Daniel Lozakovich Tarmo Peltokoski Vasily Petrenko Sunwook Kim

Concert Review: Master Fiddler, 2 Pianists, 2 Bruckner, 3 Great Concerts

In chronological order, the last being the most recent, just the day before!

September 6, 2024, CCCH

HKPO - Peltokoski - Lozakovich

Sibelius - Bruckner

Typhoon derailed this Friday concert, which was rescheduled to an unusual 4 pm the next day (and the HKPO had to play the 8 pm concert too). The 2 Scandinavian artists delivered as satisfying as concert as one could hope for.

I have long followed Daniel Lozakovich (excellent albums on DG), and particularly admire his tonal allure. From the first note of the Sibelius VC, it was clear that he was everything the recordings conveyed (not true for many soloists unfortunately). Great projection, ravishing tone and nuance at any dynamic level (most violinists sound pinched as they go high or loud). Great rhythmic resilience and fire. The orchestral contribution was tight and it was as perfect a performance as one could hope to hear!

Although I regard myself as fairly well informed, I had never heard of very young Tarmo Pelkotoski until his appointment as HKPO's next director. Then came his somewhat idiosyncratic debut album of Mozart (DG). I was told by a friend with trusted ears that he had done well with the HKPO before, so I had high hopes.

I was not disappointed. The Bruckner 9 played out with great tonal weight and good flow. Yes, the third movement for me lacked angst and enough dissonance at its height of tension. More looking forward and reminiscence than confronting death. But then, many seasoned Bruckner conductors fail too at that (in my view; my benchmark is Schuricht/VPO). Very grateful to have heard B9, and I'm looking forward to more!

September 27, 2024, CCCH

HKPO - Petrenko - Fedorova

Rakhmadiyev - Grieg - Bruckner

This concert was absurdly and prominently billed as "Belt and Road". Huh? Perhaps to justify the wayward claim, concert opened with Kazakhstan composer Rakhmadiyev's Kudasha-Duman. A frivolous soviet-era piece with predictable rousing rhythm and cacophony.

Anna Fedorova is well known to me through her recordings, which have all been good but not exceptional. Her playing revealed a plain tone, lacking in sonorous depth. Her playing of the Grieg PC was curiously wayward in places, especially in the finale's marcato section, where her rhythm was downright unnatural. The orchestra was razor sharp in response, thought the woodwinds lacked warmth and elan. Overall, this rendition very much lacked the headlong ardor this piece should possess.

I've long admired and followed Vasily Petrenko on records (seminal Shostakovich cycle on Naxos; many good recordings on Onyx and Lawo), but I was not sure at all how he would be in Bruckner. I remember his NYC and HK appearances very well. In recent times, he has had a few well received outings with the HKPO, which I've missed.

The Bruckner 7 surpassed all expectations! From the opening, Petrenko showed his exceptional ability to tease out all the string parts (so important in this symphony) in a natural manner. Yes, I heard many things new in this thrice familiar score. Everything flowed well, and the brass played superbly, though not as full in tone as in the Tarmo B9. A minor caveat would be that the apotheosis of the slow movement should have tugged at the heart a little more. Anyway, a major achievement. As a Bruckner interpreter, it is obvious that Petrenko is more seasoned than Tarmo, as expected.

Unbelievable to have heard 2 excellent HKPO Bruckner concerts in a row! May more are to come!

September 28, 2024, CH

HK Sinfonietta - Poppen - Kim

Dallapiccola - Schumann - Brahms

Although I've been highly impressed by Christoph Poppen's conducting before (here), I admit my choice of this concert was to hear pianist Sunwook Kim, who have impressed me on discs (DG).

As usual for Poppen, concert opened with a "new" piece, in this case Dallapiccola's Piccola Musica Nocturna, well played and atmospheric. Then came a lithe performance of Schumann's Symphony 1, "Spring". I found the string sonority slightly coarse.

The Brahms PC2 was very well shaped, and the playing of Kim was poetic and immaculate. Power and nuance played in tandem. Again, while the Sinfonietta played very well, the somewhat dry string texture nagged at me. This is not typical of the Sinfonietta I used to know, which usually had warm strings. Although very different, I'd say I enjoyed Kim's playing as much as I had my heroine Leonskaja's 2018 SZSO performance, but on that occasion the orchestra really shone in a way the Sinfonietta didn't.

Kim ended the concert with a beautifully concentrated Brahms Nachtstucke.

Anastasia Kobekina Alexander Malofeev Gabor Takacs-Nagy Verbier AYO

4 Brief Concert Reviews

These concerts happened quite a while ago, and were not written up due to various reasons on my part. As they have lost any possible timely relevance, these comments are capsular in nature.

March 1, Shenzhen Concert Hall
SZSO - Lin Daye - Gorini
Beethoven - Mahler

Concert opened with a competent Beethoven PC5 with soloist Fillipo Gorini, who played in a refined manner, yet was ultimately quite bland and failing in probing the Beethovenian spirit.

Given their previous decent performance of Mahler, I was eager to hear the Mahler 1st, but it proved somewhat fragmented and earthbound. The playing was not on par with their recent very good Mahler 3rd.

March 28, Shenzhen Concert Hall
Olivier Latry organ Recital

Programme comprised Guilmant, Liszt,Bach, Saint-Saens (le Carnaval des animaux), Vierne, Dupre, Alain, Guillou, and some improvisation.

Latry is an excellent organist but I could not enjoy the concert. From my seat higher up, deep bass was sorely lacking and that's a deep no no for an organ recital. I was surprised, as similar seating position at the HK CCCH has good bass.

March 29, Shenzhen Concert Hall
Verbier Festival Orchestra - Takacs-Nagy - Bouchkov - Kobekina - Malofeev
Ysaye - Tchaikovsky - Saint-Saens - Beethoven

This was a highly unusual concert, as it featured not one, but three! concerti in the first half, and the soloists were uniformly excellent.

The Ysaye Violin Concerto featured Marc Bouchkov, who played superbly and was totally under the skin of this still rarely performed concerto.

While Ysaye may be too cerebral for some (like me), Tchaikovsky Rococo Variations is certainly much more accessible. Yet this is not an easy piece to bring off, even on record. That, Anastasia Kobekina certainly did, with aplomb! She was every bit as wonderful as on her marvelous Sony albums.

As if that were not enough, then came Saint-Saens PC2 played by none other than Alexander Malofeev, who had been praised here before. Needless to say, the pianism was pristine, but I'd have preferred a little more romantic ardor from both the soloist and the orchestra,

On records I'm a great admirer of Gabor Takacs-Nagy (especially his pulsating Mozart). He and the Verbier Orchestra has also recorded a decent Beethoven cycle (DG). On this occasion, the Beethoven 7
has all his trademark litheness but was not entirely satisfactory. Most of all, this touring iteration of the Verbier Orchestra does not seem to be quite at the same level as on recordings. As an example, the woodwinds and brass are only good to very good in my book, not exceptional.

August 3, 2024, CH
Asian Youth Orchestra - Jader Bignamini
Gershwin - Bernstein - Respighi - Mussorgsky

It's been a while since I attended an AYO concert. I chose Program B, which featured American conductor Jader Bignamini.

Gershwin's Porgy and Bess Suite and Bernstein's West Side Story Symphonic Dances were very well played, but lacked the last degree of lift.

Most surprising was a cogent Respighi Pines of Rome. This piece is not a fav of mine, but this atmospheric performance was as good as any I have heard! In particular, I actually reveled in the majesty of the Appian Way. Great!

Unusually, this was followed by another blockbuster, Mussorgsky's Pictures at an Exhibition. The performance was fine but lacked the distinction the Respighi had.

It's a miracle the AYO has held on since founder Pontzious passed on. Although the current musical directors are much less known than before (likes of Commisiona, James Judd etc), they seem to soldier on. The musician standards remain very high

YMCG Orchestra and Daniel Harding

Concert Review: YMCG Orchestra and Daniel Harding

Jan 30, 2024, Shenzhen Concert Hall

YMCG Orchestra - Daniel Harding - Vilde Frang - Amihai Grosz

Leung - Mozart - Dvorak

For years I heard every concert within reach of the Asian Youth Orchestra (AYO, chronicled here), as I love their enthusiasm and achievements. My penchant for youth enthusiasm perhaps started with the Mahler Chamber Orchestra recordings, of which Daniel Harding has always been a chief anchor.

This Orchestra is titled an improbable Youth Music Culture The Greater Bay Area (YMCG; official link)! Close enough to OMG. LOL. Although said to have musicians of diverse nationalities, judging from the roster in the concert pamphlet, it's overwhelmingly Chinese, the majority from China and Hong Kong, and a few from elsewhere. Not at all as diverse as AYO. About 20% are young orchestral professionals.

Concert opened with a commissioned piece by Elliot Leung, titled Aureate Skylines 天穹之志：大湾华章. This is precisely the kind of thing I detest, to employ music to politically celebrate a project. The music was Ok, but not more than humdrum. A waste of time.

Then came the Mozart Sinfonia Concertante for Violin and Viola. Beautiful tone and tight ensemble from Violinist Vilde Frang, Violist Amihai Grosz and the orchestra. Although pared down, for my taste the orchestra was still too bass heavy. The rendition was quite romantic, and the first and second movements were a bit too slow for my taste. This may be due to Harding, who is almost always just slightly on the slow side (judging from recordings). Nonetheless, quite enticing.

The Dvorak 9th was quite an Ear Opener! The orchestra played with immense power and almost perfect ensemble. Strings were great but, better than expected, the woodwinds and brass were all of a whole and very well blended, better than previous AYO iterations and SZSO. Most importantly, Harding's conducting was absolutely superb. As usual for him, fastidiously detailed and mindful of structure. One hears so much more details than usual, it's astonishing. So much fine details in the spread of the strings, much refined dynamic gradations. It was the most Wagnerian and Brucknerian rendition that I've heard, and that's the highest praise from me! In comparison, the recent HKPO Dvorak 9th, heard almost in the same seat, was even more blended but way lacking in details. This one is the best Dvorak I have ever heard.

For an encore, they played an arranged pop tune of Joeseph Koo 顾家辉，狮子山下。Nice!

Fabulous! And I look forward to hearing them next year!

Dang Thai Son

Concert Review: Dang Thai Son

Jan 21, 2024, Shenzhen Concert Hall

Dang Thai Son Rectial

Faure-Debussy-Chopin

Fou Ts'ong: "...Very Few People truly understand the language of Chopin - Dang Thai Son is one of them..."

From the first time over 20 years ago that I heard Dang Thai Son in Hong Kong, I have become his fan. The last time I heard him was in 2018, chronicled in this blog (here). This time the program is even better!

Concert opened with Faure's Nocturne in e-flat minor, Op33/1. The kaleidoscopic sonorities displayed is a lesson for his student Bruce Liu, who in comparison greatly lacks coloristic nuances (heard recently here). The murmuring and undulations were just gorgeous. Then followed the Bacarolle. Then Debussy Two Arabesques, just slightly angular, and Five pieces from Images I&II: Reflets dans l'eau, Hommage a Rameau, Mouvement, Cloches a travers les feuilles, Poissons d'or. All immaculately colored and sustained. Certainly not as "misty" as some play it, even masculine!

Second half was all Chopin. First Three Waltzes, Op 70/2, Op Posth, Op34/1, the last of which feeling like harbinger of the Polonaise to come. Then a less played Eccossaise, Op 72/3. Then Four Mazurkas, Op24, somewhat severe. Then the Tarantella Op 43. Concert concluded with the well known Polonaise in A-Flat, Op 53. 

Dang's Chopin style, like all his playing, is about refinement. Passion is to be found in the way notes are played and colored, not to the fore. But this is great piano playing!

Encores were a Chopin Waltz and Debussy's Golliwog's Cakewalk, the humor of which brought down the house. It was an all sold out concert! The venue manager told me tickets sold on on the first day!

Siberian Symphony Orchestra

Concert Review: Siberian Symphony Orchestra

Jan 7, 2024, Shenzhen Grand Theater

Siberian Symphony Orchestra - Dimitry Vasiliev

New Year Concert

My goodness! One week ago I was in heaven listening to the Russian State Academy Orchestra, and now I have to wax as much lyrics on the Siberians! This new year program is rather different too, being chock full of Russian Blockbusters.

The first half is Russian. Concert opened with 吕其明 红旗颂, quite forgettable really. Then came Glinka Russian and Ludmila. It was a little on the polite side but very well played, as were 2 interludes from Glazunov Raymonda. Then came a wild Mussorgsky Night on Bald Mountain, just spellbinding! This was followed by an atmospheric Borodin Polovitsian Dances.

The Second Half is Viennese. Three Strauss pieces, Russian March, Chinese Gallop and Emperor Waltz were Suppe Light Cavalry. Then followed Strauss In Pavlov Forest Polka (cu-cu) and the audience went wild! This was followed by 李焕之 春节序曲, which was alright. Then two more Strauss: Spring Voices and Tritsch-Trastch Polka.

Encores were wonderful. I knew all of them but by delaying the report I can't remember any of them! All I knew was that the near the end the audience were increasingly swept to their feet. The conductor by combinations of gestures was very good at working the audience. Despite the poor attendance (30 per cent or so) the audience was gratefully enthusiastic and involved.

The orchestra played on a very high level commensurate with the State Academy Symphony. The conductor was excellent. The strings are similarly small sized as the State Academy (touring formations). Similarly full sounding too! The only place where I wished they have the full force was in Night on Bald Mountain. Now, there was one woman (a very Russian sounding oboe) in the wind section and none in the brass. The sonorities were well blended and the Strauss waltzes a little more refined than the State Academy. An equally great concert! Come back soon!

The Grand Theater is an older venue but it looks quite well kept up and sonically very good!

State Academy Symphony Orchestra of Russia Evegeny Svetlanov

Click pics to enlarge. Marvelous hall!

Concert Review: State Academy Symphony Orchestra of Russia “Evegeny Svetlanov”

Dec 30, 2023, Guangming Opera Theater 光明艺术中心 大剧场
State Academy Symphony Orchestra of Russia “Evegeny Svetlanov”-Ayyub Guliyev
New Yea Program

I found out about this concert late, but within seconds I bought the cheapest ticket I could find (RMB280), as I had known about this orchestra all my life (from its former life as the USSR State, usually under the legendary Svetlanov, whose recordings we Russophiles know well), and it’s like a dream come true to actually hear them, even if generations removed! History of this illustrious orchestra here.

The concert venue was very far away, and I made a mistake getting there. Although I had gone there recently, this time I had mistaken the MTR stop, and overshot and had to back-track to make it there. So I had to forego dinner and made it to the concert just in time on an empty stomach.

Just recently I was at this venue for the Borodin String Quartet, but in the smaller Theater. This time it's in the Opera House. Both are magnificent. My seat was on the side balcony, very close to the stage, hovering over the fifth row.

From the opening blast of the Suppe Cavalry Overture, I knew I was in for a ride. The hall is marvelous acoustically. One could hear every strand. And what great bold brass playing to start!

Then came the Shostakovich Piano Concerto No. 2. The orchestra played marvelously, but I had reservations about the piano sound of the soloist, Theodosia Ntokou, a Martha Argerich protege. The piano sound was not good and the lower registers just awful. For an encore, she played Chopin, quite inept if you ask me, in the New Year context. The best thing was that I heard from the orchestra totally authentic playing that is what Shosty should sound like. In this piece, as often with Shosty, there were many strands that you could find in his other works. Cheerful as it is, you can find strands that sound like those in many of his grimmest works, like Symphony No. 11 (The Year 1911). I wish one day I could hear this orchestra play a Shosty Symphony!

The second half opened with Tchaikovsky’s Nutcracker Suite, No. 1. Wow! Phew! This was the end-all! Best I’ve heard in my life up to now, whether on records or live! I don’t expect to hear better. Delicate as China Doll, yet grand as anything in loud moments, all the while with incomparable rhythmic elan. I jumped up and yelled Bravo. To me that was almost like the end of the concert!

Then followed the inevitable Johann Strauss. The Kaiser Waltz was grand. Then came the Perpetum Mobile. And the of course the Blue Danube! All were great, but perhaps a bit too Russian Bold. Not the gentle Austrian tuck here and there. Still marvelous though!

First encore was a sliver of what I think is 梁祝, then came the Dawn on Moscow River. The audience went wild. To conclude, some Chinese New Year music was played. The audience went from wild to beserk.

Which was a bit surprising. Attendance was perhaps 50% (balcony not even open) and a lot of them were children, including  toddlers. Some of the noisiest crowd I’ve come across. I complained, but was told the performers did not specify restriction for children under 1.2m, well! But, all’s well that ends well!

The orchestra was magnificent beyond words. Almost full strength, BUT for the strings, which were 10, 10, 8, 6, 4. Consider that chamber strength strings, but as I have come to know from experience of Russian orchestras, they sound considerably fuller than their numbers. To help with the situation, the seating was quite curious (see pic below). The brass and winds all the way to the right, as far away from the violins as possible, so as not to overwhelm them I’d think. The Winds were sensationally expressive. The Brass of course Russian assertive. And the great harp soloist! One fun thing is that the orchestra’s pianist (not the soloist) is an old guy who also played second violin! Another thing that I observed is that there was NO woman in both the Wind and Brass sections!!!! Old world!

The conductor was marvelous! Mindful of every little detail and dynamics, he was also very graceful in his movements, almost like a ballroom dancer! His body spoke music and dance!

My Concert of the Year! No, make that many years! Come back soon, please!

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. 

Andrey Kudryakov Chen Sa

Reviews

I have been tardy in recording the few events that I have gone to, not that there were many before covid restrictions eased. The latest one was the most wonderful, so in reverse chronological order:

Dec 11, 2022, Longgang Cultural Center
Andrey Kudryakov Recital
Beethoven - Chopin - Schumann - Tchaikovsky

Finally, after a long drought, a concert near home (Longgang is close to a cultural desert)! This took place not in the larger hall, but in the more intimate smaller one on the fourth floor. Very nice hall!

I must say, given that I pay especially close attention to Russian musicians, I have never heard of him before. During this narrow window, there are 2 more Russian pianists playing around the city, one in the very faraway Bay Opera.

Andrey Kudryakov, a veteran and prize winner of competitions, is staff at some conservatory (I think Moscow? And I think in China too). He also judged at the 2020 Prokofiev International Competition. A little more info here in English and short interview in Chinese.

Barely into the first piece, Beethoven’s Op 31/2, “The Tempest”. I already knew I was in good hands for the evening. Here was a pianist with perfectly calibrated technique as well as sensibility! Nothing seemed forced or artificial. In this sonata relative calm is tempered by raging storms, and the pianist did not overdo anything. Then followed perfect renditions of Chopin’s Scherzo No.2 and Ballade No. 4, where again delicate moments co-exist naturally with sturm und drang passages. The pianist never played to the galleries for effect, yet he was more successful that most others more famous than him in keeping the drama unfolding. The Schumann Fantasiestucke was rich and alive, but not stretched here and there for no good reasons (hallmark of bad Schumann players).

The second half was the complete Tchaikovsky “Seasons”. Most listeners likely know a couple of them only, and I had trepidations before it started. I could never finish the cycle on my home equipment, but hearing it live is different, and the pianist was as good a messenger as one could have wished. In fact, I’d go hear him play anything, anytime.

Encore was a "concert paraphrase" of the Yellow River Concerto.

It occurred to me that, with the possible exception of Beethoven, the music played all had more elements of fantasy than structure. It’s a tribute to the pianist that while exploring all the poetry and colors on offer, he kept a tight rein and trajectory. Just marvelous!

I was sitting on an incline in the middle of the hall. The hall sound seemed to me just a little too reverberant and bass-heavy, though the pianist’s utter clarity ameliorated this to a large extent.

Come back to SZ! Come back to Longgang! You have a fan waiting!


Aug 19, 2022, Bay Opera
Chen Sa 陈萨and Friends
Schumann - Mozart - Mahler

I have too long neglected to record this concert (as well as the entry below). It’s been too far away in time to write in great details.

Chen Sa is a known entity and she played expertly. Equally gratifying were the 5 string players of the Youth Strings Guangzhou Symphony Orchestra, marvelous and idiomatic across the board, with a particularly luscious sound from the viola. While the Schumann Piano Quintet and Mozart Piano Concerto No. 14 (arranged by Ignaz Lachner) were both very good, the prize was the last piece, Mahler’s youthful Piano Quartet. It should be played more often, here rendered with great colors and passion.

The hall is the smaller multi-function one and had reasonable sonics. I was seated mid-row. However this concert was relayed sometime later on the internet. I streamed at home and enjoyed the sound better than in the concert hall (my equipment are good)! The vagaries of concert seating!

We need more chamber music concerts of good caliber!


Aug 13, 2022, Longgang Cultural Center
Xie Xin 谢欣
一撇一捺

Xie is one of the more famous modern dancers in China, and her company here has travelled abroad to acclaim. This was a recent work but not a new one. Techniques incorporate western and eastern elements. The dancers were all very good but I found the choreography (and lighting) a little too four square and repetitive.

Mahler 7

Concert Review: Mahler 7th

July 16, 2022, Shenzhen Concert Hall
Shenzhen Symphony - Lin Daye
Mahler

After a period of cancellation and changes, SZSO finally mounted its last concert of the season. The program was originally scheduled to be on the day before and conducted by Li Xin Cao. But I am glad it happened anyway under director Lin Daye, who had previously established his Mahlerian credential in several concerts (1st, 5th and 6th).

Lin conducted in his customary incisive manner. The outer movements fared the best, with steadfast build-ups culminating in impressive climaxes, especially the final movement. The second and third movements were carefully sculpted, but I wished for a bit more fantasy (in this most enigmatic of Mahler’s symphonies). The slow movement showcased some lovely string playing and tenderness but, to me, also brought forth the less desirable aspect of divided violins. The second violins seemed lacking in power compared to the first (it is notable the regular section leader, the Ukranian Lesya Kot, was not present).

It had never occurred to me how similar the 7th is in layout to the 5th. But during the live performance (not so often in concert programs) it is more than obvious. And the difficulties in interpretation, especially in distinguishing the 2nd and 3rd movements, are also similar. One could always wish for more, but it was a very fine effort that everyone should be proud of, and it was obvious on the beaming faces of the players at conclusion. They fully deserved a rousing ovation.

Moscow Trained Chinese Conductor and Ukrainian Soloist

Concert Review: Moscow Trained Chinese Conductor and Ukrainian Soloist

June 6, 2022, Shenzhen Concert Hall
Shenzhen Symphony, Zhang Guoyong 张国勇, Lesya Kot
Prokofiev and Mahler

Click pic to enlarge.

Finally, a real concert one can sink one’s teeth into! Given my admiration for conductor Zhang Guoyong, my expectations were high but only partially fulfilled.

I have heard Zhang many times, and shall never forget his valedictory Shostakovich with the same orchestra in 2010 (my review in Chinese only; if you read Chinese, I urge you to read it as it contains much info). He was his own unflappable self, but on this occasion seemingly a little more animated than usual. The gargantuan Mahler 5th unfolded naturally, with firm control of its sprawling elements and gear shifts. Colossal sounds were unleashed at the climaxes (the most cataclysmic I have heard from this orchestra) but as things went on one could not help feel something was amiss. The opening Funeral March lacked a heavy footstep (when called for). The following movement and Scherzo lacked fantastical elements and were not sufficiently differentiated from each other (admittedly not an easy task). The Adagietto went very well and brought some respite, but the Rondo-Finale imho was not successful in conveying the repeated stop and go quality of the music, as it lacked true romp that a rondo must possess.

Mind you, it was still very good, but for many of us steeped in decades of Mahler performances, a structurally sound and well executed performance that is on the literal side (like this one and the HKPO under Sinaisky in 2014) is not going to totally satisfy (but it’s better than the flaccid one by BSO/Nelsons I heard in NYC). Mahler may not always need the kind of angst Bernstein brings, but the music certainly needs a little tug here, a little agogic accent there - in other words, a little manipulation. In this respect, the performance last year by director Lin Daye had more fire, momentum and a sense of the macabre.

I was seated to the left, a little more more upfront than my usual seats, and the sound was not quite the same as what I have been used to. Lovely bass, but coarser and louder winds and brass. I shall listen again to the broadcast (aerial mikes, 3, + 2 in tandem) on 6/18 and see what’s the difference. I bet it’s very interesting. I doubt it will revise my views but I shall post an addendum then.

What’s even more interesting was the unusual opener, Prokofiev Violin Concerto No. 2. Now, Prokofiev was Ukrainian-born, from the currently conflicted Donetsk region (which has an airport to his name). It’s important to know he spent his substantial musical life in Moscow, both in his formative years (around the Revolution and Civil War) and upon his hard decision to return from the West many years later to Soviet Russia. Although many regard Prokofiev as a Soviet composer, and though he had won occasional governmental recognition, he had also been blacklisted and lived in fear, as Shostakovich had. It is also important to recall that many brilliant Russian-Jewish artists, like Rostropovich, Oistrakh and members of the Borodin Quartet, worked as closely with him as with Shostakovich in bringing forth the many masterpieces they wrote. Prokofiev's life is fascinating, and this Britannica entry is very good place to start.

Conductor Zhang Guoyong, like many Chinese conductors, studied in Moscow. He was a star pupil of the very great Gennadhi Rozhdestventsky. I have heard Zhang many times in recent years, and he is an excellent conductor (though Mahler may not be his forte)!

The choice of soloist is even more interesting. Lesya Kot is Ukranian, and Principal Second Violin of the SZSO (mind you, SZSO have always had Russian and Ukrainian musicians). There is not much info on her anywhere. Chinese Sohu (here) has the following:

1993年出生于乌克兰基辅，3岁学习小提琴，7岁被基辅米可拉李森科天才音乐学校录取，16岁破格考入德国汉堡音乐与戏剧学院，师从Christoph Schickedanz教授，23岁满分毕业取得小提琴演奏硕士学位并受聘于德国北德广播易北爱乐乐团，柏林国家歌剧院。

蕾西娅·柯特8岁就与乌克兰基辅国家交响乐团合作协奏曲开始了在欧洲的职业演奏生涯，并在国际小提琴比赛中屡次获奖，包括大卫奥伊斯特拉赫国际小提琴比赛，捷克Kocian小提琴国际比赛，德国保罗欣德米特小提琴国际比赛。

My Translation: Lesya Kot was born 1993 in Kiev, Ukraine. She started learning the violin at age 3, was admitted to a Talent School at 7 (the transliteration of the school's name sounds like Michaela Lischenko) and first performed with the Ukraine National Symphony at 8. At 16, she was admitted to Hamburg Conservatory and studied under Christoph Schickedanz. She graduated with a master's degree and Top Honors at 23. She has worked for the NDR Elbphilharmonie and Berlin Staatsoper. She had won prizes at several prestigious International Competitions, including the David Oistrakh, Kocian and Paul Hindemeth.

Now, readers of tea leaves, does that tell us something about the political stance of China, SZSO, Zhang or Lesya Kot? Add to this the very strange poster design. We can forget about the totally inapt name “Back to Nature". However, why is Zhang's face half in the dark?

Back to the music. Though not perfect, the soloist played very well and as expected was thoroughly into the idiom. The orchestra was not big but the brass and woodwinds sometimes covered up her tone. Nonetheless, I very much appreciate her authenticity (much more than many a more famous names). A very good performance for which she received generous applause.

On 6/18, 8 pm, the concert shall be broadcast “direct” 直播 on Bilibili.

Shenzhen Symphony Orchestra Recorded Concerts

Click pics to enlarge: Top, Principals Winds; Clarinet, Zuo Cheng 左丞; Bassoon, Hsieh Ming-Ching 谢明静; Flute (assistant P) Rao Dan 饶丹; Oboe, Cui Xiaozheng 崔晓峥. In my view, the SZSO winds are fabulous and coherent, a feeling I never get with the HKPO.

Shenzhen Symphony Orchestra Recorded Concerts (and more)

It has been a frustrating few months for the SZ concertgoer. Ever since Hong Kong’s massive Covid Fifth Wave (Omicron) started and spilled over into China, Shenzhen has gone into constant cycles of alert: massive testing mode, imposition of restrictions, and cancellation of concerts, including 2 that I most look forward to, Bruckner 7th and 4th. :-(

So nothing for a while, but suddenly, for the past weeks, SZSO has gone active on the internet, and in quick succession offered many recorded concerts for streaming. The programs so far overlap with but do not exactly match those of the canceled concerts. So some of these were planned anew and carried out expediently, and many are works the orchestra had played before. These were recorded mostly not in their main performing venue, the Shenzhen Concert Hall, but in an unspecified hall, likely their headquarter in SZ (Luohu area).

The administration of the SZSO exasperates me. These concerts were announced almost last minute on their Official Account (公众号) on wechat, and one better subscribes to it to receive the news. Incidentally, they seem to have finally revamped their long dilapidated Official Webpage, and it looks better than before (here and here), but I have little faith they will keep it consistently updated (China has basically abandoned the web and focused on smart phones apps - many things can be found only through cellphone apps and wechat official accounts).

These videos were recorded live without an audience, and cast on Bilibili.com (which I use, as I have its app on my Windows laptop) or Wechat and 小红书, usually at the concert time of 8 pm. Some become permanently available later, some are not - there’s no rationale to it (perhaps some are held back because the conductor is not satisfied? I wonder). Here are archived videos and here is the Live Room (only when there is a cast). I am not sure the links will work; if not try searching in Chinese 深圳交响乐团 ). Here are a few I listened to:

4/17 Conductor Lin Daye 林大叶
2012 winner of the prestigious Solti International Competition, Lin is Musical Director of the SZSO. So far I have been very happy with him, live as well as, as we shall see, virtually. This Mahler is creme de la creme.

Concert started with a (Chinese Award Winning) tone poem of veteran Ye Xiaogang (美丽乡村), which SZSO had played before and available on Bilibili. (I am indifferent to the vast number of tone poems by modern composers, which come with meaningless notes in concert). And then, Mahler Symphony No.1, in a Titanic performance (punt intended)! The orchestra was well nigh perfect, and amazingly thoroughly into the idiom. Interestingly, Lin adhered to the Viennese orchestral placement, with divided violins, and the brass stood up for the rousing finale. And the orchestral playing had more than a little Viennese feeling to it, especially the beautiful strings. Lin has again proven himself as a excellent Mahlerian (I attended his very good M5, each of the 5 movements irritatingly available separately on Bilibili: 1, 2, 3, 4, 5; note the Hall is not the Shenzhen Concert Hall, but the Bay Opera Concert Hall). This performance of the M1 was much more impressive than Jaap van Zweden 10 years ago (I watched his RTHK Telecast with the HKPO before attending his concert with the NYPO).

I “attended” this concert “together” with shidi, Andrew (in HK). I am glad he scrambled last minute and enjoyed it! While listening, we were texting on wechat, commenting in real time on aspects of performance (and the great looking ladies) - it was simply great, and he said next time he’s going to have wine and nuts around. Try this with a friend! Even over distance, we had this camaraderie feeling, not easy to come by these days!

The great Mahler is now available on Bilibili for viewing (here). I urge you to do so.

4/14 Conductor Lin Daye
Concert opened with Bruch Violin Concerto No.1. Soloist Wu Qian 吴倩, a SZ local, was better than her performance of a year ago (here). Orchestral contribution was excellent. Amazingly, I found out she’s now one of the tutti first violins! Perhaps the experience has already helped her. In the Mahler 1st video (link above) she can be seen behind the concertmaster, next to a beautiful lady with pony-tail.

Then followed, amen for making up for the canceled concert, the Bruckner Symphony No.4. Just like the Mahler (above), it was a highly satisfying, thoroughly idiomatic performance. The difficult 4th movement was structurally sound and well controlled. Bravo!

This concert is unfortunately not available for replay at the moment on Bilibili.com. I wonder why!

3/4 Conductor Huang Yi 黄屹
This young conductor (bio here) has risen incredibly fast in China. He’s now one of the Principal Conductors of China Philharmonic, Chief Conductor of the National Ballet Symphony Orchestra (Beijing) and Artistic Director of the Nie Er 聂耳Symphony Orchestra (Kunming).

Concert started with a well turned Stravinsky Pulcinella Suite. The neoclassical style continued with Francaix’s excellent but little played L’Horloge de Flore for Oboe and Orchestra, expertly played by veteran Oboist Chen Qing 陈擎 (now head 团长of the Quanzhou Symphony). Then followed a disciplined Brahms 4th, ending a highly satisfying concert.

The Stravinsky is available on Bilibili (here) whereas the Francaix is not. The Brahms is not either, but the last 2 movements are available in an educational program (here, with a host introducing the pieces, sort of like a pre-concert talk; likely shot just before the performance of the whole symphony). Cut out the other stuff and start at 36:45.

June 2021

Duly impressed by the young conductor, I searched for other videos. Lo and behold, there was a concert last year  (here), which I regret I had missed! Damn! It started with Wagner Meistersinger Overture, which I had heard the SZSO play under their former director, Ehwald (here). At 17’ came the Saint Saens Violin Concerto No.3 (don’t know who’s the competent soloist). But the real meat came at 59’ for Mussorgsky’s Pictures at an Exhibition. Most of us know this warhorse inside out, and I can say nothing much has perked up my ears this past decade, but the way Huang judiciously point and punctuate the music here and there is mightily impressive. One of the best accounts I have heard for a long time.

Hungry for more, I dug out his Dvorak Symphony No.9 with the Kunming Symphony (here). The video is subpar and the orchestra made mistakes (so not for everyone) but the overall narrative and flow was impressive. A young man to watch!

4/6 Conductor Lin Daye
Concert started with Haydn Trumpet Concerto (here), perfectly played by the Principal, but a little more smiling would not be amiss (lack of audience is probably worst for a soloist). Then came a chaste and properly turned Prokofiev Classical Symphony (here). It showed off the strings, anchored by the excellent playing of Concertmaster Guo Shuai 郭帅. Last was Copland Apalachian Spring (here), which was decently played, but lacking a little in a sense of the theater to bring it completely to life. For Lin, a good concert but not on the level of his Mahler and Bruckner, or Strauss.

Most of the above I watched at the designated “Live” Cast hour. And then I went back and streamed a few more.

4/2 Conductor Liu Min 刘明
This reduced orchestra concert displayed unusually mature Mozart playing. You would be amazed how many western orchestras often cannot do Mozart with style as good as livered here! The ensemble is really small for the lovely Divertimento No. 11 in D K251 (here). More strings were employed (just the right number for me) for one of Mozart’s best symphonies, the sunny Symphony No. 29 (here). In between is the Piano Concerto No. 12 in A (here). Veteran pianist Yuan Fang 袁芳 is a SZ fixture (often as host in interviews and pre-concert talks). She played simply and directly. The whole thing is intimate and very enjoyable.

2/25 Conductor Zhao Xiaoou 赵晓鸥
The young conductor is associate professor at the Shanghai Conservatory and director of the (very important) Music Middle School under the Conservatory (like the Juilliard Pre-College). Kodaly Dances of Galanta was very well played and enjoyable. Most importantly, it had a good Hungarian and Gypsy flavor, so often missing in performances and recordings. As with most of the modern works, Shi Yongkang’s Memento for French Horn and Orchestra (played steadily by Gu Cong) was dispensable for me. Fortunately, concert ended on a high note with Dvorak Symphony No. 8, which was given a fluid performance of considerable merit. It balanced classical virtues with passion when needed. Everything just flowed naturally (starts at 35:26).

I am not sure readers in HK or the West can access these videos, but I have culled some of the best ones here, and I hope someone can enjoy.

The incomparablePrincipal Cellist, Karen Kocharyan

Unfaltering Principal Horn XuYiqi 徐毅奇

Concertmaster Guo Shuai 郭帅

Swan Lake

 

Click pics to enlarge. Above, note the locked feet in the corps. Below, the esplanade.

Jan 3, 2022, Bay Opera, Opera House
Shanghai Ballet
Tchaikovsky Swan Lake, Grand Version

With Chinese New Year on the horizon, the lockdown of Xian and a smattering of cases in many provinces surely have put immense pressure on Chinese health officials. Miracle of miracles, a string of performances in Shenzhen, at the Bay Opera, Concert Hall and Grand Theater went on as usual to end 2021 and start 2022. Shenzhen Art lovers had been well served! If not for living so far away, I’d have attended more of those performances, particularly those of the National Beijing Opera (traditional Chinese opera).

I’ll have it out: this was a miraculous performance that will remain in my memory for a long time. True to its name, it was Grand indeed.

The choreographer is English Derek Deane, who used to lead the English National Ballet. This ballet is well travelled and has had many versions and revisions over the years, even an amazing one “in the round” (Derek Deane on 20 years in the Round). English critics were not at all completely impressed, at least equivocal, in their reviews. Witness the Guardian 2016 Review.

This Ballet is one of Shanghai Ballet’s signature pieces and they have taken it on the road often, to great accolades. The SB’s official website (Chinese, English) quotes a Dutch review. Damn! This very production actually toured NYC in 2020, at the start of the pandemic! I don’t usually closely follow ballet so I missed out! Doubly regrettable since it had the estimable City Ballet orchestra in the pit (their excellent Christmas Nutcracker run is a NYC institution). This 2020 Review of NYC performance is excellent, and I urge you to read it as it pretty much sums up my feelings.

I watched the “matinee” performance, as it made the 2 hour travelling each way more manageable. It was a magnificent day and I took in the nearby waterfront like a fish to water. It was reminiscent of Hong Kong, but the air was better and there were less people (even on a holiday), enabling a more leisurely feel.

The leads were performed by the second cast of Feng Zichun 冯子纯 (Odette/Odile) and Tu Hangbin 涂汉彬 (Siegfried). The night before, they were performed by the better known pair seen in NYC and Europe.

The choreography, not so much for the leads than for the corps, is more stylized and geometrically patterned than more traditional versions (here my cheap concession ticket in the balcony, with its aerial view, actually confers an advantage). It was certainly a completely different viewing experience than the ABT and the Russian one I watched decades ago at City Center (NYC). The leads, especially Feng, danced beautifully, technically perfect (axial alignments of the limbs, even in turmoil, as in being snatched by Rothbart, were something to marvel at, not a whit less impressive than her Western counterparts,) even if slightly reticent in emotional expression, particularly as Odile (she is very young). But, of course, for this ballet, the corps have the pivotal role (punt intended). And it is here that the immensely high standard of the Shanghai Ballet manifests itself. Despite the height disadvantage when compared to Western corps, they are truly outstanding, the synchronicity truly astonishing, especially for such a large corps (48 swans in the corps! hence the name “Grand Version”). The way the members daisy-chained and locked their feet against each other (see pic above) was ravishingly beautiful. As was the way they folded themselves on the ground (for Odette, this also signifies hurt). The patterning are purposeful, as they do remind one of flocks of swans, some pronate and some standing. Rigorously regimented as it may be, the beauty is enormous, and is a case of function (emotional expression) following form. I urge you to watch some video clips. There is strangely nothing much on youtube, though there may be more from English troupes like the ENB, which I have not had time to investigate yet. On Chinese Bilibili there are some footages, but they are rather crude in quality:

Excerpts: https://www.bilibili.com/video/BV1LA411e76h/?spm_id_from=333.788.videocard.7

Act III and IV (I and II not available): https://www.bilibili.com/video/BV19q4y1N7Tk?from=search&seid=345722668198498571&spm_id_from=333.337.0.0

Credit must be given to the Set and Costume designer, Peter Farmer. Indeed, when the curtain first lifted, I was under the impression that I was watching a Watteau painting! Of course, that would not have happened without the aid of the superb Lighting by Howard Harrison. A complete triumph for production values.

Classical Ballet is thriving in China, and many provinces have their own troupes. Just a couple of weeks ago, the Liaoning Ballet presented a more traditional Swan Lake. I’d love to have seen it, but one must choose sometimes. The 2 ladies in front of me said the Liaoning moved along more and was more dramatic (likely with cuts). Shenzhen doesn’t have that many full-length ballets, so it’s really unfortunate that these 2 troups duplicate repertoire. That’s a common occurrence even in event-rich cities like NYC, where one could hear several Mahler 5th’ in one year without the other ones.

I love ballet, but I love even more classical music, so my views are dependent also on the musical contribution. So, as in Opera, I am selective. In Ballet, For Tchaikovsky, even if I love musically the most Swan Lake, and I frequently play the whole thing through my audio system, I do think its set pieces, various Pas de Deux (or Trois or Quatre etc) are not as enticing as the Nutcracker, but its almost Wagnerian apotheoses are eminently thrilling. I have still to get into Sleeping Beauty. Otherwise, my hands down favorite is Prokofiev’s Romeo and Juliet, which moves along more than Tchaikovsky’s creations. Ballet is a product of the Romantic era, but acts like Delibes’ Sylvia and Coppelia, good as they are here and there, in inspiration fail to sustain an evening, and are frankly not up to the standards of Tchaikovsky or Prokofiev. I otherwise rather prefer more recent neoclassical choreographers, like Balanchine, who knew his classical music, be it Bach or Stravinsky.

As intimated above, a good Ballet orchestra is an asset. Regrettably, perhaps due to pandemic concerns (just the company without musicians was 100+) this performance was to a taped soundtrack. It was decently performed and the sound was “reasonable” (identifiably solid state and digital) but of course it was not at all like the real thing. There were small gaps which allowed the audience to clap for the performers. This was good. The team all deserved it. Ah, but a live orchestra would have enhanced it beyond measure. Given that the Shanghai environs have some smattering cases, I have no complaints, and are grateful that the performance happened at all.

A Remarkable Success! It is also a testament to the quality of Tchaikovsky’s score, which, no matter your viewpoint, is a masterpiece.