Shenzhen Symphony Mahler 6, Qianhai, Bay Opera

Click pics to enlarge. Above and below show mostly view from the library.

Dec 2, 2021, Bay Opera of Shenzhen 深圳滨海艺术中心

Shenzhen Symphony Orchestra - Lin Daye 林大叶
Mahler 6th Symphony

The Venue
Although I am a die-hard fan of the SSO, I remain flabbergasted by their haphazard approach to concert management. Their last-minute dissemination of concert info is highly irritating, made more so during these covid times. It was a mere 2 days before the concert that I learned of it. It was a Thursday, as they would travel to Guangzhou the next day for the same concert.

It was a big hassle, as this concert took place in a just recently unveiled new venue far from me, the Bay Opera of Shenzhen, which is in the Baoan Qianhai 前海 CBD area (official link). The area is one of the poshest and trendiest now in SZ. As per the usual for this city, the cultural complex is in a less trafficked area, right next to the district government, and comprise a District Main Library, Youth Center 少年宫 and Concert Hall. In planning, it is highly similar to the older Futian and Longang complexes that I have chronicled, but it is clear that it is more modern, lavish, and “forward-looking”. This complex was invested in by the mega commercial group 华侨城，which is a major player in many of Shenzhen’s mega-venue developments. See my photos below. The “high-class” area is in its last phase of development, seeing a construction of Book City 书城, which will bring in much needed traffic and “culturally related” paraphernalia, as well as middle-class mass-oriented food courts and the likes. It is part of a massive waterfront development that is very impressive, and I have not explored it much. In the distant is a theme park and Ferris Wheel. More later.

The interior of the library feels like a hotel

Below is the less impressive exterior of the Opera House.

vs Hong Kong
The whole complex, which I have not even begun to explore to the full, gives me a sense that Hong Kong’s days are limited. True, there is not much traffic yet, but the infrastructure is at least HK’s equal, and more efficiently dispatched. For a long time, I have been disgusted by HK’s commercial intrusions into ostensibly cultural projects. I personally have long vehemently disfavored the West Kowloon Project. The planning and design had been pretentious, by “prestigious” western firms that have little identification with the Chinese population. Everything smacked of remnants of HK’s colonial past, and its self-aggrandizing international ambitions (an oxymoron these days), have been gravely costly, and will play little role in the future within the Greater Bay, especially now as Western anything is frowned upon by the powers that be. Mind you, I have been saying this long before the current HK scene plays out (it is likely already endgame).

The Concert
Per my previous experience with conductor Lin Daye in Mahler 5 (here), I expected a terse and efficient delivery, and sure it was the case. The first movement was certainly energico, though the more tranquil episodes were less well conveyed. The Scherzo lacked a little of the macabre (though that is not foremost in this work.) Only in the Andante did Lin bring out pathos, and it was up-heaving at times. It was here that we discerned the world was about to change. In the Finale, Lin kept up the tension, but did not fully differentiate the increasing devastation the consecutive blows had inflicted upon, so the passages with common themes that led up to the 3 hammer blows did not quite yield a cumulative effect, much unlike what Simone Young did so artlessly with the NYPO (here). However, overall, I was pleased by the performance. A note, the First Oboist seemed not the usual first desk, and had his unevenness, and didn’t quite blend in with the excellent First Clarinet, Yi Cheng 衣丞. So, the winds were a little below par, but the horns and brass played very reliably. As a whole, they played valiantly in tutti, but floundered a little in more intimate and expressive passages, where colors were sometimes not quite idiomatic (this is after all not quite yet a Mahler orchestra). I was gratified that a few in the audience yelled “Bravo”, which was a little warmer than the usual crowd in the Shenzhen Concert Hall in Futian.

In these covid times, The SSO has been hard to track, but I am glad to have caught up with them this time. No doubt, given China’s very strict covid guidelines, they have been faced with cancellations and sudden green lights. They scrambled, so did I!

Problem: The Acoustics

The hall did not sound very bad, but neither did it sound very good. From my seat, sound was somewhat constricted and overdamped, but better than the old and dry-sounding Longgang Cultural center. Tidy, but not expansive nor engrossing. Death Trap: My seat (Balcony, 4th row left) had a deadly ringing/reverberated distorted sound when the violins played forte (and louder) that sounded like distorted and overloaded upper harmonics. NOT a good job. Acoustically, it certainly fails to hold a candle to the Shenzhen Concert Hall. The hall was acoustically designed by Australian Marshall Day, which I think was just a big mistake. Judging by their consultation in HK's uneven to lousy sounding venues, they are imposters who know nothing about what music should sound like. Most of these so-called acousticians turn out garbage products that sound much inferior to traditional designs. Believe me, I know. In NYC, we had Avery Fisher, whose remedial efforts were failures. 

My Day
I started out in my home in Nanlian 南联, Longgang 龙岗 around 9:30 am. I took the Metro (Line 3) to 爱联 (3 stops) and transferred to the Express Bus E23, which travelled by highway all the way to Nanshan/Baoan. Weather recently has been absolutely lovely, and I voraciously took in the scenery along the way. Large swaths of industrial complexes are juxtaposed to some very nice scenery, reservoir and lakes around neighboring Dongguan 东莞. Previously, these were backwaters, but now one can see urbanization encroaching upon the landscape in every direction.

At Lingzhi Park 灵芝公园 I transferred back to the Metro and arrived at the Arts Complex a little short of 2 hours later. It was a 15-minute walk from the Metro to the Complex but I relished it, taking in the new scene.

The reason I had started out so early was to grab a concession ticket. The venue is very generous in offering a limited number of RMB 50 tickets, which can only be purchased in person at the Box Office (a correct policy). It being a working day, Thursday, I could have gone much later but I was not taking any chances, especially with Mahler! Concession tickets are in the balcony, which is usually favored by me for less acoustic anomaly (think HKCC).

I had researched some detours around the area, but improvised a little. With a lot of time to spare, I took a local bus which coursed through local (un-gentrified) neighborhoods before arriving at a nearby Metro Station. It went through an old part of town. On the bus, at the big wet market 上川市场 I caught sight of an enticing Crispy Roast Pig 烧肉 and I got off and patronized the restaurant (see pics below). It was very good (as was the chicken), though still not quite up to the previously chronicled charcoal-grilled standards of my HK home-ground Yuen Long’s 添记! They told me they are a Guangzhou franchise.

Basically the belly coelomic lining. Owner told me they sell three a day.

I made my way by bus to IKEA to return something. With a little time to spare, I ventured via the elevated Metro on to Longhua 龙华 Wuhe 五和 and had a bowl of snail rice noodle at the specialty’s most famous venue in Shenzhen 周氏螺蛳粉. At 4:30 pm, the place was packed. My verdict? It was good and the soup had real snails in it (see pics), and the fermented bamboo shoots were of great quality (I am a bamboo shoots aficionado).

I then made my way back. Near the Metro Station, amid the highly posh malls and glitzy restaurants, a small alley (part of the structures), lined with small restaurants, that is semi-hidden, caters to the workers (this being a new area - there are no “locals”; but contrast this with HK, which would only put generic mediocrities like Starbucks near its venues). I had a beer at a Convenience Store. There are two, 711 and the local 美宜佳. As usual, 711 is more upscale, and sells beers like 1664 and mostly canned beers and small bottles, but as I am a fan of the large 500-700 ml glass bottles seen only in China, I always opt for the local chain.

People in squeezed HK may not know, in places like SZ and Taiwan, some larger Convenience Stores have Seating Areas, where one could consume some fast foods (noodles or boiled items 关东煮 麻辣烫or drinks.) Next to me, the young fellows wolfed down some noodles and proceeded to smoke, which is highly irritating (rule says no smoking indoors but there is no enforcement at local joints.)

A tiring day, but well worth it. You shall hear more about this venue.

Zuo Zhang Zee Zee Recital

Concert Review: Zuo Zhang (Zee Zee) Recital

Oct 9, 2021, Shenzhen Concert Hall

Zuo Zhang 左章 (Zee Zee) Recital 旅行岁月

Scarlatti - Wagner - Schoenberg - Liszt - Ravel

Shenzhen local Zuo Zhang, known as Zee Zee, had won prizes in many competitions, built up quite a reputation and is now DG artist. I likely could have heard her here in SZ many times in her more formative years but missed. I started to notice her after I heard her DG album with the excellent Z.E.N.Trio (with first rate partners; violinist Esther Yoo and cellist Narek Hakhazaryan): her playing and control of the narratives completely anchored the trio and captivated me.

This concert was supposed to have happened in May, after her similar program in Hong Kong (which my friend Andrew briefly commented on in a past post), but was postponed due to a sporadic covid case here then. The new date turned out to be a bad choice as a typhoon pounded the region (it rained heavily for over 48 hours). The turnout was very low.

The program was centered around some of the most famous numbers from Liszt's Annees de Pelerinage, a magnum opus whose Chinese translation 旅行岁月, suboptimal as it may be (as 旅行 is Travel, which misses the connotation of Pilgrimage,) is used as the Title of this Recital. 

First, the Liszt centerpieces. The First Half featured Vallee d'Obermann, the Second Les Jeux d'eau a la Villa d'Este and Venezia e Napoli - Tarantella. These were dispatched with aplomb, but in surprisingly efficient fashion - by this I mean tempi on the fast side, with less lingering and sculpting than usual. Indeed, dynamic range seemed less wide than usual. When the going got busy, there was a certain tonal and textural homogeneity. If all this seemed damning, it is not at all, as her considerable strengths ensured that everything worked. Although the color palette was not very wide, everything she played had a burnished quality; notes and hands were perfectly delineated from each other, miraculously without hint of dissection or intellectual dryness. She is definitely not one who would refine her treble notes compulsively a la Krystian Zimerman, but they have fullness, a rare quality (if coming across as slightly blunt at times). When it comes to the left hand, perhaps in absolute heft there are a few pianist who could deliver more, but she is no slouch and delightfully hers was always clearly audible even in busy passages. For all the musicality, fluidity and natural momentum, there were remarkable details to be had, and all the notes were for once not pulled around. These were refreshing readings that I enjoyed and that avoided the lugubriousness and longeurs which plague Liszt in lesser hands.

The Liszt Jeux d'eau was followed by the lovely Ravel piece of the same name instead of the originally scheduled, more substantial Gaspard de la Nuit. Too bad.

Concert opened with two Scarlatti Sonatas not originally in the program. A little more pointing would have had greater effect. Then came Liszt's transcription of Wagner's Tristan und Isolde Prelude to Act 1, which I presume ties in to the journey theme of the program (the couple were on a boat). The rendition was a little cool, and the simmering tension was not completely brought to the fore. All this did not prepare me for the astonishing performance of Schoenberg's Drei Klavierstucke, Op.11, his first atonal work (not sure where the theme of journey fits in). Unlike the rest of the program, the pianist here was fiercely concentrated and played in highly coloristic fashion, structurally tight yet warmly effusive. Her left hand was particularly telling and a comforting anchor. Unlike many a recording of this piece, which can make the piece seem white and bland, this live performance was a gem and worth the price of admission alone. Bravo!

The weather was horrible -  a bad day. The past year had been a very bad time for musicians, not to mention one who's just become a mother. I wonder if it had taken a toll on the pianist. Her shortening of the program, and the overall fast tempo, could have been efforts to combat the circumstances, including the morale-deflating low attendance (mind you, the audience here are of lower caliber too - fact, not a patronizing statement). She gracefully thanked the audience for coming despite the weather. Only one encore was offered. Now, all this is wild guess on my part.

My friend Andrew had commented on her stage manner. Having gained weight during her recent pregnancy, she was dressed in black, pants and a jacket. That was not the problem. Perhaps nerves? She was in a hurry getting on and off stage, and was a little awkward. A little more grace under pressure and willingness to work the audience would have been helpful. Nonetheless, I am convinced this lady is one I should follow, and I will. Technically secure, she has fire underneath and something most precious, unerring sense of direction.

Ningbo Symphony Orchestra Mahler 3

Click pic to enlarge.

Concert Review: Ningbo Symphony Orchestra Mahler 3

Sept 20, 2021, Shenzhen Grand Theater 深圳大剧院

Ningbo Symphony Orchestra 宁波交响乐团 - Yu Feng 俞峰 - Zhu Huiling 朱慧玲

Chorus of the Central Conservatory 中央音乐学院合唱团

Shenzhen Senior High School Lily Girls Choir 深圳高级中学百合合唱团

Mahler Symphony No. 3

While the threat of relatively nearby Fujian Province's COVID outbreak is still looming on the horizon, I lucked out on this narrow window (given the many previous cancellations, I am actually surprised that somehow the authorities here allowed these concerts, albeit at diminished capacity). Astonishingly, the second Mahler concert in 5 days!

Years of unprecedented economic growth in China had fueled the quest for cultural prestige, and with it growth of many symphony orchestras. A stone's throw away from China's leading orchestra, the Shanghai Symphony Orchestra, are (at least) the well established Hangzhou and Suzhou Symphony Orchestras and, the youngest, Ningbo Symphony Orchestra (established 2015). Keep in mind that these are all prosperous cities in China's most prosperous region. You may not know Ningbo is the largest port in the world (by tonnage handled) and ripples are still being felt around the world due to the worldwide shipping delays caused by its partial pause during a recent covid outbreak. Let's hope China's impending economic downturn does not impede the artistic growth of these orchestras.

A note on the venue. The SZ Grand Theater is an older (and nice) hall, home to its own medium sized orchestra (which I have never heard), which offers humbler fare than the larger Shenzhen Symphony Orchestra (which usually plays in the bigger and acoustically superior Shenzhen Concert Hall). The wood-paneled hall looks rather like HK's City Halls. This is a hall that sounded good when I attended concerts here before, though previously I sat downstairs, not upstairs.

I'd let the cat out of the bag here. Despite a valiant effort, the Ningbo is not quite Shenzhen. It began promisingly enough. The all-important trombones and horns were very good in tutti, and the trumpets were secure. The first oboe's entry was not very good, but she proved excellent later, as did all the wind principals (great clarinet soloist). As the gargantuan first movement unfolded, serious weaknesses manifested themselves. The horns are of supreme importance in this work, and the section sounded well enough when they played loudly in unison. However, when the level dropped to (mezzo) forte and below, they lost expression and became very bland, even tenuous. And then the strings, which were obviously of smaller size and impact than their Shenzhen counterpart. I am not sure whether the acoustics played a part - they sounded uncomfortably grainy when pushed.

The veteran conductor is an important figure in China. He still is head of the Central Conservatory. He moved things steadily on and navigated transitions skillfully, but was not necessarily the most expressive. As an example, the Minuet lacked lilt and the scherzo could have used more fantasy. The two vocal movements could also have been more hushed. The older ladies were in the back and the Girls Choir squeezed onto the front, on both sides. They sang well enough but I missed a Boy's Choir. Best was the Alto, who had great (even regal) poise and sang like an angel. In my opinion she's up there with the best of her western counterparts I have heard. Wunderbar!

I was rather taken aback by the Finale. It was taken at a speed significantly faster than I'd have liked (definitely not Langsam; and I am not even an advocate for ultra slow speed here) and even at the critical beginning it was not hushed enough. It was all symphonically geared towards the brassy climaxes. This was well played but not the Mahler I know; in fact I know of no performance or recording that sounds like this one. But I'd concede that this, one of the greatest Mahler movements, had always upended interpreters.

The orchestra had a hectic schedule for this tour (see the official blog here, in Chinese but with pics). On the 17th, they rehearsed for 10 hours back home. On the 18th, they flew to Guangzhou and rehearsed with the Choirs (the children's choir is local and different from this performance). On the 19th they performed in Guangzhou. On the 20th, they travelled to Shenzhen (less than 3 hours by bus) and gave this concert (surely with rehearsal with the Lily Choir). I am not sure whether they were heading for other nearby cities afterwards. Perhaps the hectic schedule and consecutive night performances took its toll.

In recent concerts, especially those in venues I rarely visit (like here and the Longgang), I wonder how much the hall contributes to the grainy sound (not only of the Ningbo, but also of the China National Opera). To be fair to the Ningbo, I streamed several of their concerts online and tried to determine their sound.

I watched on their official website the 2021 Second Viennese School Concert (Berg Violin Concerto; Schoenberg Five Pieces and Webern Pasagcalia). I also watched the 2020 Beethoven 8th (with excellent introduction of the piece and some players) conducted by the diminutive but very charming Chen Lin 陈琳, former student of Yu Feng and now vice-chair of the Conducting Dept in the Central Conservatory (bio). Both are good performances in virtual concerts, playing to an empty hall. I think I hear some of the deficiencies I heard in this concert. Dry strings and weak horns. I also streamed their excellent pre-pandemic 2019 Shoatakovich 5th under the redoubtable Zhang Gouyong 张国勇 (pupil of the great Gennadi Rozdhestventsky). Now, this was to a full hall and the orchestra sounded just fuller. The concerts I heard were half capacity and perhaps that had affected the sound. Lack of playing time together during the pandemic surely is a factor too. Something to really think about!

Despite their severely challenged production value, the videos manage to show a very young orchestra working hard. All in all, I'd love to hear this orchestra again, under better circumstances. And I sure would like to hear Chen Lin live one day!

I cannot help to air my feeling about mobilizing such big forces during the pandemic. Tours are all about garnishing prestige, especially for second-tier orchestras. Everybody (including the HKPO) does it, and when back home reports are always full of hyperboles lauding the success. I am sure Maestro Yu has a lot of pull in China, but I do feel perhaps he could have done it without such extravagance by selecting a showpiece that does not require soloist and double choirs. One has to use privilege carefully. Shenzhen has a superior orchestra that can deliver all of this without effort. In fact, the SZSO had performed this piece before under its former director Ehwald (my attendance chronicled here; wow, 10 years ago!). It made do with less resources, to even better effect.

Let me not be misunderstood. I am very enthusiastic about the state of the Chinese Orchestra. I follow them closely and root for them. In fact, I am planning on an article on all these interesting regional orchestras and under sung conductors. 

Shenzhen Symphony Mahler and Opera Excerpts

Concert Review: Shenzhen Symphony and Mahler

Sept 17, 2021, Shenzhen Concert Hall

Shenzhen Symphony Orchestra - Lin Daye 林大叶 - Shi Yijie 石倚洁

Opera Excerpts and Mahler 5

This was a first in my concert-going. I had never previously experienced a heavy-weight symphony that was preceded by unrelated opera excerpts (music and arias). Sometimes, a Mahler symphony would be preceded by a Mahler song cycle, and that is relevant. But Italian Opera? However, it tuned out just fine - a delight, actually. Better this than a gratuitous Mozart concerto.

The large orchestra was unusually seated in the European way - divided violins and lower strings distributed around the center. Concert opened with a sonorous Overture to Verdi's La Forza del Destino (this opera is actually one of my favorite Verdi's because, despite the usual absurd plot, there is no drag and things unfold quickly, with the three leads singing non-stop). Then came Che gelida manina from Puccini's La Boheme. It was immediately apparent Tenor Shi Yijie (a bio here) has a secure and well honed voice, with good style and diction. He had won several major competitions and is quite well known for his largely Bel Canto performances. Then came La donna e mobile, from Verdi's Rigoletto, which of course brought down the house (even Chinese audience know this one; in secondary school in HK I actually sang it in its silly English version Over the Summer Sea). then, interestingly, the conductor and singer both exited the stage, and the orchestra launched into a sliver (with harp) of Bizet's L'Arlesienne Suite. All this to introduce the next piece, E la solita storia del pastore, a tenor staple that has survived the oblivion of  Cilea's L'arlesiana. Somewhat incongruently, Dein ist mein ganzes Herz from Lehar's Das Land des Lachelns rounded off the program. The audience was enthusiastic and the appluase won an encore, O sole mio! My, that raised the roof! Good show and even I felt good. As I wrote in the last review of the National Opera, opera has a bright future in China.

However, in this acoustically superior hall, where one can hear everything loud and clear, deploying a Mahlerian orchestra for opera is questionable. The strings are probably twice the size of those usually in the pits. The soloist was no slouch but a somewhat reduced orchestra would have made some of his singing ride more effortlessly. Conductor Lin Daye, winner of the Sir Georg Solti conductor competition, had a fine grip. Stylistically the Italian material were fine but the Lehar needed a little more je ne sais quoi (most Lehar recordings fail too, unless the conductor is really into the idiom; listen to mono Lehar on Lehar and you'll know why).

And then we straddled into the completely alternate reality of Mahler Symphony No. 5. I often wonder why it is played much more often than any other of his purely instrumental symphonies - perhaps it is more easily understandable and its movements are not all unremittingly dark and embrace various moods, with an upbeat conclusion. However, its second and third movements are sprawling and difficult to cohere, and in my experience not many performances are satisfying. This performance was driven with a firm pulse and played dramatically, often rambunctiously, sometimes chaotically, but I call it a success, much better than the many uninspiring, even dispiriting, Mahler 5 I have heard in the past years, many with big names like Andris Nelsons/BSO and Marin Alsop/Baltimore (summarized, with links, here).

The Funeral march is the easiest movement. Here, it unfolded steadily and the trumpeter for once was never flustered. The strings, as throughout, showed their mettle, and their expressiveness was truly gratifying. The second movement was positively wild, stormy and vehement, as Mahler indicated. But it is a long movement, and this conductor's resolute drive did not have much yielding in tempo, so sometimes it seemed a little episodic, especially after successive apocalytic moments. The same holds true of the Scherzo, which had some wonderful playing by the strings, but a little more relaxation here and there would not be amiss. I have to say here I don't agree with the practice to have the horn soloist come up front for the few bits that he does. Our principal here seemed awkwardly poised and distracted, though he played well. The Adagietto was well played, but I'd much prefer it to be more hushed. The Rondo Finale was not the most playful, but it had drive and aimed at the finish, which was a success.

Texture was frequently a little coarse. At lower levels the strings were simply world-class in their expressivity, but at higher levels the tutti violins had some coarseness about them. As for the brass, they played very well but the sound is not that of the VPO or Concertgebouw. Most of this can likely be attributed to the lesser instruments that Chinese players use. China is not a country with a rich western music tradition nor a stash of older and affordable instruments but new luthiers and othe instrumental makers, as in other parts of the western world, are constantly gaining ground. Mind you, the musicians are paid little compared to world standard, and most have to earn more by private means, so it's unlikely they can afford more expensive instruments, which are even more expensive here than in the west.

The best are the woodwind players, which are simply world-class. Most of the principals have studied and played in Germany, and their solidity shows. As I have mentioned before, they play with a coherence and expressiveness that somehow elude the HKPO winds.

But the most impressive thing was that the whole team seemed hungry, and eager to make the most of things. China's crazy-strict covid policies cancelled most performances. Too bad because of a sporadic case in SZ I had to miss the SZSO with Li Xincao in Mahler 7th, a work I'd like to hear more than the 5th! Uh! BUT, this performance revealed to me that the musicians, from conductor down, are an enthusiastic bunch. I actually don't understand many Mahler performances today - the foremost thing is to galvanize and just give! Yes, calculated agogic changes are important but they would be futile if the musicians are not fired up in general (as in the 2 aforementioned performances I cited above). Better over-heated than under-toned. Mahler was not a perfect composer, and he knew it. For the 5th, he revised at a frenzy since its premiere because he was adjusting the sound palette. Conductors have to adjust too, and it's a tough job.

As western music is only a portion of the usual agenda of a Chinese symphonic orchestra, it cannot be an easy life. They have to play many roles, as functionaries for popular programs and state events beside their playing western music. Given that understanding, I am doubly impressed by their performances. In this concert, the musicians played their hearts out, and it was obvious.

Kudos! Mahler has a bright future in China

China National Opera Marriage of Figaro

Click pics to enlarge.

Opera Review: China National Opera - Mozart Le Nozze di Figaro

Sep 7, 2021, Shenzhen, Longgang Cultural Center Grand Theater 深圳龙岗文化中心大剧院
China National Opera 中央歌剧院 - Yang Yang, 杨洋 conductor
Figaro: Wang Yi Qing 王艺清; Susanna: Li Jing Jing 李晶晶
Count: Jin Chuan 金川; Countess: Zhang Jin Ge 张金鸽
Cherubino: Niu Sha Sha 牛莎莎
Bartolo: Chen Ye 陈野; Marzellina: Jin Jiu Jie 金久湝; Basilio: Li Xiang 李想

Unlike the Turandot last Friday, this is is billed as a Concert Version. I was surprised when I entered and found a reshaped, simply yet boldly adorned stage that collapsed the stage rear corners towards the center. The floor and back were laden with blown up scores, and the down-sized orchestra was fanned out on the right (see pic below). The Props, mostly a chair and 2 screens that were moved around, were a model of economy (much like Peking Opera) but proved well deployed. The pit was covered and the actions were further up front. Singers were dressed in mostly black and white (and off-white) and blended in with the stage.

From the first downbeat, I was pleasantly surprised by the nice sound of the orchestra. Strings were sweet and articulate and the woodwinds and horns played with excellent ensemble and verve, clearly energized. Conductor Yang Yang was proficient and perhaps a little more yielding than Yuan Ding on Friday. It was not quite the most idiomatic Mozart playing around - transitional passages occasionally sounded like sight-reading, but it was on a high and enjoyable level even for this veteran (I have watched this opera many times, including in English at the much lamented New York City Opera). Compared with Friday, one can conclude that the pit was highly detrimental to the sound. Of course it usually is, but an experienced conductor can counter this to some extent. It is also possible the reshaped stage basically constituted a horn that was beneficial to the transmission of sound. The orchestra actually played every night between Friday and Tuesday. In between were a concert of opera excerpts and some celebratory concerts for the 100th anniversary of the Chinese Communist Party. Perhaps they were finally warmed up too.

Suffice to say, the semi-staging was more than satisfactory (better than a poor full staging). Kudos to the people who worked on the set and direction. The limited color palette and blown up pages reminded me of productions that ranged from a Queen of Spades (with blown-up poker cards) and Hans-Jurgen Syberberg's cinematic masterpiece, Parsifal (scores blowing around).

TWO big twists! The recitatives were delivered in Chinese (Mandarin vernacular)! And well done they were, as good as native drama actors. As you may not know, Chinese singers are severely disadvantaged by their mother tongue that is not a western language (same for Koreans and Japanese and whatever). With little foreign language in the usual curriculum, Asians have to work crazy hard to sing opera. Second, Mozart, in the form of an actor (see pics), appeared occasionally, sometimes during a lull, and gave brief synopsis of the highly confused proceedings. The audience lapped it up, and that is important. More, there were some arguably "cheap tricks", like the Count carrying an LV bag to woo Susanna, and Marzellina gifted Figaro the deed for an apartment 房产证！when she found out he was her son. My opinion is, this is an implausible comedy that can accommodate elements iconic (for the wrong reasons) in our current lives. The audience was certainly tickled.

Now to the singing. Just like the orchestral playing, it was not the ultimate, but it was on a high level. Diction was fair, no easy thing. The male singers of whatever register sounded more alike than different, which means that Figaro and the Count were not so far apart (it happens to even the legendary Fischer-Diskeau, who being very light for a baritone excelled nonetheless because of his non-pareil diction and characterization). Susanna and Countess were competent and more differentiated, and Marzellina was downright husky (not that I like that). My greatest disappointment had to be the trouser-role, Cherubino, who must stand out in this opera, just as Octavian must in Rosenkavalier. The singer was like a glob of vowels and I could not make out syllables - I value enunciation (which is why I am emphatically neither a fan of Joan Sutherland nor Kiri Te-Kanawa). My Italian may be rudimentary (basta!), but I know what the cadence should sound like.

There is another observation. The ensembles, and this is a meticulously composed ensemble opera, were tight, and highly enjoyable, not that much different from a night in the better of the West. When it came to the individual moments, be it the (what should be) time-arresting moments, like Porgi Amor, things fell a little short. Not expressive enough, but still moving. And so the ensemble effort eclipsed the individual, but that is not a bad thing. Again, I am positive the Chinese western opera scene has a very bright future ahead. In terms of offering western opera in foreign tongues to the Chinese population, I think this is a very good effort. In fact, I think it is a sterling effort. I'd be happy to see and hear more of this kind in the coming years. Kudos.

Onto my feelings now towards this opera. Masterpiece though it is, it is a set piece designed to a formula. After years of listening, it has become too predictable. For me, there is less excitement in it now than before. I have never been a comedy fan, and imho opera moves too slowly to be a good vehicle. Better the heavier operas with their more cosmic pretensions and heaven-storming angst. As always, I listen to the music (singers and, even more importantly, the orchestra) more than follow the plot.

There are numerous very good recordings of this opera. On LP I have the classic set conducted by Erich Kleiber, (Decca) perfect singing and playing, and sonically excellent to boot. Still one of the best.

Puccini Turandot Chinese National Opera

Opera Review: Turandot

Shenzhen, Longgang Cultural Center Grand Theater 深圳龙岗文化中心大剧院

China National Opera 中央歌剧院 - Yuan Ding, 袁丁 conductor
Turandot: Liu Yan Hong 刘艳红
Calaf: Li Shuang 李爽
Liu: Yao Hong 幺红

Timur: Tian Hao 田浩
Ping, Pang, Pong: Geng Zhe, Liu Yi Ran, Li Xiang 耿哲，刘怡然，李想

Where I live in Shenzhen, Longgang, is peripheral to the heavy-weight CBD districts of Futian and Nanshan. As a result, cultural events, at least those of more substantial (or foreign) import, are few and far in between (not that there are many to start with in this city without much of a past). This is not unlike anywhere else in the world, be it NYC or HK. Where I am would be Queens in NYC and Yuen Long in HK. There is no denying, the best arts come to the wealthiest. It may not be equitable, but arts increasingly need private funding. I am not even mentioning the issue of "high arts", as they are likely massively imperiled by an age where inequity and populist sentiments are high on the agenda. If one judges by popular votes, hip hop and K-Pop will enter the halls of fame, and Shakespeare and Beethoven will be nearly completely dismissed. Fortunately, the niche always exists, but aficionados will have to be content with a very small pocket.

So it was, and is, a rare event that the premiere Opera Company of China, the National Opera, visits our local venue. Originally scheduled for July, it was postponed due to a smattering of covid cases here. Scouring the net, I found out this is a tried-and-true production that had toured China extensively. It had also been scheduled in Italy this year but I don't think it had happened due to the pandemic.

When I learned that they were finally to come, tickets were sold out. Fewer tickets were available due to anti-covid practices (some seats blocked out). On the evening of performance, I went early to the entrance gate, where patrons were screened for their QR Health Codes. I had with me a sign: "Just 1 ticket wanted". No response. I pestered every person entering the gate for whether he or she had an unused ticket. After maybe 10 attempts, one lady said she had one. I was ecstatic and entered with her (and paid her) and the rest is history. Mind you , were this at the city center's Concert Hall, where I heard all of my favorite SZSO concerts, where tickets during covid times are registered with one's name; any transference of ticket will be hazardous, if not impossible (I had understood this in advance).

This marked the first time I had entered this venue. It is an old-styled "statement building", which is conjoined with the district's main library (which I frequent) and museum (which I occasionally visit; currently, it has an African Art exhibit). The linking elements used to house the Book City, which had been relocated to the newer cultural center, Mecanoo (designed by the Dutch firm), a stone-throw's away, and is now used as a covid-testing site.

Despite its highly absurd story (which, honestly, is a problem that plagues most operas), musically, Turandot is one of my favorite operas, certainly my favorite Puccini, even if the ending was completed by Alfano. Its portrayal of so-called "ancient China" caused it to be banned for decades in China. But now its fortunes is reversed. There is even a Peking Opera version of it; how's that for cultural re-appropriation! For myself, the depiction of "China", even the trio of Ping Pang Pong (who offer some humanistic counterpoint to Turandot's ruthlessness), is not the problem; it's the precipitous softening of the Princess in the third act that defies credulity. I am not the only one. The respectable Spectator even published an article calling it out: Turandot is a disgusting opera that is beyond redemption. I agree with most of the points except that, I do think, despite the problematic ending, musically it is the best of the composer. Also, as an Asian, I personally find Madama Butterfly even more disagreeable, and never listen to it (ditto the despicable musical Miss Saigon, which basically appropriated the Puccini opera. Perhaps one day someone will write "Miss Kabul" - I am serious, and betting on it).

theopera101 (you should read the link to know all about the opera) also takes side swipes at the opera:

"...Calaf: A prince, anonymous to everyone in the opera. Supposedly a great guy but does little to justify this reputation...Liu: A slave girl. Loves Calaf beyond all measure -- the feeling’s not mutual..."

"...As Liu falls dead Timur must be informed since he is blind, and he cries out in sadness. The crowd and he leave with the body of Liu. Calaf chastises Turandot for effectively slaughtering the heart and soul of the opera and then pulls her in and kisses her. (At this point Puccini finishes and Alfano takes over)..."

"...After the kiss Turandot is horrified but gradually she softens. She reveals that she has always (since Act I at least) both hated and loved the Prince. She tells him to leave, but he bravely reveals his name: “I am Calaf, son of Timur.” His life sits in her hands...Predictably but rather unbelievably - not to mention mawkishly - the couple approach the emperor and Turandot announces that she knows the Prince’s name and it is love. Everyone is happy and the opera ends to the tune of "Nessun Dorma"..."

Cannot agree more. And so, the third and final act is rather difficult to watch, despite the magnificence of the music. It cannot be easy on the cast either. Most singers are basically "statuesque" and terrible actors, but the soprano singing Turandot is further burdened by the impossible task of acting out a radical change of personality in a very short time. Hence, in every production, the soprano singing Liu would steal applause.

Musically, things were on a high level. Hong Kong Opera cannot begin to compare. The singing was fine across the board, and that includes the very important chorus (though they are too few in number on this small stage, and so less impactful than usual). Liu Yan Hong (Turandot), a young singer on the ascent, possesses a voice capable of literally beaming out on demand. The veteran Yao Hong (Liu), also administratively second-in-command at the CNO, sang expressively, though her voice was at times unsteady, even decidedly floppy at first entry. Veteran bass Tian Hao (Timur) had been at this a long time and his timber was lovely. The ensemble act of Ping, Pang and Pong was solidly dependable.

Li Shuang (Calaf) had the lion's share of the limelight. His singing was not quite helden, but of good tonal allure, dependable and fairly idiomatic. However, the Nessun Dorma should have had a little more lingering to bring out the drama. This may partly be due to the conductor, Yuan Ding, who, though proficient, throughout showed not much elasticity.

The orchestra played very well. The woodwinds were the standouts. Strings seemed not full enough. The brass were overly powerful, often somewhat coarse, even grating. The conductor may be partly to blame but I think he was not the real culprit. It's the hall. The size is on the small side but that is not the problem. Rather, it is the acoustics - a very dry sound, and that is definitely not friendly to the orchestra or singers. The walls are pretty bare, with almost no adornment, and seem to be plastered. The lack of Hall Sound diminishes the grandeur of the music, especially the resplendent scoring of the final pages. It certainly didn't help with the Nessun Dorma. Acoustically, wood-laden Shenzhen Concert Hall is markedly superior.

Production values were good. The sets were impressive, though squeezed on the smallish stage. Lighting was fine. Stage direction was alright, and in my opinion no direction can be successful for the final act.

This was an all-Chinese production of one of the more difficult operas to mount. Judged by the performance in all respects China has a very bright future in Opera.

As for this opera, despite the lure of stage opulence, it makes as much sense to just listen to it than watch it. The orchestral scoring is full of riches. I recommend the glorious Decca version conducted by Mehta (resplendent sonics characteristic of Decca opera productions). It has a galaxy of stars that one cannot hope to encounter in the opera house today (and I am not even usually a fan of Pavarotti and Sutherland). My LP set (London) is one of the very few in my modest opera collection that I still pull out and play from time to time (others are Magic Flute, Tristan, Ring and, surprise! Flying Dutchman). In fact, just last year, before I departed for HK, I played the last side. On a good audio setup, it always gives great pleasure. For those who can tolerate old sonics, the legendary 1937 Covent Garden live excerpts conducted by Barbirolli, with Eva Turner and Giovanni Martinelli (EMI), is a MUST. A hair raising performance that has never been surpassed and English Eva Turner, more than the formidable Birgit Nilsson and others, has always been regarded as the greatest Turandot ever.

Shenzhen Symphony Strauss Lin Daye

Concert Review: Shenzhen Symphony - All Strauss

July 16, 2021, Shenzhen Concert Hall
Shenzhen Symphony - Lin Daye - Jin Zhenhong - Nie Jiapeng
All Strauss

China is so strict about Covid protocols that they cancel most concerts even after a signle case or two had triggered massive testing but have receded in the city more than a month ago. Sigh, I was looking forward to the same orchestra's Mahler 7th conducted by Li Xincao but it was cancelled. It is a miracle this one happened at all. There are fewer concerts here than in neighboring Hong Kong, and I am resigned.

BUT, this one was a great surprise! Principal Conductor Lin Daye 林大葉 is a known entity who has been around a while but I have never heard him. Concert opened with a crackling Don Juan and it was immediately apparent that the orchestra played much better than in the last concert that I heard (Franck conducted by Ang, blog post below). The orchestra produced an opulent sound (great strings) but it was the sectional excellence that was so gratifying. The Principal Winds and Brass played with immense character and warmth, as they have done on the best occasions in the past. The valedictory playing continued onto an utterly delightful Till Eulenspiegels. It was more than obvious that the players enjoyed themselves; all the players were swaying, as a good European orchestra does. Credit to the conductor, who not only provided a firm rhythmic foundation and kept tension and drama alive, but knew how to relax when necessary. Strauss' tone poems demand quick shifts of mood, and they were duly fulfilled here.

The temperature dropped more than a notch in the second half. Young cellist Nie Jiapeng 聶佳鵬 and Principal Violist Jin Zhenghong 金朕纮 were the soloists in Don Quixote. There are many tender, lyrical and sheerly ravishing moments in this score and they were fully conveyed. On the other hand, the many cacophonous outbursts were scaled down just enough for one to feel wanting, even if they were perfectly played. I am sure the approach was to accommodate the playing of the solo cellist. Although he played with refinement and color, his tone was just too small for the piece. I regret they did not let the cello principal Karen Kocharyan take the limelight - he is an excellent cellist who shines in his solo's (like Brahms Piano Concerto No. 2) - especially since the Viola part was taken by the excellent orchestral principal.

All in all, a wonderful Strauss concert, which is not easy to come by. As one from HK who has gone through the Edo de Waart period, I still remember what he said, that Strauss is the ultimate test for an orchestra. If so, EdW, whom I regard as a kapellemesiter (in its journeyman sentiment) has failed and this performance is several notches above whatever Strauss that I have heard with the HKPO.

Shenzhen Symphony Darrell Ang HKPO Zee Zee Koncz

Concert Review (21-1): Shenzhen Symphony/Darrell Ang HKPO/Koncz/Zee Zee

April 30, 2021, Shenzhen Concert Hall
Shenzhen Symphony Orchestra/Darrell Ang
Shi - Bruch - Franck

My, my first concert in over a year!

Concert opened with a weirdly named Inside and Outside of the Light Cones 光锥内外, a Concerto for Suona (a double reed) by Shi Fuhong 史付红. It made use of suona of various sizes (kind of like the sax family; the larger the lower the reach). The piece was well crafted and performed by Zhang Wei Wei 张维维.

It was apparent from the opening of the Bruch Violin Concerto No. 1 that the winds and brass were too upfront for the strings and they remained so for the rest of the piece. Thus, some crucial atmosphere was lost (I think of the opening in Kyung Wha Chung's Decca recording, wonderfully conducted by Rudolf Kempe). But what bothered me more was the soloist, Wu Qian 吴倩, who was reasonably secure but played without much subtlety in dynamics and phrasing. It was just plain bland.

The orchestra came out charging in Franck's Symphony. But again, the brass and winds were just a little too prominent. This can be partly attributed to my seat, which is directly above the first violins. This piece, with its repetitive elements, is not an easy piece to play well as it requires much delicate balance and chording. As I am familiar with the sound of this orchestra from this seat, I had to conclude that ensemble hasn't returned to pre-pandemic standards, and some coarseness came through. I say this despite having been away for 3 years, during which they changed director, because most of the principals are still there, and the roster hasn't changed that much.

Singaporean Darrell Ang is generally well regarded (regularly conducts in Russia, where he had studied) and currently director of the Sichuan Philharmonic. Perhaps it was not the best chemistry? I am not sure whether he was pleased with the result, as he only acknowledged the cor anglais and harp soloists at the end, with no nod to the individual sections. Attendance was low though, and he may not have wanted to drag out the applause.

Shenzhen Symphony is a favorite of mine, an orchestra that I think is better than the HKPO. I shall continue to root for them, even if the pandemic means I won't get to hear the many Russian and Eastern European musicians they used to get (including the great Elizabeth Leonskaja). In a month I shall be listening to them in Mahler 7, conducted by Li Xincao, a conductor who impressed me many years ago in his guest appearance with the HKPO (if I remember correctly, it was Beethoven 7th; now he is director of China National Orchestra).

On China's Bilibili, which carries a lot of videos, many originating from Youtube (not operational in China), there is a video of Daniele Gatti, who fell from grace at the Concertgebouw due to sexual harassment, conducting the Shenzhen Symphony in Brahms (very good). And guess who is co-concertmaster of the Shenzhen Symphony these days? William Preucil, who fell in Cleveland for similar reasons. Now, is the West too Woke and China not Woke enough? :-)

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May 5, 2021, Hong Kong Cultural Center
HKPO/Koncz/Zee Zee
Liszt/Brahms

I wish I were able to attend this concert. The following brief report (over wechat) is from my good friend shidi. Christoph Koncz is a rising Austrian conductor, and Zee Zee a rising Chinese pianist whose real name is Zuo Zhang 左章. I recently streamed her DG albums with her Z.E.N. Piano Trio (formidable line up; E for Esther Yoo and N for Narek Nakhazaryan, all superb soloists in their own right) and was mightily impressed by the pianism.

"... (in Liszt Piano Concerto No. 1) She is a great pianist...really solid playing with beautiful tone from the HKCC Steinway, which says a lot about her technical ability. I am glad that l have secured the piano side seats of her 17 May recital prior to the concert tonight...

(in Brahms Symphony No. 1) Excellent. Conductor managed to change the sound of HKPO, particularly the strings, which yielded a silky and smooth tone, away from Jaap's typical pushy and heavy approach. That speaks for this conductor's talent; he is principal violin of VPO. He seated the orchestra with divided violins, bass to the right and cello in the centre, to very good effect. He delivered clear and abundant low level harmonics. It is a pity that l sat in the stalls rather than my usual balcony spot, where the sound would have been even better! All in all an excellent delivery, with a very engaged orchestra, the strings sounding delightfully European, and brass section (French horns in particular) sounding sweet and beautiful. Most would agree that this has been a very enjoyable Brahms performance!..."

In 2 weeks Shidi would go to hear her in a solo recital. I shall hear the same program in SZ 3 weeks after the HK recital. No doubt the lag is due to quarantine. It will be great to compare notes later.