertility and satisfaction in life. Even the two had a rocky relation as the wife being dissatisfied and despised anything associated to Barak at first. She managed to resist the temptation of a young man in golden outlook that the nurse conjured up to tempt her. Barak himself was genuinely tried to save the relationship from falling apart despite the emotional frustration and rejection. At the judging chamber they rediscovered each other and in support of the other one finally. The reconciliation inspired the empress to fling off the mental control from the nurse, emperor and her father. She threw away the potion that the doctor gave to her and confronted her mental depression directly. It was an emotional transformation as she saw her gazelle dead but then a spear reminded her the past alike hearing voices in her head. The recollection motivated her to put on the animal head as a metaphorical connection of her body and shadow by gaining it eventually. The dreamy world collapsed and the empress awaken from the hallucination, where she saw her nurse again. She appeared to feel the peace and supported by her who was no longer the devil as before.

A strong cast of singers were assembled that elevated the performance to a most satisfying vocal feast. Camilla Nylund showed no sign of tiredness or strain throughout the demanding vocal part as the protagonist. Not only she had a powerful and rich projection, her diction was very clear with the smoothness in switching register. The ascending vocal cries were gloriously sung in sheer intensity. Her characterisation of the empress progressed naturally and displayed the complex emotions as it evolved. Although Burkhard Fritz did not have an extensive singing part in the role of the emperor, the love theme of act one was romantically and expressively rendered. His timbre carried the warmth and rich tone, with the legato sustained throughout. Michaela Schuster had a more dramatic vocal style as the nurse compare to other roles which were more lyrical orientated except Barak's wife. Her mezzo timbre was rich with a healthy voice, also carried the urgency and intensity during violent moments. She also had the devilish outlook with the chilling gaze, and realised the aggressiveness of the nurse by being a controlling figure.

Wolfgang Koch phrased the words and music poetically in his smooth and pleasant timbre. His singing never become over sentimental, remained majesty in style and carried the depth in the characterisation. He saw Barak as a sensitive figure who tried to be reasonable and patient with his difficult and temperamental wife. I was also amazed by the powerful singing from Irene Theorin who was in a different vocal level from her approach to Brünnhilde. She brightened up her diction for clarity and her tessitura sat comfortably within the vocal range. Her dramatic singing sustained the emotional impact at the romantically expressive passages. The reconciling duet between her and Koch in act three was intimately passionate and rich that created a powerful sonic climax.

Under the baton of Zubin Mehta, bright and beautiful tone sustained among the orchestral playing and not overtly dramatic yet still carried the excitement. Majestic and beautiful brass playing echoed the woodwind's ethereal passage towards the end of act one, a contrast from the strange and grotesque torments perceived before. Sorrowful cello solo realised the sadness as the empress reflected, while the lower strings played the love theme tenderly. They drove the emotions forward as later the music became increasingly violent and devastating. Such emotional contrast again was spellbindingly effective in the sublime violin solo as the forgiveness was marked symbolically. The orchestra in turn gave a crushing blow as the empress shook her dead gazelle in distraught. Then bell like strings' playing responded to the dream and surreal state as the past been recalled when the emperor met the empress for the first time. Musically the standard as a whole was high and equally balanced for a glorious performance. The staatsoper should consider revivals than the current tame season being offered at the renovated opera house.

(Photo credits: Clive Barda/Royal Opera House London; Hans Jörg Michel/Staatsoper Berlin)

Review - Piano Recitals by Daniil Trifonov and Rafał Blechacz, 26 September 2017 & 12 October 2017

26 Septebmer 2017, Hong Kong Cultural Centre Concert Hall:
Variations on a Theme of Chopin (Mompou)
'Chopin' from Carnaval, Op. 9 (Schumann)
Studie 'Hommage à Chopin' from Stimmungen, Op. 73 (Grieg)
Nocturne, Op. 33 (Barber)
Un poco di Chopin from 18 Pieces, Op. 72 (Tchaikovsky)
Variations on a Theme of Chopin, Op. 22 (Rachmaninov)
Variations on theme from Mozart's Don Giovanni, Op. 2 (Chopin)
Sonata No. 2 in b-flat minor, Op. 35 (Chopin)
Encore: Fantasy-Impromptu in C-Sharp Minor, Op. 66 (Chopin)

Largo from Cello Sonata (Chopin, arr. Cortot)

Daniil Trifonov (piano)

12 October 2017, Hong Kong City Hall Concert Hall:
4 Duettos, BWV 802-805 (Bach)
Rondon in G, Op. 51, No. 2 (Beethoven)
Sonata No. 3 in C, Op. 2, No. 3 (Beethoven)
Fantaisie, Op. 49 (Chopin)
Nocturne in f-sharp minor, No. 48, No. 2 (Chopin)
Sonata No. 2 in b-flat minor, Op. 35 (Chopin)
Encore: Intermezzo in A, Op. 118, No. 2 (Brahms)

Rafał Blechacz (piano)

Less than a month after Daniil Trifonov's Chopin themed recital, Chopin's works again filled the second half of Rafał Blechacz's programme. Both had the second piano sonata as the concluding item, yet the two approached differently. One felt Trifonov was rather expressive and romantically driven, whereas intimacy and inner emotions marked in Blechacz's playing.

When Blechacz played the short prelude in A major as his final encore, it reminded us of Mompou's theme and variations that Trifonov began his recital. Despite the vast acoustic of cultural centre concert hall, one enjoyed the soft and sedate opening. It led to a lyrical passage marked by contrasting dynamics before resolving to the dreamy state again. The dotted passage felt pondering than carrying a direction though, and became rather cloudy in the tender and tuneful theme. At reaching the expressive and passionate climax, Rachmaninov seems more in mind by the harmonic colours and rhythmic patterns. Trifonov restrained from keyboard bombardment in the fantasia like gallop but instead gave a rather feminine touch to it. The four short pieces by Schumann, Grieg, Barber and Tchaikovsky as hommage to Chopin was an interesting selection. Grieg's approach reminded me of Rachmaninov than Chopin by the expressive arpeggios, whereas Barber harmonically was rather modern looking with the mysterious outlook that gone very distanced from Chopin. Tchaikovsky though lacked a definite outlook but only soft and tuneful.

Despite Rachmaninov referenced the funeral march from the third movement of Chopin's second sonata in his theme and variations, his idea went beyond the original with a rather symphonic sound world in mind. Trifonov kept the slow march flowing than indulging on the tragic sentiments. A mysterious and sorrow start to the fugue,which then developed into a lively and complex progression. Spread chords were expressively played and not aggressively hammer. A brief romantically driven passage followed by a crushing and wild gallop. Contrasting dynamics created immense emotional contrast and later it developed into another mysterious and unsettling transition. Then it galloped into a broad and muscular sound world with sheer intensity, in contrast to the fantasia like development that later lightened up by a lyrical theme. A triumphant and exuberant climax was given yet Trifonov rightly so to play the return of funeral march as devastating and bold than before.

The second half though lacked the brilliancy and lost focus. Variations on the theme from Mozart's Don Giovanni recalled those technical showcase piece by Liszt, but it did not feel right for Trifonov. His playing became untidy and phrasing seems random. Gallops were sometimes out of shape and sounded blurry by being sticky on the pedal. Later he was impatient in the first movement of the second sonata by hurrying through. It felt like a tense pressing after a lyrical resolve but never reach. Employing the same approach became dull for the ears and lacked contrast in colours. Questionable phrasing again in the second movement that did not carry the dance momentum but only as a rhythmic exercise. Nevertheless, he regained the calm and submissive touch in the tender interlude that at times was spellbinding and effective. Cloudy tone resurfaced at recapitulation even it was energetically driven. The funeral march of the third movement recalled the Russian context alike Rachmaninov early on. Trifonov seems more at home in building up the majestic crescendo in contrast to the still and lullaby like passage, which the softness magically stayed on the same level without losing the intention. As the funeral march returned, the emotions culminated again for the sheer devastation. Twice I listened to the short and chromatic styled fourth movement, one still could not understand by its purpose. Perhaps I was tired by then or Trifonov employed too much rubato without a clear intention, neither the Fantasy-Impromptu or arrangement of the cello sonata interested me anymore.

The acoustic of City hall concert hall is more ideal for solo instrumental recital with a warmer sound, and more in proportion by the smaller performing space than the cultural centre. It elevated Blechacz's smooth and delicate playing into a beautiful tone throughout. He began the Bach tidily and aimed for the counterpoint in the first movement. Each thematic entry at the fugue of second movement was introduced clearly and structurally transparent. The good work continued into the third movement and kept the momentum flowing. His ornamentation sank naturally into the tricky rhythmic patterns of the fourth movement with the dynamic differentiation that created a colourful sound world. However, I did not enjoy his interpretation of Beethoven's Rondo in G as much as the other works. It felt he was hurrying along and rather mechanical in approach, which pushed the tempo too quickly than letting the music to sing. The attacks were rather sudden and shapeless by his playing being impatient.

In turn, he had shown more thoughts and interest for Beethoven's third piano sonata. A muscular flourish opened the piece and the progression flowed tightly that had the intention to move forward. Though he could have been more relax in the soft passage by being more tender than tense It would have allowed more dynamic contrast from the dense and bold interlude followed. Composition wise it seems Beethoven wanted to experiment new harmonic language and those thoughts were given a quick glimpse. Blechacz maintained the smoothness and clarity as the music descended to the lowest range before repeating the opening theme. The second movement was romantically driven at first but at the end the classical style returned, which was more optimistic than the tragic sentiment in first place. Spellbinding tenderness during the quiet and soft passage that sustained the textual silkiness. Scherzo of the third movement was probably the most experimental of the whole work. Harmonically complex and structurally dense but leaving an open end without a clear resolve. Blechacz kept the rhythmic excitement by aiming at the spring board to the next phrase that began the fourth movement. The heavily scaled passage carried the sheer intensity with forward momentum and again Beethoven experimented ideas before a conventional closing.

Chopin's Fantaisie began rather mysteriously and moody. It was rather inward looking before a climatic built up from the soft and lyrical theme into a vigorous dance. Blechacz's left hand was sometimes heavier than the right but still able to maintain the clarity. He preferred a tidy and unhurried playing in the flourish than a technical run off with bold gesture. Nocturne in f sharp minor is a more typical Chopin piece with the subtlety and calmness more familiar with. Tenderness and the intimate sentiment were sustained throughout that a grand overview.

Compare to Trifonov's interpretation, Blechacz approached the first movement of the second piano sonata with a more sustained and legato playing. Even the expressive gallop stayed subtle which lightened the emotional flourish. Yet the progression stayed tightly and maintained the direction. Structural clarity was achieved even at romantically driven passage than over expressing. This time the second movement still had the virtuosic impression but managed to carry in a rich tone. It was gentler and more sedate through articulating the contrast between intimacy and rhythmic excitement. Funeral march of the third march was also given a lighter touch and flowed in boldness. Dynamic contrast was more faithfully observed to avoid being dense and over sentimental. The lyrical theme was highly moving by the sensitive touch with lightness, before the funeral march reappeared majestically. Intermezzo in A by Brahms put the smile back on the face and ended this performance on a satisfying high point.