Philharmonia Lan Shui Bavouzet

Concert Review: Philharmonia

Dec 29, 2023, Shenzhen Concert Hall

Philharmonia Orchestra - Lan Shui - Jean Efflam Bavouzet

Elgar - Mozart - Mendelssohn

The Philharmonia under Lan Shui is touring China with pianist Bavouzet. This was billed as a "New Year's Concert". In this they are competing with many other orchestras for audience. Starting late December to early January many orchestras are offering "New Year Concerts" in SZ. SZSO of course, and other Chinese pick up orchestras. Other visiting ones include legit ones such as Russia's State Academy Orchestra "Svetlanov" and Siberian Symphony (I'm attending both), UK's BBC Concert Orchestra (not BBCPO); of dubious origin are various pick-up orchestras from France, Italy and Austria. All offer some Strauss waltzes and a soloist, usually a soprano.

This program is definitely not the usual New Year fare, but it was lighter than usual. Not the kind of program that I'd usually opt for but I was eager to hear the Philharmonia for the first time. Always been a fan of this orchestra. Of course, everyone knows its heydays under Klemperer from EMI recordings. I also love it under Ashkenazy (arecordings on Decca). These days, it is overshadowed by the London Symphony and London Philharmonic, but it maintains a position high up in the British eschelon. I was also eager to hear Lan Shui for the first time. Although from China, his career has been overwhelmingly overseas, most famously for bringing the Singapore Symphony Orchestra to the first rank (many recordings on BIS).

First was Elgar's Serenade for Strings. This has always been a difficult piece to bring off. Very fine dynamic gradation and modulation, particularly in the slow movement, is necessary to bring out the wistful, reflexive side of the piece, but the overall direction must not be impeded. It was well done on this occasion, but slightly on the cool side. The upper strings had a very slightly dry character from my seat, but the lower strings were powerful and warm.

Mozart's Piano Concerto No. 17, K453, was surprisingly substantial! Bavouzet played with his customary flair (as evidenced by his excellent cycle on Chandos). The woodwinds were simply superb partners in the dialogue. The strings also dug in hard and Lan Shui gave stylish direction. As perfect as perfect can be, and more weighty (by merit) than many a heavier concerto. Indeed, one of the very best concerto performances I have heard! necore was Massenet's Toccata.

Second-half was Mendelssohn's Symphony No. 3, "Italian", which received a flowing rendition. The strings were very well articulated, though from my seat the upper strings still could have been sweeter, though they were very powerful. The winds tried valiantly but were sometimes caught out of breath (they must dread Mendelssohn). It was not the most gossamer of interpretation but nonetheless a very good big band one (it's popular to go HIP in this piece now).

The hall was well attended and the audience was enthusiastic. Encore was a Chinese piece, I think 茉莉花？A satisfying concert!

Borodin String Quartet

Click pics to enlarge. In the back is the Library.

Concert Review: Borodin String Quartet

December 17, 2023, Guangming Culture and Art Center Concert Hall

Borodin String Quartet

Shostakovich - Borodin-Tchaikovsky

Shenzhen is a huge city. It's incredible how over the last 10 years Shenzhen has built many Cultural Centers in many districts. These Cultural Centers are huge, way larger than Hong Kong's Cultural Center, usually near the local Government Headquarters, and comprise at least 2 Concert Halls (or Opera House), with a big Library and, sometimes, Museum and Book City. The scale of each rivals HK's West Kowloon development, but there are multiple sites here! For an idea, see my report on the Bay Opera (here and here).

The rapidly enhanced capacity means a lot more of local and visiting art events can be accommodated. In terms of classical music, this is great for people like me, but it poses problems as the local classical crowd is likely quite small, though equally likely steadily growing. Witness the world-class sensation Alexander Malofeev concert that I attended -30% attendance, when it would sell out in a couple of hours were it to take place in the Musikverein (or Japan). There was a Leonidas Kavakos recital recently that had to resort to last minute discount tickets (I didn't attend). Another problem may have to do with last-minute management (perhaps there is red tape here) - concerts here sometimes are announced only a couple of weeks  in advance. You can't blame the Chinese concertgoers for favoring their own - concerts of Bruce Liu (like the one I attended), Yuja Wang and Chen Sa are very well attended!

The Guangming Culture and Art Center 光明文化艺术中心 is very far from me! One hour and forty minutes by MTR! As far as I'm concerned, it's in the middle of nowhere. The area is totally new urban development. Massive estates of high-rise apartments have a huge Shopping Center that connects via a footbridge to the Center. The site was partly developed by 华侨城, who are behind most of these Cultural Center projects (as in Bay Opera cited above).  

I just had to go to this concert. As a die-hard fan of the Borodin Quartet, I have attended their concerts for decades. The first ones (in HK) were not recorded in this blog. When I first heard them, they already had Ruben Aharonian on first, but they still had the great founding member Valentin Berlinsky as cellist and veteran Andrei Abramenkov on second. This blog recorded 2008 in HK, 2010 in NYC. Frightening! Has it been that long? Wow, this year is the 75th of the Ensemble, which formed in 1945 (end of WWII in the West)! Founding violinist was Rotislav Dubinsky, who wrote a marvelous book Stormy Applause: Making Music in a Worker's State: Dubinsky, Rostislav: 9780809088959: Amazon.com: Books. He went on to form the Borodin Trio, whose recordings on Chandos are precious too. Now, before his death, Valentin Berlinsky had published a book too (here), which I have on reserve at the HK Public Library. Looking forward to reading it!

This iteration had Nicolai Sachenko on first, and Segei Lomovsky on second. Violist Igor Naidin and Cellist Vladimir Balshin had remained from the last formation I heard.

The sound of the venue was excellent, but I judge it just shy of the very best. The sound of the ensemble had changed too. Sachenko is an excellent player, but his style is much more ardent, even fiery at times with a slightly pressing tonal quality. In contrast, second violin Lomovsky is very steady and not that often prominent. Aharonian/Abramenkov was more tonally matched and refined, but the new duo are perhaps more exciting. In this hall, the lower strings were effortlessly heard and quite lovely.

So, the Shostakovich Quartets 1 and 9 were perfectly delineated, every mood caught. Second half opened with  the Notturno from Borodin's Quartet No.2. It was too literal for me, a little more caressing would have been welcome. Finally it was Tchaikovsky's Quartet No.2, which heaved and sighed but I perhaps prefer the more ethereal version I heard before in 2010.

The quartet has maintained its perfect ensemble and I still look forward to our next rendez-vous.

VERY VERY comfortable seats and great leg room!

HKPO vs SZSO

Review: HKPO vs SZSO

Amazingly, two recent concerts in Shenzhen had me think hard of the HKPO and SZSO.

November 25, 2023, Shenzhen Concert Hall

Hong Kong Philharmonic Orchestra - Lio Kuokman

Bernstein - Gershwin - Dvorak

HKPO can be an enigma. At the HK CCCH, resident home, loudly decried to be acoustically inadequate, they often sounded just so-so (but not always). But, sometimes, in other venues, they would sound much better! Such as the Prokofiev Romeo and Juliet many years ago at Shatin Town Hall, or the singular Yuen Long Town Hall concert also many years ago (not chronicled here).

And so I was very curious going to this concert. A very rare chance to hear the HKPO in this sonically excellent venue. Neither have I ever heard Lio. The Bernstein Candide Overture and excerpts from On the Town were capably rendered, but not the last word in flair. Gershwin's Rhapsody in Blue proved a different story. Lio was at the piano and the whole thing was just dynamite! In fact, it was better than some North American performances I had heard (including Andre Watts)!

The Dvorak warhorse was very well played. I was able to seriously study the orchestra. The playing was unanimous and well integrated. The orchestra sounded significantly fuller here in the SZ Concert Hall than in the CCCH. Just way more powerful. The only thing to pick was that while everything was in decent order, few things stood out. I thought then that usually I'd hear more details and inner voices with the SZSO (but less power and solidity). Very interesting and satisfying!

December 8, Shenzhen Concert Hall

Shenzhen Symphony - Lin Daye - 朱慧玲

Lampson - Mahler

On this day, I scrambled back from nearby cities in Guangdong (here). I was able to meet my shidi and friend before the concert.

The first half was really not necessary. Conductor Lin gave a speech describing the sea changes in Elmar Lampson's The Stormy Sea for the large Orchestra. He also asked the audience for stamina through the long Mahler. Well, the Lampson was OK and, as usual, many times too long for the limited invention. Yes, better to have done without it!

For the Mahler 3, Lin as usual seated the players in the Viennese manner. The divided violins always sounded less powerful than when they sit together (applies to almost any orchestra), but a little weak on this occasion! But the other sections played valiantly and the whole was very very good. Even more impressive were the ladies choir and the boy's choir.  And of course the immaculate world-class soloist 朱慧玲, who owns this role (2021 performance with the Ningbo SO). The SZSO had long performed this work, even with relatively meager forces (here in 2011) but they have surely come along! Wonderful!

Alexander Malofeev Bruce Liu

L is SZ Concert Hall. Right most, Library. Near Right, Citizen's Center.

Concert Review: Alexander Malofeev and Bruce Liu

I have been attending quite a few concerts, but have been remiss in writing them up. Here is the first one.

October 17, 2023, Shenzhen Concert Hall
Alexander Malofeev Recital
Handel-Purcell-Muffat-Bach-Rachmaninov

The current disgusting persecution of superior Russian musicians knows no end. Russian sensation Alexander Malofeev (official website) is a wunderkind who had just turned 22 years old at the time of concert. His reputation has spread fast and he has played in most of the world’s most prestigious venues. But then the Ukraine War came. In 2022, Vancouver canceled his concert (NPR report) and he had followed up with some eloquent anti-war statements (here). I completely agree with his sentiments. I’m glad here in Shenzhen I get to hear many Russian musicians. Certainly not in NYC. Not in HK either, as they try so ridiculously hard to be an “international” city...

This is a difficult concert to write up, because he played so perfectly! What a full command of the keyboard and great tonal colors! The piano was a rich sounding Yamaha (he’s a Yamaha artist).

As is increasingly popular these days, the first half is devoted to baroque, with transcriptions. Handel’s Suite in B Flat HWV434 was played in a straightforward manner. Then followed the Purcell Ground in Cm. Then came the most unusual piece, and not a short one, Muffat’s Passacaglia in Gm from the austere sounding Apparatus Musico-Organisticus. It intrigued me so much that the next few days I actually listened to some recordings of the magnum opus (on harpsichord and organ). Mind you, all these keyboard works were intended for the harpsichord or organ, and, no matter how refined the touch and articulation of Malofeev, sometimes one would like a little more spicy twang. These were followed by the much more pianistic Bach/Feinberg Organ Concerto No. 2 in Am BWV593, faultlessly rendered.

The second half was substantial, all Rachmaninov. The Etude Tableaux Op 33 and the Sonata No. 2 in B Flat minor, all ravishingly played. I have to say that, in contrast to his orchestral works and concerti, I’m still not completely into the world of Rachmaninov’s solo piano works (even more difficult for me than Schumann). But I have heard enough to say this is among the greatest Rachmaninov playing I’ve heard.

Malofeev had come to SZ before (how I missed it!). In fact he was affectionately nicknamed as 小马哥 (an allusion to the popular ex-president of Taiwan) by the venue staff (I spoke to the friendly, and foxy, venue manager). But he’s still not a big name in these quarters (no solo recording yet), so to speak. And so, attendance was abysmal (maybe 30%). It’s really too bad, Malofeev, like Kissin before him, should have filled any hall in an instance. He does, in certain countries in Europe. But America and their chief fiefs, well...I’m very glad to have heard him. In fact, I’d go hear him play anything!

October 29, 2023, Shenzhen Concert Hall
Bruce Liu Recital
Bach-Chopin-Kasputin-Rameau-Prokofiev

Hard on the heels of Malofeev came Bruce Liu. His instant fame preceded him, aided by DG recordings.

In contrast to Malofeev, this is an easy review to write. First, the piano is a Steinway, and surely more refulgent than the more bronzen Yamaha. Bruce Liu was also much more of a showman than Malofeev, who is mature beyond his age. This was both good and bad.

Liu opened with Bach’s French Suite No. 5, which is on a DG recording. It was decently played, but I found the tone rather unvaried. Chopin’s Piano Sonata No.2 in B Flat minor was quite good, but the tone remained rather one dimensional and it did not sweep me off my feet. A Kasputin piece (Variations for Piano, Op 41) did nothing for me (as usual for this composer).

Second half opened with a full set of familiar Rameau pieces, which Liu had recorded for DG on his album Waves. They were very nice, and lively, and as in the album, I prefer his more expressive way than, say, Alexander Tharaud. Then came the Prokofiev Sonata No. 7, which was delivered with aplomb, but not the last ounce of motoric excitement. Also, I’d have preferred more weight! Also, as in the first half’s Chopin Sonata, it did not seem to build upon itself, which a successful performance must. Throughout, the piano sound was not the best.

Comparisons are cruel. For now, in terms of total command and musicality, I judge Malofeev the better pianist (and would like to hear him in Chopin and Prokofiev) but Bruce Liu should not be brushed over. Let him grow beyond his quick fame! He is of course much more marketable in this Chinese world, and the hall was packed. Not fair, right? Well, a long line formed just to get his signature.

Alexander Rahbari

Concert Review: Alexander Rahbari

October 12, 2023, Shenzhen Concert Hall

Shenzhen Symphony Orchestra - Alexander Rahbari - Niklas Epinger
Dvorak - Tchaikovsky

It's astonishing to think that I haven't been in a concert hall since last December! At the start of this year, China abandoned Zero Covid and the SZSO had a few concerts at the Bay Opera. Big Strauss and Mahler works that I'd have loved to have attended. I didn't, because I was being cautious then due to the "lying flat" scene playing out (hospitals being overwhelmed), and also because I am not fond of the acoustics there (see here). SZSO then played even in the Grand Theater, which I also skipped. FINALLY, they are returning to the acoustically superior SZ Concert Hall in full force! Hurray! Just stay there!

Ever since I repatriated to Hong Kong in 1992, I have known Alexander Rahbari. HK based Naxos was emerging as a formidable budget CD label at that time, and Rahbari (with his Belgian orchestra as well as eastern European ones) was one of the house conductors who had garnished rave reviews from magazines. I bought many of his CDs then, and still have them! The funny thing was I never heard him with the HKPO. The colonial-remnant management at HKPO (at most of bourgeois taste, and not more aspiring) has always preferred Western and White "famous" (but actually second-tiered) conductors to those with real substance (their choices of the pedestrian Edo de Waart and Jaap van Zweden were cases in point). Never mind Rahbari! An Iranian (but one highly appreciated by one no less than Karajan)! And so I jumped at the opportunity to hear the man, even if I was not completely crazy about the program!

I was not keen on the Dvorak Cello Concerto (much better in a recording than in the concert hall, imho) because I know the Solo Cellist always loses. This one was no exception. German Niklas Epinger played accurately, but with a smallish though controlled tone. The tempo was just too slow for me, and the "refined" sentiment came dangerously close to outstaying its welcome. Part of this was due to Rahbari accommodating his soloist, doing everything he can not to drown him (well, when the woodwinds sounded louder than the soloist, it's a problem). BUT, the work needs grandeur too, and it's a miracle that Rahbari sustained the tone painting and brought out innumerable details. I was intrigued - it was not at all a total loss (as is often) and became primed for the second half.

The Tchaikovsky 5th was an eye-opener. Throughout the concert, Rahbari just conducted with his hands (and from memory), AND it was not often he raised them high. But when he did, the orchestra just burst into ferocious flames. From my seat far away in the balcony, his hands appeared huge when he unshielded them and he was like an eagle soaring in big moments. A MOST powerful, yet unsentimental, rendition! No superficial effects, economic gestures and great results! Wow!

Not being a big name, attendance was abysmal (maybe 30%) BUT the applause was enthusiastic, I among them. I yelled bravo many times! Imagine my surprise when, after acknowledging the orchestral members, Rahbari turned to the audience and gave a short speech in perfect English: "... I love China! This time, I'm working with six orchestras. I have worked with this one (SZ) for one week, and they deserve a larger audience! Next time, make sure you bring your friends..." Well, how nice! In my experience, the best conductors are the ones who take care of the musicians!

Rahbari, surely because he's Iranian, never really got his due. That is also because he has held position in the Tehran orchestra. In today's world, it cannot be easy to be an Iranian musician (even if he's an Austrian citizen).

After the concert, I wanted to get his autograph (not often for me) and so I waited at the personnel entrance. I saw so many musicians familiar to me. I heard nothing but praise for the man. But he took too long to emerge, and I left.

Alexander Rahbari is yet another great example of what's wrong with the arts, where "correct" political alignment and inborn "privileges" triumph over substance. The West created Faust and the Devil, but they have yet to learn what those roles really mean. It's all rhetoric's, and virtuousness goes by the wayside.