Tony Chen Lin – piano evocations, visions and premonitions at St.Andrew’s

Posted on by Peter Mechen

Wellington Chamber Music Sunday Concerts

TONY CHEN LIN (piano)

BARTOK – Eight Improvisations on Hungarian Peasant Songs Op.20
JS BACH – French Suite No.5 in G Major BWV 816
GAO PING – Distant Voices (1999)
TONY CHEN LIN – Digression (2016)
SCHUBERT – Piano Sonata in B-flat D.960

St.Andrew’s on-The-Terrace, Wellington

Sunday, 11th September, 2016

Tony Chen Lin was one of two supremely gifted young Christchurch-based pianists (the other was Jun Bouterey-Ishido) who “slugged it out” for first prize at the 2008 Kerikeri International Piano Competition, an event which I had the good fortune to attend. The adjudicator, Australian pianist Ian Munro, awarded Jun Bouterey-Ishido the first prize by what he acknowledged was the narrowest of margins, a decision I was glad I didn’t have to make, as I remember not being able to fault either of them, performance-wise, at the time. Both have gone on to significantly further their pianistic and musical careers, this afternoon’s recitalist Tony Lin completing his Master of Music at the Hochschule für Music in Freiburg in 2013, as well as recently performing as both pianist and conductor in Germany (Freiburg and Stuttgart) and in Switzerland (at the Semaine Internationale de Piano et de Musique de Chambre), at which he’s appearing this year once again, as a conductor.

Coincidentally each of these two young pianists has appeared as a performer on concert and recital platforms in Wellington this year, Jun Bouterey-Ishido as the pianist in the Calvino Trio, which played here in July, and Tony Lin with this solo recital a week or so ago. Unfortunately I was prevented by circumstances from hearing the Trio, which made me all the more determined to partly counter my loss by “making good” at the other pianist’s concert. (I will, in time, get to the point where I can mention one of these musicians by name without having to cite what the other is, or has been doing! – your patience, gentle reader!).

I thought Lin’s recital programme fascinating – the choices suggested that the pianist enjoyed making connections and drawing attention to influences and cross-references. Both the Bartok and the Gao Ping works featured the use of folk-melodies from the composers’ respective homelands as starting-points for improvisations. The pianist’s own’s programme notes underlined the importance for each composer of maintaining the integrity of his original source material, Bartok regarding the melodies “as motifs to be surrounded by the results of their working” and Gao Ping exploring “the rich, microtonal palette of the folk tradition”. Each composer’s “workings” resulted in a distinctively flavoured sound-world that one could readily associate with those uniquely characterful regions.

Separating the two sets of improvisations was JS Bach’s French Suite No.5, a bright and cheerful collection of baroque dances in G major, presenting a more stylised and courtly mode of expression which contrasted surprisingly well with the more earthy/exotic source material of the two works on either side. Then, in the second half, we heard a piece by the pianist himself, a brief, improvisatory meditation-cum-declamation called, appropriately enough, Digression, and whose dying sounds led straight into the concert’s largest-scale work, Schubert’s final Piano Sonata in B-flat, D.960.

The recital began with Bartok, his Eight Improvisations on Hungarian Peasant Songs Op.20, a work which progressed from simple harmonisation of melody to manipulation of their shape, rhythmic patterns and harmonic associations – in effect, the composer gradually “took over” the potentialities of the material, transforming them to meet his own compositional needs while still preserving their basic idiomatic spirit. Tony Lin conveyed something of this spirit amid the volatile rhythms and favoursome harmonies and dissonances of the second song, and the “Night Piece” aspect of the third, with its quicksilver responses in the midst of the gloom, delivered here with razor-sharp reflexes and a powerfully-wrought sense of atmosphere. I particularly liked his “thinking on his feet”-like playing of the sixth improvisation, with its spontaneous series of knockabout “turns”as if from a clown, the music leaping from the black to the white keys and then back again! And, how poignant were those moments of wistful reflection in between the drolleries and caperings!

The Bach French Suite seemed, under Lin’s hands, wrought of some kind of elfin magic in places – gossamer-like threads of musical lines that were woven freely and then tweaked and pulled into place, the playing always flexible yet mindful of the music’s overall shape. Following the opening, minstrel-like Allemande, the Courante resembled a merry brook bubbling over stones, with the occasional refraction caused by natural attrition from the play of light and the ceaseless flow of water. The beautiful Sarabande’s dignified contourings put me into some of the music’s “spaces” most beguilingly, from which the pianist’s quixotic delivery of the Gavotte’s opening gently brought me back, alerted to the movement of the dance-steps and the even more energising garrulity of the Bourée!

Though more circumspect in manner, the Louré had a beautiful spring in its step, Lin allowing the figuration plenty of freedom while keeping the music’s pulse – he seemed to be able to un-regiment the most rigorous of the music’s rhythms. Then, his delivery of the Gigue was a marvel of clarity,  demonstrating a keen instinct for allowing voicings sufficient weight and momentum. I particularly enjoyed the second part’s more deeply-registered explorations, whose working-out seemed to acquire an almost orchestra sonority in places, amid the player’s varied command of colours and timbres.

Gao Ping’s Distant Voices demonstrated the composer’s use of Chinese folk melodies as “points of departure”, as did Bartok with his Hungarian Peasant Songs. The first reflection, Nostalgia, drew from a melody belonging to Inner Mongolia, Gao Ping employing “neighbouring” notes to the existing melody, and creating depth, resonance and tension from all registers of the keyboard, both delicate and full-throated. The playing brought out the composer’s “opening up” of spaces, recalling in places Ravel-like sonorities and delicacies. The second evocation, Love-Song from Kangdin, is apparently one of China’s most well-known melodies, from the composer’s own Sichuan region – here were haunting “echo” effects, sonorous melodic lines resounding and filling their own ambiences, enhanced by occasional impulses that suggested bird-song or air-and-water nature-patterns.

Gao Ping’s third realisation, given the title Blue Flower, used a melody from  the Shanbei region to evoke the dynamism and exuberance of dancing and drumming, the sounds reaching to the lowest piano-pitches for added resonance and weight, and opening up the sound-world of the music in an orchestral way. The rhythms drove the music through “little dancings” sequences vividly ccontrasted in Lin’s performance with great swirls of repetitive and dynamic energy, featuring primitive pulsatings set alongside cluster-tines and multicoloured harmonies. At one point the music recalled themes from the two previous movements, intertwining the worlds and regions, and pausing for the reminiscences to take effect before the toccata-rhythm again took the reins, finishing as a scintillation whose energy tapered away to silence – all beautifully realised by the pianist.

After an interval, Tony Lin retumed to the keyboard to fascinate and absorb us with his own piece, called Digression, inspired partly by the pianist’s involvement with Schumann’s Humoreske, and partly as a result of Lin’s own self-confessed inclinations to digress during scheduled practice sessions! The pianist called the work a mere diversion from “the main, more important subjects”, but its value for him was its marking a reawakening of his urge to compose. Between shivers of scintillation, claustrophobic chordings and single-note declamations looking for the light, the piece sounded like a true diversionary exploration, one that, somewhat unexpectedly, led straight into the opening chords of the final work on the programme!

This, of course, was the Schubert B-flat Sonata D 960, one of three such works written during the last few months of the composer’s life, music which was destined to languish in relative obscurity until the mid-twentieth century. It’s always seemed to me astonishing, for instance, that one of the greatest of all pianists, Sergei Rachmaninov, reputedly confessed to not knowing anything of the existence of these or any other Schubert sonatas – but performances of them were rare until the renowned Artur Schnabel’s advanced their cause around the time of the centenial of the  composer’s death, in 1928. They are now, of course, considered in some quarters to be on the same level of achievement as the very different late sonatas of Beethoven.

Lin brought a highly-wrought degree of sensitivity to the work’s opening – gentle, dream-like nudgings of the melody were underpinned by a murmuring accompaniment, and “ghosted” by rumbling trills in the bass, indicating a kind of “darkenss” waiting in the wings. Then the return of the opening theme burgeoned out of repeated lead-in chords and flooded our sound-vistas with torrents of tone, which continued right up to the sudden, dramatic hush of the second subject. This was played lightly and swiftly, giving the music an “elusive” character which a series of recitative-like question-and-answer phrases attempted to explain, until shouldered aside by the most wonderful, if  disturbing irruptions – those angular gestures signalling the onset of the first movement repeat, that ominous bass trill mentioned above here roaring from below like some baleful subterranean Minotaur waiting for its prey. (Of course, the presence of this repeat has been a recurring bone of contention amongst performers and commentators, one with which Lin took himself, in my humble opinion, onto the side of the angels by playing it!).

When the development did come it seemed to take on an almost spine-chilling aspect, as if the pianist was reluctant to go there! – a brave face saw him through the initial hesitations, and the rich, comforting warmth of parts of the central section emboldened his resolve! But as the music began to climb out of these warmer regions the chill returned and began to exert its grip, with a desolate, minor-key repetition of the opening theme, accompanied by the ominous trill – we felt the growing unease as the ways seemed to close in on us, and present to us nothing but oncoming darkness.

The return of the opening theme relieved our immediate anxiety – but there seemed a frailty about the proceedings, an almost “tenderised” aspect, the spirit somewhat undermined by the privations of the journey. And the pianist seemed to suddenly tire as well, losing a couple of notes to an ungainly turn of the music, though with the declamatory sequences at the exposition’s end he rallied, and brought about a beautifully-poised lead-in to the coda – in all, it was quite a journey!

The slow movement’s opening confronted us once again with that world of desolation and imminent darkness. The throbbing rhythmic figurations had a heavy, overburdened gait beneath a theme whose upwardly thrusting supplication to the firmament had an anguished magnificence. Lin’s playing had such incredible “hurt”, making the occasional short-lived recourse by the composer to some sweet previous memory so very moving.

After this, the scherzo’s rapid, almost manic energies seemed blurred at the edges, as though things were slightly out of focus – it was though the pianist was suddenly almost running on a kind of “empty”, and trusting in little else except his instincts. The Trio was angular and heavily accented, almost dysfunctional in its presentation, redolent of a kind of recklessness, or devil-may care attitude. Against which the finale’s opening bell-strike sounded a warning-note, from which the music tried to steer away, the major-key sequences attempting to establish a brave face, but being repeatedly reminded of darker realities – Lin attacked the heavy chords mid-sequence savagely, but the music then steered the mood back to a kind of resigned acceptance, the bell-strike once again “centering” the focus and dictating the terms. What a kaleidoscopic array of emotion was here! – with the pianist having to steer a course between hope, and despair, happiness and anger. After another outburst, followed by a curious variant of what Schubert wrote in its wake, Lin marshalled his resources and set the music stampeding to its destiny – “thus though we cannot make our sun / stand still, yet we will make him run”, wrote a poet in an entirely different context, but in a poignant way just as applicable here.

Rather than leaving us amid such a bleak and cheerless scenario, Lin played as an encore for us a Bartok transcription of a folksong, whose words described a poor boy’s wish for a starry night so that he may find his way back home to his beloved – it was played with great spontaneity and quietly-expressed feeling.

 

 

 

 

 

 

Schubert’s “Great”, and Mahler-Berg connections explored brilliantly by Wilma Smith and Orchestra Wellington

Posted on by Rosemary Collier

Orchestra Wellington conducted by Marc Taddei, with Wilma Smith (violin)
“Last Words: To the Memory of an Angel”

Mahler: Adagio, from Symphony no.10 (Deryck Cooke performing version)
Berg: Violin Concerto “In Memory of an Angel”
Schubert: Symphony no.9 in C

Michael Fowler Centre

Saturday 10 September 2016, 7;30 pm

In his introductory remarks about each work to be played, Marc Taddei referred to the poignant use of the Bach chorale ‘Ich habe genug’, by Alban Berg in the latter part of his violin concerto, the second item on the programme.  He said ‘Wouldn’t it be good if there was a way to let you hear that’.  He turned away from the audience, and up popped a choir from the left side of the gallery seating (not the choir stalls), and without further ado, sang the requisite chorale!  A coup de théâtre perhaps.  A close examination of the printed programme revealed the name ‘Wellington Youth Choir’.

The Mahler symphony I have known and had recordings of for years, in the Deryck Cooke performing version of the uncompleted work.  In fact, I was present at the first full performance, at the Festival Hall in London in October 1972.  Not only that, but as I queued for a juice in the interval, I heard two men next to me conversing.  “What are you working on now?” said one.  The other replied to the effect that he was working on Wagner.  I thought ‘I’ll bet that is Deryck Cooke’.  I snatched a look at the man in question, and sure enough, at the end of the performance of Mahler’s unfinished work, the conductor asked the gentleman responsible for the completion to rise; it was the man I had identified.  The programme notes are by Deryck Cooke (as are the English translations of the Rückert lieder sung earlier in the concert), and there is an advertisement from Faber Music for the forthcoming publication of the score of the symphony.  The orchestra was the New Philharmonia, conductor, Wyn Morris.

This first movement contains much solemnity, even anguish.  Some say that Mahler was here entering a new phase in his composing, which promised much that was cut short by his untimely death in 1911. The brass intoned the melody splendidly, then strong strings took it up.  Impressive motifs were sounded by the woodwinds, lifting the mood even to light-hearted frolicking.  The violas had important contributions, and there was much effective pizzicato, especially from the cellos, before the brass intoned portentously turning off the gaiety, before the main themes returned.  The music became very quiet, then an organ-like brass discord disrupted the scene.  Cellos and double-basses, followed by violins create variations on the theme, with some delicious harp thrown in.  The whole of this lengthy movement was moving and emotional in its impact, and magnificently played.

Berg Violin Concerto  
Marc Taddei described this as ‘Possibly the most profound violin concerto ever written’.  (In the year’s programme booklet he says ‘undoubtedly one of the most popular of the 20th century’, a rather unfortunate statement).  The problem is that many (most? judging from those I spoke to at interval and after the concert) do not regard the music of the second Viennese school highly, so do not listen to it.  I am not aware of ever having heard anything except excerpts before.  Therefore we do not know it well enough to penetrate its character.  Grove says that it follows a classical framework, and that it is both tonal and serial in some episodes, in some tonal but not serial, in others serial but not tonal, and in still others, neither. Thus it is beyond the aural experience of most concert-goers.

What cannot be disputed is the quality of Wilma Smith’s playing.  While the orchestral part, though following 12-tone method, often sounded somewhat random, the violin part throughout was both mellifluous and superbly played, though much of it, too, was based on a 12-note tone-row.  It was a treat to hear from one of our foremost musicians again, and also, in a world now peopled by a plethora of young women violinists, to hear an older woman violinist playing a concerto.  She needed to use the score in this complex music.

There was more than one important link: Berg wrote his concerto ‘In memory of an angel’ to mourn the death of Manon Gropius, at only 18 years of age.  Manon was the daughter of  Walter Gropius and Alma Mahler, the widow of Gustav Mahler to whom Mahler wrote messages of love in the score of his Tenth Symphony, although she was already having an affair.

The other link was a reason for Wilma Smith to accept the invitation to perform the Berg concerto, as she outlined in an interview on Radio New Zealand (“RNZ”, sorry!) Concert ‘s Upbeat programme: in the United States she was a student of Louis Krasner, probably 40 years after the latter commissioned this concerto from Berg.

The concerto opens with solo violin plus harp and a few woodwinds.  The remembered warm tone of the soloist was ever-present.  Hers is not a big sound, but very expressive.  There was a lot of double-stopping, also glissandi and harmonics; all  played with the assured manner and technique of an experienced professional.

Each of the two parts of the concerto consists of two movements, but the only break is between the two parts.  The second part began with big brass noises: the horror of approaching death.  Then there is bravura from the violinist, who is playing almost all the time in this concerto.  Again, there is much double-stopping.  Quiet, slower passages in the adagio second section include, left-hand pizzicato for the soloist.  With the orchestra, she utters melancholy tones and lyrical phrases until brass and percussion burst in again.  Agitation breaks out for all, including the soloist.

The slow Bach chorale, with spare harmonisation, is backed up by the woodwind, to be most sonorous and expressive.  The solo violin produces ethereal sounds, befitting an angel.  Louder sounds take over from the calm, and intone powerfully, meantime the violin is still soaring.  This is an extraordinary work, and fabulously well played.

Schubert Symphony no.9
A complete change of period and mood was made in the second half of the concert, and a smaller orchestra took to the stage. The symphony’s dramatic opening was followed by the orchestra taking up the great melody.  Winds were very precise, and solos were beautifully played. There was a strong feeling of the work developing and moving forward.  While we know Schubert for his wonderful melodies, he can introduce fine harmonies and orchestrations too, particularly in this symphony.

Following the andante introduction, the first movement went at a good pace.  Some phrases seemed to anticipate (or echo?) Mendelssohn; the latter conducted the premiere of Schubert’s symphony in 1839.

Tremendous climaxes were reached at the close, while the second movement (andante con moto) provided a good contrast, especially the lovely, jaunty oboe solo.  While the music sometimes seemed square compared with the earlier Mahler and Berg, it is certainly more cheerful, and has strong rhythmic drive.  I found some of the instruments shrill at times; this would have been less so on instruments of Schubert’s time.  There were marvellous contrasts brought out by the playing.

The dynamic Scherzo drove on, through a good deal of repetition which can become  little tedious despite the wonderful tunes.  This is true of the finale also, though it ends with plenty of punch.

Comparisons may be odious, but it was interesting to note how little coughing there was at this concert compared with some NZSO performances I have attended.  And that Orchestra Wellington and its conductor wear dark business suits and normal ties, not ‘penguin suits’.  The Michael Fowler Centre was well-filled, though not full.  The highlight for me was the Mahler movement, though I do not wish in any way to denigrate Wilma Smith’s marvellous playing in the Berg.  The brass, too, were outstanding, and had lots to do.  A fine concert, with orchestra and soloist in excellent form.

 

Plenty of pre-university talent for the school of music to draw on

Posted on by Rosemary Collier

New Zealand School of Music Young Musicians Programme

Classical Classes Final Concert 1

Adam Concert Room, NZSM, Victoria University

Saturday 10 September 2016, 2pm

It is inevitable in a concert of this sort that there will be a great variance in skill levels, and in musicianship.  This time, there were fewer really young students than I have heard in previous concerts of this type; nearly all would be intermediate or secondary school students, I would guess.  The comments below are made not to criticise the individual players, but hopefully to assist them to make their musicianship even better.

The concert opened with a guitar quartet playing two short pieces, very competently.  Not all the players had full-sized guitars, and this may have contributed to the low volume.  Like all the items, the pieces were introduced by the players.  The two gentle pieces, ‘The Water is Wide’ and ‘Waterfalls’ had their attributions in the printed programme reversed – the former is traditional and the latter by Australian Peter de Monchaux.  Vaughan Austin played solo lines very well.  This was not all easy music; off-beat rhythms in the second piece were handled very well.

Robert Evers played two short pieces by Prokofiev, and gave his introduction very clearly and confidently s indeed was his playing.  The first piece, ‘Regret’ was perhaps a little loud for such a sentiment.  ‘Tarantelle’ was the expected fast dance.  No pedal was used, and there was little subtlety but certainly excitement.

Ishta Khor (violin) and Elliot Baguley (cello) were younger performers, and I thought the tone, resulting from difficulties in tuning and bow technique, rather harsh, particularly with the violin.  The cello parts were easier, and sounded better.  The two pieces were by New Zealand composers: ‘A Book of Dreams’ by Barry Anderson and ‘Ghosts’ by Ronald Tremain.

Ryan In played from memory the Praeambulum from Partita no.5 in G (BWV 829) by J.S. Bach.  This was superb pianism,  Ryan’s phrasing and staccato passages were excellent.  He varied the dynamics beautifully, and showed great digital facility for someone of his age.

He was followed by a piano trio: an excerpt (I assume the first movement) from Haydn’s piano trio no.22 in A.  This was impressive playing, from Tee Hao-Aickin (violin), Liam Anderson (cello) and Vanessa O’Neill (piano).  Their interpretation was convincing, the playing showed subtlety, there was good balance, and although intonation was not perfect, it was mainly very good, as was the players’ tone.

A change to singing: an all-female vocal ensemble of Hannah Collier (no relation), Hunter Meek, Brooke Raitt, Greta Healy-Melhuish, Cassandra Bahr and Lily Jones, accompanied by an excellent but unidentified pianist (later identified in another item as ‘Danny’) sang Frederick Keel’s setting of Shakespeare’s ‘You Spotted Snakes’ followed by ‘It was a Lover and his Lass’ by Vaughan Williams.

The voices and intonation were on the whole good, but there was insufficient variation of tone or dynamics.  In the second song, these aspects improved, but sometimes the singing was just under the note, especially in the notorious seventh note of the scale when descending.

Vanessa O’Neill played the Prelude from Grieg’s Holberg Suite.  The work was written for piano, although the composer’s arrangement for string orchestra is more well-known.  Vanessa is a very able pianist.  She knows what she is doing; fast passages were very accurately performed, and where the melody was in the bass, it was brought out well.  This was a very enjoyable performance.

Brooke Raitt (voice) sang ‘Dream Valley’ by Roger Quilter.  While she still has a child’s voice, this was very accurate singing, and William Blake’s words were well articulated.  She just needs to develop greater warmth of tone.  ‘Danny’ accompanied.

Stella Lu, piano, played Sonatina Op.13 no.1 by Kabalevsky.  She played this fast piece (first movement) confidently and capably.

Tee Hao-Aickin returned, along with her pianist sister, Danielle, to play the allegro first movement of Beethoven’s wonderful ‘Spring’ sonata.  This sublime work always makes me smile with pleasure.  The players demonstrated lovely tone; these are promising young musicians.  Intonation was not perfect, but very good from Tee.  Perhaps the timing, phrasing and dynamics were a little too strict, especially in the piano part – there should be phrasing within phrases as well as between them.  Otherwise, this ambitious item was most enjoyable.

A piano trio ‘Oblivion’ by Piazzolla from Jim Zhu (violin), Willoughby Benn (cello) and Ryan In (piano) I found rather dreary (was the composer’s idea to put the audience into oblivion?), but admittedly it warmed up a little during its course.  These players were younger than the previous ones, and therefore not so skilled, but they did well.  The cellist appeared younger than her colleagues, but held up her part well.

Hunter Meek, who had already sung in the vocal ensemble, sang Michael Head’s ‘Ships of Arcady’.  I remember this song being popular in the 1960s; I have not heard it for a long time.  Hunter sings well, but swallows her words somewhat.  Her voice needs more projection, and she needs to keep her mouth open more in quiet passages.  However, it was a pleasing performance, and it was good to hear her acknowledge Danny, still unnamed in the printed programme.

The final item was from pianists Stella Lu and Danielle Hao-Aickin, playing three short piano duet preludes by George Gershwin.  The second, andante con moto e poco rubato, had more subtlety than its preceding allegro yet it also had cheekiness.  The final allegro ben ritmato e deciso was a lively and attractive movement, played very well, making an upbeat end to the concert.

All these young players should be encouraged, whatever their age and level.  A little top: when you bow, do look at the audience!  The work of those who administer, arrange, teach and encourage young musicians deserve thanks.

 

 

 

Promising new choir premieres with varied, courageous programme

Posted on by Rosemary Collier

‘Convergence’

Music from all the continents

Inspirare ‘Wellington’s newest choral ensemble’ conducted by Mark Stamper, with Catherine Norton (piano), Jeremy Fitzsimons and Ben Fullbrook (percussion)

St. Andrew’s on The Terrace

Sunday, 4 September 2016, 3pm

Described in advance publicity as ‘a new professional choir’ and that ‘The concert will consist of music from all the continents and will explore our basic needs to commune with nature, spirituality and our love of community and family’, there were high expectations.  Caution recalls that some years ago Professor Peter Godfrey set up a choir that he hoped would be professional, but it did not last.  Such a venture needs engagements, sponsors.  We shall see…

American Mark Stamper came to live in Wellington last year, with both qualifications and experience in choral music in the USA.  Among the names listed in the printed programme were many that I recognised; people very experienced in choral singing and some who conduct choirs themselves.  Many of the items performed were unaccompanied, but those that required the piano were in the safe musical hands of Catherine Norton.  Spoken introductions were interesting, but perhaps a little excessive, given the good programme notes, and not always audible despite the use of a microphone.

The concert did not have a good beginning; i.e. seven minutes late.  However, the choir certainly made its presence felt as soon as it began singing, although it did not impress me that the members were dressed entirely in black, like every other choir.  What happened to colour?  The opening item, ‘At the Round Earth’s Imagined Corners’ was a setting of one of John Donne’s Holy Sonnets by Williametta Spencer, an American composer born in 1932.  It began at full volume; this revealed the capacity of the singers at such a dynamic level to produce splendid tone, and also the marvellous acoustic of St. Andrew’s.  It was a fine piece, with flair (rather than the ‘flare’ of the programme note), ‘excitement and driving energy’.

It was followed with virtually no break by Handel’s well-known ‘Zadok the Priest’, accompanied on the piano – which sound somewhat incongruous since we are accustomed to hearing a chamber orchestra, or at least organ in this jubilant Coronation Anthem.  The words were clear and the voices well-projected.

It was very sensible, in a shortish programme with a lot of different items, to perform two or even three items without space for applause in between.  The next coupling had the exquisite ‘Bogorodiste Devo’ from Rachmaninoff’s All-Night Vigil usually known in English as his Vespers) first.  The choir had good balance and lovely blended tone, particularly in the pianissimo sections.  After two loud items, this was welcome, but the piece featured great dynamic contrasts – not all quiet.  The choir almost achieved a Russian tone – but we don’t breed quite the same sort of basses

Pärt was the other part of the pair: his Magnificat.  This is probably one of his more frequently performed works, and while characterised by the tintinnabuli style, with its apparent simplicity and repetition, it was nevertheless of considerable musical interest.  However, since he has had many imitators, I have to disagree with the programme note that the presence of a drone in many phrases is a unique feature; it may have been when he wrote it.  A pupil of St. Mark’s School, Bella Martin, conveyed these repeated notes.  Her voice was perhaps a little thin, but against the basses singing below, it was very effective. and a boy from the same school, Zach Newton, sang  his solo well.  Before that, the piece had two sopranos singing together.  The spare writing contrasted with denser passages

Moving to South Africa, we heard Chariots, by Péter Louis van Dijk, a contemporary composer.  His was a most telling setting, especially in the repetition throughout of the syllable ‘char’ from the title.  There was plenty of punch, although the performance was not perfect, with a few singers starting ahead of the beat several times.  But that is a mere quibble against the high quality, gorgeous tone of most of the singing.

Ola Gjeilo is a Norwegian-born composer and pianist, living in the United States.   His Ubi Caritas was a quiet, contemplative piece of harmonic charm.  It was followed by another African item: Vamuvmba, in which Jeremy Fitzsimons played an African instrument like large maraca, and Ben Fullbrook on drum featured largely.  The singers made a joyful, highly rhythmic noise.

Ginastera’s ‘O vos Omnes’ from his Lamentations of Jeremiah the Prophet was very much ‘in your face’, or rather, ‘in your ears’.  The beginning was very loud; as the programme note stated ‘…diverse textures that are very percussive and at times “raw”.’  It contains ‘vocal pyrotechnics’.

New Zealander (but US resident) David Childs wrote ‘The New Moon’, also had a loud opening; it was a striking setting of the words of a poem by Sara Teasdale, an American poet (1884 – 1933).  This was an accompanied piece, with modal shifts and interesting harmonies in both voice and instrument parts.

Sandra Milliken is a contemporary Australian composer.  ‘The Dawn Wind’ was another piece with great word setting.  The chordal movement was very affecting, as the music painted pictures of nature at dawn beautifully.  The following ‘The Sounding Sea’ by Eric William Barnum, another American, was, like its predecessor, unaccompanied.  Sounds of the sea were repeated, while harmonic clashes gave a marvellous effect, and were handled with aplomb.  Special effects including stamping, like crashing waves, and noisy breathing, hissing like the last vestiges of smooth waves on the shore.

A piece not listed in the programme I gathered was by Mark Stamper himself: ‘Remembrance’  It featured lovely legato singing.  The setting included some lovely word-painting.  The words were ‘Do not stand at my grave and weep’, a poem frequently read at funerals; it came over clearly in this stunning performance of unaccompanied singing.

The mood changed completely in ‘The Battle of Jericho’ by Moses Hogan.  The very rhythmic setting was lively, busy and striking.  There was notable unanimity between the singers.  Each part was absolutely together.

The final item was specially commissioned.  ‘Hutia te rito’: the title refers to the growing stem of harakeke (New Zealand flax).  The translation of the traditional chant which provided the basis for the composition by American Zachary J. Moore, is ‘If you remove the central shoot of the flaxbush, where will the bellbird find rest?    If you were to ask me, “What is the most important thing in the world?” I would reply “It is people, it is people, it is people.”

Before the performance, the Maori woman who gave the words to be used spoke, and also a gentleman from the Maori Language Commission.  The latter described the words of the chant as being used frequently in Maori speech-making.

A largely youthful audience attended, and gave enthusiastic response to the performance.  However, I got the impression it was made up to a large extent of friends and families; the church was well-filled but not full (downstairs only).  This was a good launch of a new choir.

“Since singing is so good a thing I wish all men would learn to sing” sixteenth-century composer William Byrd said these words.  He might be astonished to see how many choirs there are in Wellington now.  Therein lies the problem – how to get audiences for all the concerts.  Singing is good for its own sake, but to sustain all the choirs financially, and to spread the pleasure, audiences are needed.

In addition to a record amount of opera over the same period, I find that between 20 August and 15 October (i.e. eight weeks) there have been/will be 13 choral concerts, mostly on Sundays.  Two choirs are competing for attention on 2 October.  I can think of half-a dozen other choirs that are not performing during this period.  Surely more co-ordination is needed?  And pity the poor reviewers!

 

 

 

 

Charming recital of French and English songs by Rhona Fraser and Richard Mapp at Lower Hutt

Posted on by Lindis Taylor

Rhona Fraser (soprano) with Richard Mapp (piano)

Songs by Fauré, Debussy and Duparc; two by Quilter and two by Trad. arranged Britten

St Mark’s Church, Lower Hutt

Wednesday 31 August, 12:15 pm

Rhona Fraser relaxed after the strenuous weeks of management and production of her opera at Days Bay over the weekend (Bellini’s I Capuleti e i Montecchi) by tackling a ¾ hour recital of varied and engaging songs in the generous and kind acoustic of St Mark’s church, Lower Hutt.

Though the opera had not, this time, involved her in a singing role, this recital gave us some reassurance that her voice is in excellent shape, and ready for involvement in another production perhaps next summer.

Nine were French and four in English. Most were somewhat familiar, and Rhona introduced each with a few words about the poem and/or the setting. And Richard Mapp’s lovely airy introduction to Fauré’s Clair de lune (Verlaine’s poem), where Rhona’s voice captured the calm moonlit atmosphere with pianissimo singing, presaged the discreet and supportive accompaniment that Richard would provide to all the songs.

Another Verlaine poem was En sourdine, a potted translation of which Rhona offered: reflecting nostalgically on a muted, twilit, half-perceived world.

Verlaine’s C’est l’exstase, in Debussy’s setting, though dealing with a world of similar, veiled imagery, seemed to create a more sturdy, strongly imaginative sound world, with the piano and voice reaching taxing heights with a bell-like quality.

And Leconte de Lisle’s Nell, as well as settings of less familiar poets: Après un rêve and Notre amour, mainly evoking misty, nostalgic, regret and longing, all found sympathy through Fauré’s music. Though Rhona’s voice might be more associated with the lyrical and dramatic areas of music, here she revealed a romantic sensibility, capturing a dim, fugitive world, often dealing with lost love.

Debussy’s Apparition, set to Mallarmé’s ethereal poem, also made demands at the top of the soprano’s range, though her ability to sing softly in that register was conspicuously sensitive; it captured the touching moment of the poet’s first kiss with such specific images as cobblestones, light in her hair, and ‘la fée au chapeau de clarté’. Throughout the song, the piano accompaniment is vividly specific.

The last of the French songs were a couple of Duparc’s small though exquisite repertoire. Baudelaire’s L’invitation au voyage is one of the best loved French melodies, particularly seductive, with more concrete imagery and a piano part that provides it with complementary emotion. However, Duparc’s Chanson triste, a poem by the little known Henri Cazalis, took us back to the more misty, evanescent poetry of Verlaine and Mallarmé,

The difference in tone between the French and English songs of comparable periods was striking. Quilter has a warm melodic vein, far from the ethereal character of the French symbolist settings. A more overtly conversational and unambiguous character that I suppose reflects the deep differences between the two languages and the poetry inspired by each.

Tennyson’s Now sleeps the crimson petal has been set by several composers; Shelley’s Love’s Philosophy  by Quilter and Delius. Voice and piano were beautifully integrated in both songs, flowing rhythms, regular meters, and conventional melodies, suggesting a more literal, perhaps concrete view of the emotional aspects of life.

Finally there were two arrangements by Britten of folk songs, The Ash Grove and Oh no John no; the latter one hears occasionally, but I don’t believe I’ve heard The Ash Grove since I was in Standard 5 (Year 7) when we had a teaching headmaster who led us in singing with his violin. I loved the song and still do. Rhona Fraser and Richard Mapp gave charming, idiomatic, affectionate performances of them.

So it was a happy recital. I was sorry not to see a bigger audience; the fine weather might have explained that, or it might have been used in the opposite sense. However, I hope soprano and pianist can be induced to play again at lunchtime concerts in Wellington or the Hutt Valley.

 

 

Maaike Christie-Beekman with Rachel Thomson in admirable song recital

Posted on by Rosemary Collier

Wednesday Lunchtime Concerts

Maaike Christie-Beekman (mezzo-soprano) and Rachel Thomson (piano)

Debussy: Trois Chansons de Bilitis
Samuel Barber: Hermit Songs
Poulenc: Banalités

St. Andrew’s on The Terrace

Wednesday, 31 August 2016, 12.15pm

A recital entirely of song-cycles is perhaps a little unusual, but it made for a very satisfying concert.  Maaike Christie-Beekman introduced each in a lively and informative way, giving a summary of the words of each song.  Even though she was not using a microphone, most of what she said could be heard clearly.

The Debussy cycle used poems by Pierre Louÿs, which the latter claimed were translations of the Greek, but were in fact his own work, based on Greek styles and in some cases, sources.  The first, ‘La flûte de Pan’, was dreamy in character, with the enchanting flute written into both voice and piano parts in unmistakable French style.  It was a gorgeous song, sung by a gorgeous voice, with its very expressive, beautifully controlled range of dynamics.  ‘La Chevelure’ (head of hair), the second song, was livelier, with the French language pronounced with clarity.

The third, ‘Le tombeau des Naiades’ became quite excited, but ended in a quiet, contemplative mood.  The piano was always sympathetic and eloquent.

The performers turned next to the English language and Samuel Barber.  The poems were translations of Irish poems written from the 8th to the 13th centuries, and translated by W.H. Auden and others.  Most had religious themes, starting with a spiky ‘At Saint Patrick’s Purgatory’.  Here again, in English, Christie-Beekman’s words were for the most part very clear.  ‘Church Bell at Night’ was much more mellow, like the bell.  ‘St. Ita’s Vision’ followed.  I had never heard of this Irish saint, but apparently she lived a virginal life in the fifth century.  The song began in declamatory fashion, and then flowed into euphoria.

By contrast, ‘A Heavenly Banquet’ sounded like a very a jolly party. ‘The Crucifixion’ focused on the drama and pain, expressing grief.  ‘Sea-Snatch’ was fast and furious, like the action of a stormy sea, while the brief ‘Promiscuity’ was angular, questioning whether someone was sleeping alone.  ‘The Monk and his Cat’ contained delightful meows and other feline features, particularly in the lovely frisky accompaniment.  ‘The Praises of God’ was also short – and powerful.  Finally, ‘The Desire for Hermitage’ was solemn and flowing.  The sustained notes were beautiful.  All were characterised, and sung with appropriate feeling and clarity.

Banalités is Poulenc’s setting of poems by Guillaume Apollinaire (real name Wilhelm Albert Vladimir Apollinaris Kostrowitzky); this was the last in the tri-cycle.  Its opening number was ‘Chanson d’Orkenise’.  Not the Orkney Islands, but a village in France.  It was a fast, spirited song in a set all about love and heartbreak (but banal?).  The second , ‘Hôtel’, was more thoughtful, with a lazy mood.  The poem was about a young man who just wanted to stay in his room and smoke.  ‘Fagnes de Wallonie’ concerned a wander through the woods in Wallonie in Belgium – but sounded more like a quick trot.

‘Voyage à Paris’ was described by Christie-Beekman as ‘Carmenesque’.  It began with decisive chords from the piano, and the words confidently described ‘gay Paree’.  Finally, ‘Sanglots’ (sobs).  It was quieter and more introspective, but developed dramatically, having a sublime ending.

The singer conveyed lovely tone throughout a wide tessitura.  All the songs were sung in a thoroughly accomplished and comfortable manner.  Moreover, Christie-Beekman gave a lesson in fine presentation.

 

Magical I Capuleti e i Montecchi (Bellini) the tenth production by Rhona Fraser’s Opera in Days Bay

Posted on by Lindis Taylor

I Capuleti e i Montecchi (Bellini)
Opera in a Days Bay Garden (But now in the house)
Produced by Rhona Fraser
Musical director and piano: Rosemary Barnes; Hayden Sinclair – clarinet; Greg Hill – horn

Cast: Barry Mora – Capellio, Bianca Andrew – Romeo, Katherine McIndoe – Giulietto, Filipe Manu – Tebaldo, William King – Lorenzo

Canna House, Moana Road, Days Bay

Saturday 27 August, 7:30 pm

This production of Bellini’s I Capuleti e i Montecchi, like the productions of several of the operas done by Rhona Fraser’s Days Bay company, was probably the New Zealand premiere. Though there may have been performances by minor opera groups over recent years, I’m sure no recent professional production would have escaped me. (but see more in the Appendix below)

One of the problems with this assumed Shakespeare-modelled piece has been the tendency among English-speaking people to scorn any treatment of their great dramatist’s works by foreigners who don’t understand the essential character of Shakespeare’s plays. They forget that Shakespeare invented almost none of his plots, but drew them from many sources, as did almost everyone then, and would still do today if it weren’t for the literary impediments and excesses of the Law of Intellectual Property. Shakespeare’s main sources for the plays were Holinshed’s Chronicles of British history, classical historians like Plutarch and a variety of recent plays, poems and novelle from France and Italy. The latter creations account for Romeo and Juliet.

That is not to denigrate the extraordinary genius of Shakespeare who clothed them in rich and marvelous language, fully developed charcterisations, vivid dramatic situations, wit, irony, pathos and delight in the sheer virtuosity of his imagination, that turned dry raw material into the richest and most amazing literary creations.

Medieval origins of the story
The story, that no doubt had its origins in anonymous oral myth in the earlier Middle Ages, took written form from the 14th century, through Boccaccio, Bandello and others. Bellini’s librettist, Romani, had originally written his libretto (Giulietta e Romeo) for Nicola Vaccai in 1825, the story adapted from an earlier libretto by Giuseppe Maria Foppa for a 1796 opera by Zingarelli. (There is the curious story that certain singers, Malibran and Pasta inter alia, demanded the Vaccai version of the last act instead of Bellini’s).

These Italian librettists were probably using the Italian sources, as Shakespeare did not begin to be translated into other languages till around 1800. One of the first to translate Shakespeare into Italian, starting from 1811 was Michele Leoni and his translation of Romeo and Juliet was published in 1814. Romani could have known it.

So here’s a slender connection with Shakespeare. Michele Leoni’s translation and a separate Italian play by Scevolo, of 1816; both appeared before 1825 when Romani wrote his libretto for Vaccai. But the fact that there’s almost no trace of the Shakespearean story or language in Bellini, makes Shakespeare an unlikely source.

That is a long way of saying that Bellini’s librettist, Romani, had a much greater range of Romeo and Juliet stories to draw on than Shakespeare had. English literature need not feel demeaned by any sort of corruption of the great Shakespeare’s work in the Bellini account of the story.

Guelfs and Ghibellines; Campbells and MacDonalds
The other historical element in the story is the allegiances of the two families to actual long-standing factional warfare that had blighted Italy for centuries, between Guelfs and Ghibellines (the Capulets adhered to the Guelfs while the Montagues were Ghibelline); the feud was driven by the overarching political and ecclesiastical forces of the late Middle Ages – supporters of the Pope (Guelfs) and supporters of the Holy Roman Emperor (Ghibellines). The various states of Italy were ruled by one faction or the other; some were happily neutral. And these warring parties continued to bring grief to many parts of the country for centuries.

To be aware of these perpetually feuding elements is to help understand the viciousness and implacability of the hatred between Capulets and Montagues. (Look up accounts of the Guelfs and Ghibellines – Wikipedia is a good place to start).

To these dualities, Rhona Fraser added another, reflecting perhaps Scottish, family antecedents: warring clans, the Campbells and MacDonalds, replaced Capulets and Montagues. Thus the Capulets wore the Campbell kilt while the Montagues wore MacDonald tartan; though in truth nothing much was made of the geographical and ethnic shift.

However, to be aware of all the historical, textual, political and factional background to the opera hugely enlarges the fascination of the work.

See the Appendix to this review for more detailed account of the story’s antecedents, both of Shakespeare and of Bellini, and other peripheral stuff.

Turning seriously to Capuleti e Montecchi
This was the tenth production from Rhona Fraser and Co’s Days Bay opera enterprise. We happy band of Wellingtonians can be grateful for these sometimes more than once a year opportunities to discover delights of out-of-the-way opera repertoire. For the first time this production was in the house at Days Bay which managed to accommodate over 100 completely filled seats in the interestingly disposed living areas.

A first-rate cast was assembled. Bianca Andrew in trouser role of Romeo and Katherine McIndoe as Giulietta, Barry Mora at the patriarch Capellio (a stark contrast to Shakespeare’s conciliatory, rather human, Capulet!). What a formidable challenge Mora presented straight away, his voice and his very presence chilling in their power and authority. Nor was his de facto lieutenant, Tebaldo, less dangerous: Filipe Manu, who was runner-up in last month’s Lexus Song Quest. His younger, polished voice captured his angry inflexibility, and we tremble at the improbability of negotiating any sort of peace, given that Romani’s Tebaldo is even more filled with insane hate as is Shakespeare’s Tybalt.

But the third party in the opening scene was William King as Lorenzo: here it’s not Friar Lawrence, but the family doctor, Dr Lorenzo, which makes his later familiarity with potions and poisons rather more credible. His role is integral in the story from the start, and his singing and acting make the situation more interesting than the unmitigated hostility, emphasis much more on revenge and the killing of each other, that Shakespeare delivers. Sort of a UN Secretary-General mediating between Assad and Netanyahu.

And we note, perhaps with a certain relief, that we only have to get five roles identified, compared with the dozen or so in Shakespeare. We have no Montagues apart from Romeo himself (and he is disguised as a Capulet/Campbell).

Behind it all was producer and founding genius Rhona Fraser, this time directly in charge of the staging generally. If one had wondered how effective an attempt at staging would be in the somewhat constrained space in the house, the arrival of the first singers left no doubt. The shape of the rooms and their furnishings proved as convincing as any theatre stage, and use of tartan meant no need for elaborate Renaissance costumes. Props were limited to a few knives or swords, and dozens of candles along with subdued lighting removed us to a different time and place.

Though Romeo’s first appearance is as an anonymous envoy suing for peace between the ancient enemies. Romeo has already killed Capulet’s son, in a situation of ‘warfare’ (in which killing is not necessarily a crime). Trouser roles have become pretty familiar over the years as more and more operas of the 18th century, and quite a few later, are uncovered (and after all, Octavian in Rosenkavalier and the Composer in Ariadne auf Naxos are cases). Even with her fairly high mezzo voice, Bianca adopted with total conviction her role as a strong, energetic, attractive young man which somehow made Romeo a genuinely conciliatory figure.

But Tebaldo wants blood. Romeo’s moving and placatory appeal for peace is accompanied by Hayden Sinclair’s clarinet which seems a symbol of reconciliation, but his plea is scorned. For apart from Rosemary Barnes’s piano, the only instruments used, most tellingly in their isolation, are the clarinet and Greg Hill’s French horn which then, and at points later seemed to provide the very timbre that evoked the essence of an orchestral accompaniment.

It becomes a high-tension trio, and its absolute integrity and balance through contrast, and the tension it creates made me feel that this was a performance that could support a fully staged, professional production.

The poignant sound of the horn introduced the recitative before Giulietta’s great, heart-felt aria, as she stood visible, behind a glass door, leading to the heart-breaking ‘Oh! quante volte’. Then, though the pair have met before, unlike the encounter at the Capulets’ ball in Shakespeare, Lorenzo enters with Romeo; and that leads to the beautiful love duet, the two, soprano and mezzo, both looking and sounding enchantingly beautiful, to a degree I’ve rarely experienced. It was intensified by the closeness of audience to performers.

The wedding ceremonies preparation demanded rather more space and numbers than were possible but the appearance of Romeo and Lorenzo together, with differing ideas about tactics sustained the agitated emotion: Romeo’s followers are about to storm the wedding, Romeo reveals his identity as Tebaldo’s rival for Giulietta’s hand, and it’s all on. And again, in spite of space constraints and smallness of chorus numbers, the drama was undiminished. Again Romeo failed to persuade Giulietta to escape with him.

Unlike in Shakespeare, for Romani and Bellini the couple’s great passion is not enough to overcome Giulietta’s fears and family loyalty, and finally, in Act II, Doctor Lorenzo’s remedy is the death-seeming potion to avoid being taken by force to Tybalt’s house. As her father arrives she finally takes it; there were further confrontations between Tebaldo and Romeo which end in the hearing of what is supposed to be funeral music which, for one of the very few occasions, the piano alone seemed inadequate. But it caused the two rival lovers strangely to unite in their common loss. Capellio’s implacability remains till the very end however, and there’s no coming together of the two families. The sequence of events leading to Romeo’s suicide and Giulietta’s awakening just seconds too late, were among the few elements in the tale where English play and Italian libretto came together.

The scene, beautifully lit with candles, moved slowly, demanding long-sustained stillness and almost mesmerizing effects that transfixed the audience.

I doubt whether there was anyone in the house who left with the feeling that this opera had offered an experience that was less powerful and convincing than Shakespeare’s, even though only a fraction of the words was employed. It certainly put this opera in the same class as Norma, and for me ahead of Sonnambula and Puritani.

Appendix

Italian origins of the story
The Romeo and Juliet story comes from an Italian story that was handled by several writers from the 14th century onwards.

The earliest traces of the story are in Boccaccio’s mid-14th century Decameron (III,8 and X,4) and an anonymous tales of two lovers called Leonora de Bardi and Ippolito Bondelmonti. They may have been the sources for the novella by Masuccio Salernitano published in 1476, about two lovers in Siena, Mariotto and Ganozza.

But the story takes something of its Shakespearean shape with the novella of Luigi da Porto about 1524 where the lovers are named Romeo and Giulietta, respectively members of the Montecchi and Capuleti families who inhabit Verona.

The drama then moves to France where Adrien Sevin in 1542 published a tale clearly indebted to Da Porto, though given a pseudo ancient Greek setting.

Then an Italian, Gerardo Boldieri, published a poem in 1553, introducing several innovations.

And in Lucca the next year Matteo Bandello published a Novella in the style of Boccaccio’s Decameron. Bandello drew on Da Porto with borrowings from the story of Leonora and Ippolito as well as from Boldieri.

This, together with five other Bandello stories were translated into French by Pierre Boaistuau in 1559, and that was adapted and translated in a long English poem by Arthur Brooke, published in 1562; and then a prose version by William Painter in 1567.

It is believed that Shakespeare knew both versions but based his play primarily on Brooke.

(Much ado about Nothing and Twelfth Night as well as Webster’s Duchess of Malfi were also based on Bandello’s stories, via Brooke).

Origins of the story in Italian opera
As for the origins of the story in Italian opera, the first opera libretto was probably by Luzzi for Marescalchi (1785, Venice), then Foppa for Zingarelli (1796, Milan), and Buonaiuti for Pietro Carlo Guglielmi (1810, London).

Felice Romani had written a libretto in 1825 called Giulietta e Romeo for composer Nicola Vaccai. (Vaccai’s career has been the subject of musicological research by Wellington’s opera and literary scholar Jeremy Commons). Romani’s libretto for Vaccai’s opera was probably based on the play of the same name by Luigi Scevola, written in 1818, and/or on Giuseppe Maria Foppa’s libretto for Zingarelli of 1796, the ultimate derivation of which was the Salernitano version from the 15th century, referred to above.

First translations into Italian
They were doubtless using the Italian sources, as Shakespeare did not begin to be translated into other languages till around 1800.
However, Michele Leoni was one of the first to translate Shakespeare into Italian, starting from 1811 and his translation of Romeo and Juliet was published in 1814, so it is very possible that Luigi Scevola’s play of 1818 drew on that translation though that is not based on any textual examination, and that Romani was influenced by it, for both Vaccai and Bellini. (An entry in Wikipedia declares simply that Romani’s libretto was based on Scevola’s play).

The first Italian libretto explicitly based on Shakespeare’s play did not appear until 1865; it was by Marco Marcello, for composer Filippo Marchetti’s Romeo e Giulietta first given in Trieste.

Bellini in New Zealand
I was curious to look at the early history of Bellini productions in 19th century New Zealand, to find Sonnambula by far the most frequently staged – seven productions between 1864 and 1881, and then none, and none in modern times, followed by Norma (and Canterbury Opera did that in 2002) and a couple of Puritanis in the tours of the 1860s and 1870s.

But no sign at all of I Capuleti, or of any of the other Bellini operas, like Il pirata, or La straniera. While we have been awakened to 18th century opera, and earlier – Monteverdi and Cavalli – Bellini has not had the same attention as Donizetti, understandable when the latter composed about seven times as many operas as Bellini.

Today, worldwide, things are not very different. Bellini is not among the most performed composers by any means as attention still dives deeper into the 17th and 18th centuries. London’s Opera magazine index of reviews for last year recorded Norma first, Puritani second and Capuleti and Sonnambula, with just one or two each. There was also one review of La straniera.

A night in Hanover 2003
It also helped that I’d seen it before, once in 2003 in Hanover, where I’d heard the conductor’s introductory talk where in which he described the Italian, non-Shakespearean origins of the story. The production was in some ways a characteristic, wilful German reinterpretation, but re-reading my account, as recorded in an article in New Zealand Opera News, it’s clear that I enjoyed and was moved by it. I found the striking black and white costumes arresting (still the fashion colour for today’s stage designers): Romeo, black and Giuletta, white, in the gorgeously sung love scene; and I remarked that the opera captured the character of the inter-tribal feud more poignantly than Shakespeare.

A friend who’d seen the 80s production at Covent Garden, full of top singers, asked me about the singers at Hanover; I couldn’t remember. As with most of my opera excursions in Germany and France I don’t look primarily for famous singers, but seek operas I don’t know, and opera houses, for their own sake. However, the two principals were Ina Kancheva (Giulietta) and Christiane Iven (Romeo).

But you need to dip into the Shakespeare for only a moment, as I was doing writing this, for any sort of one-dimensional comparison with Bellini to be ridiculous. One is totally seduced by the fluency, richness and wit of Shakespeare’s language, his imagination, the emotional and intellectual complexity of the interactions between his so subtly portrayed characters. And did you hear in the interval of a BBC Proms broadcast on Radio New Zealand Concert, a marvelous discussion between the BBC presenter and a Shakespeare actor (whose name I didn’t get), on Tuesday evening (30/8), just before despatching this? Finally, he delivered a spectacular speech from Henry VI Part 3 (I think; I’ve emailed RNZ Concert for help identifying). One wept in astonishment.

 

 

‘Singers to listen for’: “A long way to hear singing as good as this”

Posted on by Rosemary Collier

Rotary Club of Wellington and Kiri te Kanawa Foundation

‘Singers to listen for’, compèred by Rodney Macann

Jonathan Abernethy (tenor), Anna Dowsley (mezzo-soprano), Katherine McIndoe (soprano), Jarvis Dams (baritone), Terence Dennis (piano)

St. Andrew’s on The Terrace; 6.pm for 7.15pm

Friday, 26 August 2016

Advertised on RNZ Concert like any other concert, it was in fact not at all.  It was a fundraiser for Gillies McIndoe Research Institute (for cancer research) and the Kiri te Kanawa Foundation.  A similar event had been held last year.  The early part of the evening was taken up with chat, drinks and canapés, before the music started at 7.15pm.

Rodney Macann was a genial and knowledgeable MC, and Professor Terrence Dennis the incomparable accompanist.  Jonathan Abernethy and Katherine McIndoe are graduates of Victoria University and Jarvis Dams is still a student at Waikato University.  With the exception of an item by Berlioz and perhaps the Delibes aria, this was a ‘top of the classical chart’ concert, but none the worse for that; these items are popular because of their outstanding melodies, sentiments and sheer musical quality.

First up was Mozart’s Magic Flute; Tamino’s wonderful aria ‘Dies Bildnis ist bezaubernd schön’.  Jonathan Abernethy has a rich, powerful, dramatic tenor voice, and he was fully up to not only the musical demands of the piece but also the emotional and expressive character.  Meanwhile Dennis impressed me with his astonishing ability to never be merely in the background of the performance, yet always allowing the singer to be in the foreground.  The piano lid was held on the short stick, appropriate for accompanying singers.  This was a glorious performance.

Jonathan’s partner, Australian Anna Dowsley, has not been to New Zealand before.  Like Jonathan, she is a singer with Opera Australia.  Staying with Mozart, she sang ‘Non so più’ from The Marriage of Figaro.  This was a fast, but assured performance, by a lovely voice.  She gave us the drama of the piece in full measure. Terence Dennis made the accompaniment more interesting than I’ve ever heard it on the piano.  In this and many of the other arias, the singers did not stand stock still as in a recital, but moved around the platform.

Back to The Magic Flute, for the duet between Pamina and Tamino: ‘Bei Männern’, from Katherine McIndoe and Jarvis Dams.  Katherine’s voice is placed well forward; Jarvis’s less so.  The soprano sang just a shade under the note occasionally, but this disappeared as the programme progressed.  Both have warm tone, and they made a lovely job of the duet.

Another Mozart favourite is the trio ‘Soave sia il vento’ from Così fan Tutte.  The two women’s and Jarvis Dams’s voices were well matched and they sang in perfect cohesion in this most beautiful trio.

Rossini’s popular comic opera Il barbiere di Siviglia gave us Anna singing Rosina’s aria ‘Una voce poco fa’, as the heroine thinks of her beloved Lindoro.  From the same opera Jarvis, as Figaro, sang ‘Largo al factotum’ in fine style.  Anna’s is a rich mezzo voice, but perfectly under control.  She floated it so agilely, it made for an astounding performance.  Jarvis began off-stage; his voice was well-coloured, and his production seemed effortless.  He made great use of the Italian words.  Sometimes he was a little too loud for this very lively acoustic.  His enunciation of the tongue-twister ending of the aria was phenomenal!

To a different mood; Gounod’s Faust was represented firstly by Jonathan singing a meltingly beautiful ‘Salut! demeure chaste et pure’.  His tenor voice is utterly right for this role.  He injected plenty of feeling into this intensely romantic aria, addressed to Marguerite by Faust, and his high note was glorious.  Katherine McIndoe put the required innocence into her well-characterised rendition of the ‘Jewel Song’.  She employed a range of dynamics to magnificent effect, and her French words were exceptionally clear.

Now to something less familiar: from Berlioz’s The Trojans.  ‘Nuit d’ivresse’ is a duet sung by Dido and Aeneas in Carthage; in this case, by Anna and Jonathan.  Together they sang, calling on their dramatic abilities to great effect, even though lacking set and costumes.  The accompaniment, as always, set the scene though the excellence of Terence Dennis’s representation of the orchestral score.  The singers both sustained beautiful tone marvellously well.  It was a splendid performance of a lesser-known duet.

Bizet’s The Pearl Fishers has one exceedingly popular number; before we got to that, though, we had the aria ‘L’orage s’est calmé’ sung by Jarvis as Zurga.  This was a mature and very fine interpretation, although the tone was just a little harsh at times.

We moved from the former Ceylon to India, with the opera Lakmé by Delibes.  Here was the famous duet for the two women (for some time a number of years ago it was used to sell cars) with its delicious interweaving harmonies.  Rodney Macann explained that these two singers had only met the previous day, yet they were so professional, it sounded as though they had sung together many times, such was their cohesion and matching tone; they gave a very fine, in fact almost immaculate performance, with exquisite phrasing.

To end the musical programme (well, not completely), the famous duet was sung: ‘Au fond du temple saint’.  There is nothing to say about it except that it was outstanding.  The two male singers were simply superb.  As Rodney Macann said more than once, the hearers would have to go a long way to hear singing as good as this.  Congratulations to all concerned!

A number of encores were performed, the first a light opera-style piece for soprano, by John Drummond, recently retired professor of music at the University of Otago.  I missed these, on account of another engagement.

 

 

 

Polished guitar music from Poland, New Zealand and Japan from St Andrews

Posted on by Rosemary Collier

Wednesday Lunchtime Concerts

Jane Curry and Owen Moriarty (guitars)

Works for guitar duo by Marek Pasieczny, Maria Grenfell and Anthony Ritchie

St. Andrew’s on The Terrace

Wednesday, 24 August 2016, 12.15pm

Jane Curry introduced this recital by making generous remarks about the dedication and hard work by the year-round organisers of these important lunchtime concerts, Marjan van Waardenberg and the church’s administrator, David Medland.

Having a couple of highly competent guitarists performing means relaxing, knowing that even complex music will be reproduced faithfully, sensitively and accurately.  In this case, the programme consisted of innovative, recent compositions.

The first, Sakura No Hana Variations took its melody and inspiration from Japan, but was written by a Polish composer, who has been to New Zealand.  Many different sounds of a percussive nature were produced from the instruments, not only knocking on the wooden body.  Based on the pentatonic scale, the music brought out the melody well.  It was soothing in character, yet stimulating in places.  The variations involved not only the plucked melodies and percussive sounds, but also strumming.  Mostly, the music was quiet.  The variations introduced distinct melodies, related to, but not the same as, the main melody played at the beginning.

One of the ‘extended’ techniques employed was plucking the strings above where the fingers of the left hand were depressing the strings to produce notes.  The scope of the composition was surprising, given the limitations of the pentatonic (five-note) scale.

Dunedin composer Anthony Ritchie has written music in a great many different genres.  The Pas de Deux was written in 1992, and consists of a series of five dances.  The first movement, ‘Prelude’ was a lovely alternation between loud and soft passages, with a final note splendidly sustained.  I had some difficulty establishing where the break between this movement and the next was, or was it between II and III?  My colleague confessed to the same problem when I consulted him.

However, what appeared to me to be the second movement ‘Au revoir’ was dreamy and gentle.  What may have been ‘Jeux’, the third movement, was a loud, twanging interlude, while the ‘Waltz triste’ (‘Valse’, surely?) was quite playful right from the start, with brief melodies that fell one on top of the other.  The final movement, ‘Epilogue’, (if I am correct) began rather dolefully, concentrating on a few low-pitched strings, before becoming smooth and flowing.  All in all, the music was attractive and interesting, and played absolutely superbly.

Maria Grenfell is a New Zealand composer currently resident in Australia where she teaches at the Conservatorium of Music of the University of Tasmania.  Her piece was titled Di Primavera.  She arranged it from the earlier version for guitar and marimba, specifically for Curry and Moriarty.  Curry took the part written originally for marimba, while Moriarty played the guitar part.  On a rather cold day, it was a hopeful sign to be thinking about spring.

The first movement was lively and rapid, while the second was overall more gentle, but spiky, too.  The final one was bouncy, alternating in mood and between the players, with a wide dynamic range, and a sudden chord to end.

The concert was rather too long; the Grenfell work ended at 1pm, the usual time for the close of the lunchtime concert.  Quite a number of audience members had to leave at this point.

However, we then met Marek Pasieczny again, in his Polish Sketches, the work being based on Polish folk music.  The first piece, titled ‘Majestically’ and inspired by the Polish dance the mazurka, was rhythmic and attractive.  ‘Stealthily’, like its predecessor, employed a variety of techniques, including rhythmic drumming on the instrument.  It ended with an exclamation.

‘Lively’ was indeed that; one could hear clearly the song melody on which it was based., along with its rhythmic accompaniment.  ‘Joyfully with blustering’ was inspired by a ‘furious polka’; it gave a snappy ending to a delightful sequence.

To end, we heard Pasieczny’s arrangement of ‘Pokarekare Ana’.  It was a charming iteration of the well-loved melody.  Interesting harmonies made one listen; the endings of phrases of the melody disappeared into these unexpected harmonies.

Here was a recital by highly skilled performers in complete unanimity with each other and with their instruments.

 

 

Don Giovanni scores impressively in performance by Eternity Opera’s second cast

Posted on by Lindis Taylor

Don Giovanni by Mozart
Produced by Eternity Opera: producer Sandra Malesic
Conductor: Simon Romanos; stage director: Alex Galvin
(Sung in English translation by Edward Dent)

Sixteen-piece orchestra, led by Douglas Beilman
Cast in order of appearance: Nino Raphael, Orene Tiai, Amanda Barclay, Derek Miller, Chris Berentson, Hannah Catrin Jones, Emily Mwila, Charles Wilson

Hannah Playhouse (former Downstage Theatre)

Wednesday 24 August, 7:30 pm

When I arrived at the theatre at 7pm, I was surprised (and delighted) to find a box office queue out to the street. Though it proved to be largely because there was only one person handling both sales and the collection of already purchased tickets, it did show that the production had attracted high interest, and indeed by 7.30, there was scarcely an empty seat in the house.

This was the first evening at which a second cast was engaged – all except the Zerlina of the brilliantly cast Emily Mwila, who’d sung in the first cast too. The other singers this evening were rather the covers for the first cast, though each cast served as the chorus for the other; thus all were on stage for all performances.

It confirmed the success of the implicit intention expressed in the programme booklet: that here was a new opera company that sought to reach a wide audience with productions that were exciting and accessible to all, and reasonably priced.

The staging, costuming, orchestra
One can sense an audience that’s expecting to have a good time, almost through the sounds of their breathing; they were lively and responsive, ready to laugh generously at the least excuse; few operas offer as many opportunities as this. Which was a happy situation since the orchestra was tasked with creating a Mozart accompaniment from a very reduced score that was rather remote from the spirit and elegance of the original. (I could find no acknowledgement of the arranger in the programme; assume it was music director Romanos). Though the one-to-a-part strings presented a challenge in terms of orchestral warmth, I was glad that pairs of clarinets and bassoons were employed – instruments Mozart took special pleasure in. Any deficiencies in orchestral opulence were compensated by a sort of youthful energy and gusto, and also demonstrating sensitivity to the singers’ needs.

An imaginative stroke was to use guitarist Christopher Hill to accompany recitative, and to become the mandolin for Giovanni’s serenade.

Ignoring the music for a moment, the next thing was sets and costumes. The former were elementary, consisting of a dark back wall with door, and an upstairs balcony for Giovanni’s hurried first-scene exit from Donna Anna bedroom, and for Donna Elvira’s maid to be proxy-serenaded in the Act II costume swap between the Don and his servant; and dramatically useful curtains at the sides. The costumes on the other hand approached authenticity, sometimes richly, and so contributed hugely to the luminous hilarity of the staging that often depended on forced economies, near-misses of characterization.

The hand of an experienced stage director, Alex Galvin, was clear, often coming to the aid of singers whose vocal talents needed a certain support from meaningful acting and interaction.

Singers, seduction and swordsmanship
That opening scene is the devil though; virtuosic acting and singing is demanded straight away, and split-second timing. One hopes for a convincing sword fight; this consisted of just a couple of thrusts and the almost immediate dispatch of the Commendatore by Excelencia Don Giovanni (New Zealand’s weapons of choice these days are clearly not swords, noting the variety of devices employed in our daily murder cases).

It didn’t all work perfectly, for it’s so hard to fit words to action and the disposition of the singers. For example, Anna in the opening scene claims her intruder is threatening her, when in fact the Don by then is trying to escape; such things can often be explained – here for example, as part of Anna’s continuing effort to construct a rape scene for the sake of her reputation (though I don’t share that explanation of the situation).

Anna was sung by singing lawyer Amanda Barclay (who rather failed to explore all the remedies that might have been available to one schooled in the law); but here, her singing and acting were energetic and accurate and in her later appearances she confirmed her grasp of the complex nature of the role.

Her sexual abuser was Orene Tiai who has been singing successfully for a decade or so (I recall him early in his career, in the 2007 Tales of Hoffmann staged by Wellington G&S Light Opera). Larger than life, a warm, big voice, and acting that was perhaps just a little too plebeian for his role as local potentate-cum-rake.

Nino Raphael (NZSM alumnus) sang Leporello; he was dressed more like the Don’s gardener than as his man-servant; he is usually presented as the equivalent of Figaro: his master’s equal in all but wealth and power. His broad asides were in keeping with the more menial character, slightly lop-sided, and his acting, though lively enough, would better have fitted one of Shakespeare’s ‘mechanicals’. His singing matched that character well enough and later, his Catalogue aria appalled and amused cast and audience alike.

Donna Anna’s usually pathetically-portrayed lover, Don Ottavio, was sung by tenor Chris Berentson, another G&S stalwart. Though there was no announcement to the effect, I had to assume that he was struggling with a vocal problem as his voice was troubled; his ‘Dalla sua pace’ was omitted but he did sing, as well as could be expected given his vocal condition, the rather more taxing ‘Il mio tesoro’ in the second act, which is what Mozart substituted for a better tenor at a later, Viennese, performance. On the other hand, he acted the role with convincing, dead-pan, bloodless dignity, white costumed and every inch the honourable version of the aristocrat (in somewhat marked contrast to Don Giovanni).

Italian or English
And here I must confess to a little disappointment with the use of English (even in the version, now a little dated, by the distinguished Edward Dent). Any of the trained singers would have known all the main arias and ensemble pieces in Italian, and one felt a bit deprived without that aspect of a package of sound where words and music are so inseparable. But I know surtitles cost, and that for many of the audience, English would have helped. Diction naturally varied, but the English words were generally comprehensible.

Then there was the Commendatore of Derek Miller, an experienced singer, mainly in the Gilbert and Sullivan mold; again, there was some gap between his brief singing and acting – mainly dueling – and the timing and performance demands of his last few minutes on earth. He seemed at a loss in his confrontation with his daughter’s alleged rapist; here and at many places, more rehearsal with both stage and musical directors might have put the pieces together better (though I doubt that swordsmanship is a major part of singers’ training these days).

In that scene we encountered Donna Elvira, now, in contrast to Anna, fully dressed, wearing a rather gorgeous dark floral brocade gown. Hannah Catrin Jones, like the other Donna, revealed a good, well-projected voice, expressive and quietly passionate, but without a great deal of dynamic variety; later, in her intercession to defend Zerlina against the Don’s scoring another notch in his belt, she sang and acted with flair, only her top a little unrestrained. One looked forward to Elvira’s great aria ‘Mi tradi quell’ alma ingrata’ in the last scene, and it came off splendidly.

Defending Zerlina
That brings us to Zerlina, sung by Emily Mwila in both casts. She was the quintessentially flirtatious, spunky, all too ready to fall in with Giovanni’s plans that involved marriage and status and a life-time of faithful loving. And she’s not altogether pleased at Elvira’s interference. It was a high point of the show.

Throughout, the small orchestral ensemble does interesting and illuminating things, warmly supportive, and it was good to be able to pick them up at times, such as the cello solo after Zerlina’s ‘Batti, batti o bel Masetto’, and following woodwind echoing.

Zerlina’s lover was sung by Charles Wilson and he too was well cast, acting almost too well the humourless, powerless, put-upon, about-to-be-betrayed fiancé. For some reason Masetto doesn’t engage our sympathy much, and Wilson manfully (shall we say) exploited his role as the ritually laughed-at cuckold, a stock character from Greek and Roman comedy, and the Renaissance.

The final scene can be one of the great operatic experiences, but a lot of elements need to be right. A carefully crafted Giovanni/Leporello relationship is vital, but the rustic character of the servant somewhat militated against the suppressed hilarity and the conflicted feelings we have for the Don’s inevitable fate.

There’s only a limited role for the small, effective chorus. But a very important role for orchestra. As I note above, there was much to be grateful for, but the balance of tone and style between limited strings and winds suggested that singers and players could have benefitted from more rehearsal together. More time was needed for the integrity of the orchestral reduction to be properly absorbed by both.

However, let me not be misunderstood. An enterprise like this must be enthusiastically welcomed; it provides a little of the vital intermediate stage to a professional career that is almost entirely absent in New Zealand. One keeps hoping that one of the groups that arise from time to time will survive and flourish, and become professional, just as the De La Tour Opera of the 1980s turned into Wellington City Opera.

Onwards towards professional opera again
For Wellington now has no professional opera company. In spite of initial assurances of even-handed division of work between Auckland and Wellington when the two companies merged in 2000, Auckland has slowly absorbed everything, leaving Wellington as mere recipient of New Zealand Opera ‘touring performances’.

Let me recall that through its some 16 years of life Wellington City Opera staged about 34 productions, more than any other city over that period, and about the same number that New Zealand Opera has staged in Wellington in the past 16 years.

Over the past decade or so many groups have staged opera in Wellington; they come and they go. Essential to survival are determined management with the personal skills capable of winning funding, and pursuing sensible, adventurous artistic aims. Eternity Opera could be it. At least their name and this initial performance offers a pointer.