Thursday, December 27, 2012

REVIEW: Merrily We Roll Along (London)

Menier Chocolate Factory (London), Saturday December 22

On to the 5th show of my 14 shows in 13 days marathon. Merrily We Roll Along is based on the play by Kaufman and Hart, this musical by Stephen Sondheim and George Furth charts the complex relationship between Franklin, Charley and Mary, from 1980 and then backward in time. Believe it or not, the musical was a flop and ran on Broadway for 16 performances only when it opened  in 1981! I have never seen a production of Merrily, yet I feel that I know the musical well as it has several well-known songs. Everytime I go to London, I rely heavily on the Official London Theatre website for all the listings, but for some reason, it didn't list this show at the Menier Chocolate Factory; but thanks to my friend Sandra, no opportunity missed!

For this production, triple Olivier award winner Maria Friedman makes her professional directorial debut at the Menier (interestingly, she was in this same musical 20 years ago). Overall, The production is a confident one from someone who understands Sondheim. There is a great sense of clarity not only in how the story was told, but also how music and words were communicated with precision without losing expression and emotion.  Just like a lot of the productions in Menier, set designs are kept creatively simple and for Merrily, Soutra Gilmour did just that. The Frank Stella art piece on the wall communicated period and made sense at the start of the show, but looked a bit too expensive as the cast became younger. If there is one thing that really bothered me was the hair and make-up. Most noticeable was the very very bad wig of Damian Humbley, playing Charley Kringas. Everything about his wig was wrong from color to fit. Considering that the show portrayed 20 years of characters' life, funny enough, their hair and make-up didn't change a single bit.

Playing the role of Franklin Shepard was Mark Umbers and he was absolutely fantastic. Franklin Shepard was not a likable character, but because Umbers managed to be charming and good looking, it made sense why he was able to keep his friends loyal to him. Damian Humbley's Charley was passionately and sincerely geeky... his desperation and frustration were heart-felt. Jenna Russell gave a touching performance of Mary Flynn, a character that is silently in love with Franklin and who has turned to alcohol to numb her pain. Other beautiful performances from the very competent company were Josefina Gabrielle as the stage star Gussie Carnegie and Glyn Kerslake as the ex-husband  and ex-producer Joe Josephson.

This is not the best musical in London right now, but for me, it is the most meaningful one. The musical still has its problems, but I would imagine that this is already an huge improvement from the original. As of this writing, this production has received very good reviews that it has already announced an extension of two more weeks to 9th March 2013. Good for Sondheim and good for Friedman!
Merrily We Roll Along
Menier Chocolate Factory
Opened on November 16 2012
Based on the play by Kaufman and Hart
Music and Lyrics by Stephen Sondheim
Book by George Furth
Originally directed on Broadway by Harold Prince
Originally opened on November 16 1981 at the Alvin Theatre
Creative Team: 
Direction - Maria Friedman
Design -  Soutra Gilmour
Lighting Design - David Hersey
Sound Design - Gareth Owen
Musical Supervision & Direction - Catherine Jayes
Choreography - Tim Jackson
Orchestration - Jonathan Tunick

Cast includes:
Damian Humbley - Charley Kringas
Jenna Russell - Mary Flynn
Mark Umbers - Franklin Shepard
Josefina Gabrielle - Gussie Carnegie
Glyn Kerslake - Joe Josephson
Matthew Barrow
Martin Callaghan
Clare Foster
Samantha Mercer
Noah Miller
Amanda Minihan
Kirk Patterson
Amy Ellen Richardson
Ashley Robinson
Tommy Rodger
Robbie Scotcher
Zizi Strallen
Joseph West
Joanna Woodward

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REVIEW: Singin' In The Rain (London)

Palace Theatre (London), Friday December 21

On to the 4th of my 14 shows in 13 days marathon. Singin' in the Rain, the musical is an adaptation from the 1952 movie of the same name. With a book by Betty Comden and Adolph Green, lyrics by Arthur Freed, and music by Nacio Herb Brown, the story is about the waning days of the silent screen era. It focuses on romantic lead Don Lockwood, his sidekick Cosmo Brown, aspiring actress Kathy Selden, and Lockwood's leading lady Lina Lamont, whose squeaky shrill voice is a disaster-in-waiting for talking pictures.

Interestingly, the first adaptation was actually directed by no other than the star of Scrooge Tommy Steele and choreographed by Peter Gennaro. It opened on June 30, 1983 at the London Palladium. The only time I saw it on stage was when an Australian production directed by David Atkin came to Hong Kong and performed at the Academy of Performing Arts - Lyric Theatre. I remember liking it... there is something about technical wonders on stage e.g. flying (in Peter Pan) or falling chandelier (in Phantom of the Opera) or landing helicopter (in Miss Saigon) that makes a musical memorable... In the case of Singin's in the Rain it is the rain!

This version, directed by Jonathan Church and choreographed by Andrew Wright, boasts a really polished production and very good leads. Adam Cooper (created The Swan of Adventure in Motion Pictures' Swan Lake), playing Don Lockwood, was not only a great dancer, but his singing was actually not bad at all! He was the perfect musical romantic lead. Playing his best friend, Cosmo Brown was Daniel Crossley. He was engaging and funny... though I have to say that I was disappointed that he didn't do the signature run-up-wall backflip in the number Make 'Em Laugh. Scarlett Strallen was feisty yet elegant Kathy Selden. Katherine Kingsley made the most of the role Lina Lamont and was hilarious. 

The rain sequence was an absolute thrill with every splish and splash onto the audience drew laughter from the dry ones. It was then repeated at the end with the whole cast. Choreography-wise, it was classic Hollywood... pretty but standard. Overall, it was very good entertainment.
Singin' In The Rain
Preview from 04 Feb 2012
Opened on 15 Feb 2012
Palace Theatre
Creative Team: 
Composer/Lyricist - Nacio Herb Brown & Arthur Freed
Director - Jonathan Church
Choreographer - Andrew Wright
Designer - Simon Higlett
Lighting Designer - Tim Mitchell
Sound Designer - Matt McKenzie
Musical Director and Supervisor - Robert Scott
Video Designer - Ian William Galloway
Orchestrations - Larry Wilcox
Orchestrations - Larry Blank
Producer - Stage Entertainment
Producer - Chichester Festival Theatre
Cast includes:
Don Lockwood - Adam Cooper
Cosmo Brown - Daniel Crossley
Kathy Selden - Scarlett Strallen
Lina Lamont - Katherine Kingsley
R F Simpson - Robert Powell
Dora Bailey/Miss Dinsmore - Sandra Dickinson
Roscoe Dexter - Peter Forbes
Production Tenor/Dialect Coach - David Lucas
Olga Mara/Broadway Ballet Girl - Kelly Ewins-Prouse
Rod - Brendan Cull
Zelda Zanders - Nancy Wei George
Ensemble/Sid Phillips - David Birch
Swing - Danielle Crockford
Swing - Matthew Croke
Ensemble/Production Secretary - Jennifer Davison
Ensemble/Mary Margaret - Flora Dawson
Assistant Dance Captain/Ensemble - Jaye Juliette Elster
Ensemble/Policeman - Luke Fetherston
Dance Supervisor/Assistant Choreographer - Gemma Fuller
Ensemble/Workman - Francis Haugen
Swing - Daniel Ioannou
Ensemble/Coffee Vendor - Peter Le Brun
Ensemble/Make-up Artist - Charlie Martin
Ensemble/Clyde - Scott Mobley
Ensemble/Stripper - Gillian Parkhouse
Ensemble/Lady In Waiting - Sherrie Pennington
Ensemble/Flirty Girl - Lisa Ritchie
Ensemble/Sam - Jack Wilcox
Young Don - Jamie Kaye
Young Cosmo - Tommy Keeling
Young Cosmo - Alex Larder
Young Don - Richard Linnell
Young Cosmo - Jack Firman Pope
Young Don - Callum Wilsher

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Wednesday, December 26, 2012

REVIEW: Viva Forever! (London)

Piccadilly Theatre (London), Friday December 21

On to the 3rd show of my 14 shows in 13 days marathon. Viva Forever! was not really a show I thought that I would like, but then, it was the only musical available on a Friday late afternoon, so I thought why not? Viva Forever! is a new musical based on the songs of Spice Girls. The fact that the book is by the award-winning writer and comedienne Jennifer Saunders (Absolutely Fabulous, French & Saunders) and produced Judy Craymer of the worldwide smash-hit musical MAMMA MIA!, I thought that it can't be too bad. In fact, I thought that it would be one of those unexpected pleasant surprise of live theatre! Well, poor optimistic me.

In its website, it advertised "wonderfully joyous contemporary musical about the value of friendship in the face of fame and fortune! As one girl (Viva) follows her dreams, VIVA FOREVER! charts her journey into the world of overnight celebrity and its impact on her mother, and the friends she thought she’d have forever. From London to Spain and back again, as the world judges you, it’s all about who you really are and who you want to be, whatever the cost." That sounded good, but unfortunately, the reality was no where near that description.

I am not exactly familiar with the songs of Spice Girls; and maybe because of that, a lot of the situations and transitions of scene to song sounded very forced and odd. To be fair, the songs were not too bad, they were very hummable. I think the problem was that they didn't exactly sound like the songs that the characters would sing; worse is that neither the arrangement nor the orchestration helped to marry the songs with the characters. Book-wise, I definitely expected better from Jennifer Saunders, it was totally predictable and ordinary. What it had was the sad "let-us-stay-safe" fragments of AbFab and Mama Mia.

In general, the performances were not bad. I particularly like Sally Ann Triplett and Lucy Montgomery's take on the AbFab mother (of Viva) and friend roles. Triplett's Lauren was believable and Montgomery's Suzi was outrageous but still earth bound. Sally Dexter as a TV talent show judge, Simone, packed tons of impressive singing.

When I posted on Facebook about the musical, a friend commented, "so tell me what you want, what you really really want?" Without hesitation, I responded, "I want the show to STOP!"
Viva Forever!
A Musical Based on the Songs of Spice Girls
Piccadilly Theatre
Preview from: 27 Nov 2012
Opened on 11 Dec 2012

Creative Team:
Judy Craymer - Creator/Producer
Jennifer Saunders - Writer
Paul Garrington - Director
Lynne Page - Choreographer
Martin Koch - Musical Supervisor
Peter McKintosh - Designer
Bobby Aitken - Sound Designer
Howard Harrison - Lighting Designer

Cast includes:
Simon Adkins - Leon
Curtis Angus - Ensemble
Siobhan Athwal - Luce
Myles Brown - Swing
Sophie Carmen-Jones - Ensemble
Darren Carnall - Swing / Dance Captain
Ben Cura- Angel
Sally Dexter - Simone
Lia Given - Swing
Charlotte Gorton - Consuela / Ensemble
Luke Jackson - Ensemble
Hannah John-Kamen - Viva
Tom Kanavan - Ensemble
Rebecca McKinnis - Ensemble
Lucy Montgomery - Suzi
Carla Nella - Ensemble
Zak Nemorin - Ensemble
Roxanne Palmer - Ensemble
Lucy Phelps - Diamond
Hatty Preston - Minty
Dominique Provost-Chalkley - Holly
Oliver Roll - Ensemble
David Rudin - Ensemble
Kirstie Skivington - Swing
Simon Slater - Mitch
Helen Ternent - Swing
Lucy Thatcher - Ensemble
Anthony Topham - Lance / Ensemble
Sally Ann Triplett - Lauren
Charlotte Walcott - Ensemble
Tamara Wall - Karen
Bill Ward - Johnny

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Monday, December 24, 2012

REVIEW: Matilda -The Musical (London)

Cambridge Theatre (London), Thursday December 20

From Scrooge to Matilda (2nd of my 14 shows in 13 days marathon). I have been wanting to see this musical since my friend Sandra saw it in the preview and was raving about it. Unfortunately, mis-information made me missed it last Christmas; and since then it was nominated for 15 Laurence Olivier Awards and won 7 including the Best New Musical! Matilda is based on Roald Dahl’s tale of an extraordinary child with aweful parents. A Royal Shakespeare Company production directed by Matthew Warchus, this musical have a book by Dennis Kelly and music and lyrics by Tim Minchin. 

Matilda is the story of Matilda Wormwood, a child with an amazing learning capacity even though her unscrupulous parents couldn't care less. Matilda also has a rather special gift... everytime her parents treat her horribly, the young girl teaches them a lesson! Definitely rated PG (parental guidance)! As of this writing, I have seen 8 shows in West End and this has to be the best.

It was very good in all levels. The songs of Tim Minchin beautifully captured the idiom of the story, they were original and memorable. The whole production design was based on letter blocks and this theme was echoed in various aspects. Classroom desks and chairs and cut-outs representing bathroom popping out of the floor helped a lot in ensuring that the story-telling pace was kept. 

The highlight however of this production was the choreography by Peter Darling and beautifully executed by the cast. The choreography was not your usual musical comedy cutesy type but a blend of modern and hip hop that gave that youthful sheen yet not pandering to the street culture. I particularly like the choreography in School Song where Darling brought the actions vertically onto the school gate. When it comes to imagery though, nothing beats the choreography in When I Grow Up with the kids and the "kids" (adult playing older kids) doing a dance that integrated playground swings into it.

Playing Matilda for this performance was Lucy-Mae Beacock and she was absolutely perfect for the role with a good balance of innocence and knowingness. Other brilliant performances came from Annette McLaughlin and Steve Furst as Mrs. and Mr. Wormwood... they were brilliantly awful. David Leonard's Miss Trunchbull was as menacing as it gets, while Haley Flaherty's Miss Honey was the perfect counterweight.
Produced by the Royal Shakespeare Company
Creative Team: 
Book: Dennis Kelly
Music and Lyrics: Tim Minchin
Director: Matthew Warchus
Choreography: Peter Darling
Set & Costume Design: Rob Howell
Orchestrations & Additional Music: Christopher Nightingale
Lighting Design: Hugh Vanstone
Sound Design: Simon Baker
Illusion: Paul Kieve
Cast includes:
The Adults
Fabian Aloise - Resident Choreographer
Marc Antolin - Rudolpho
Verity Bentham - Cook
Charles Brunton - Children's Entertainer
Billy Cullum - Henchman
Joseph Davenport - Swing
Lara Denning - Henchwoman
Haley Flaherty - Miss Honey
Steve Furst - Mr Wormwood
Mark Goldthorp - Doctor
Jack Greaves - Swing
Madeleine Harland - Henchwoman
Melanie La Barrie - Mrs Phelps
Joshua Lay - Henchman
Maria Lawson - Acrobat
David Leonard - Miss Trunchbull
Annette McLaughlin - Mrs Wormwood
Katy Monk - Swing
Rachel Moran - Swing
Leanne Pinder - Resident Choreographer
Nick Searle - Michael Wormwood
Tommy Sherlock - Henchman

The Children
Samantha Allison: Amanda
India Ria Amarteifio: Hortensia
Robyn Ashwood: Lavender
Zak Baker: Eric
Lucy-Mae Beacock: Matilda
Cally Callaghan: Alice
Hayley Canham: Matilda
Amy Charlton: Hortensia
Jess Daugirda: Alice
Samantha Delaney: Amanda
Oliver Finnegan: Eric
Terrell Forde: Nigel
James Gardner: Tommy
Lauren Halil: Alice
Chloe Hawthorn: Matilda
Holly Hazelton: Lavender
Noga Inspector: Hortensia
Finley Jury: Eric
Brooke Kelly: Amanda
Uwan Lam: Nigel
George Littell: Tommy
Marcus May: Tommy
Ben Middleton: Bruce
James Moore: Bruce
Elliot Reeve: Bruce
Max Stephens: Bruce
Joshua Tikare: Nigel
Lara Wollington: Matilda
Ella Yard: Lavender

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REVIEW: Scrooge - The Musical (London)

London Palladium (London), Thursday December 20

For my show marathon (14 shows in 13 days), I chose Scrooge - The Musical to kick it off. I suppose this is one way to get myself into the whole Christmas vacation mood. I have seen Scrooge sevaral times... in fact, the last one was the Hong Kong Repertory Theatre production in 2009 featuring one of Hong Kong's best musical theatre actor Pichead Amornsomboon. I have never been a big fan of this musical, but hey, this London Palladium production featuring 76-year old Tommy Steele! Okay, no high expectation here, but still...

For a 76-year old performer, Steele was fabulous... wait, the fact is that for whatever age, the performance was a good one. Steele was able to engage the audience and one can indeed feel that Steele has a special place in the heart of British audience. The audience was most receptive to his quirkiness and his slapsticks. I do wish though that there was a bit more singing and less talking on pitch.

The production was good but it couldn't escape it's made-for-tour look. In the parts where Scrooge was visited by the different ghosts, the special effects and theatrical trickery was simple yet was appropriate and effective. The result doesn't come more effective than when one sees people jump or children cry. 

Steele was supported by a very competent cast and some of the more memorable performances came from Edward Handoll's sensitive yet extrovert performance. Barry Howard and Ian Caddick as Jacob Marley and Jocelyn Jollygoode respectively gave a superb good old fashion performance.

Scrooge was not the best show in town, but nothing beats it is as the most timely one season-wise or economy-wise.

London Palladium from October 24th – January 5th
Book, music and lyrics by Leslie Bricusse

Creative Team:
director: Bob Tomson
producer: Bill Kenwright Ltd
designer: Paul Farnsworth
choreographer: Lisa Kent
lighting designer: Nick Richings
sound: Ben Harrison

Cast include:
Ebenezer Scrooge– Tommy Steele
Jacob Marley – Barry Howard
Ghost Of Christmas Past – Sarah Earnshaw
Ghost Of Christmas Present – James Head
Bob Cratchit – Edward Handoll
Helen / Isobel – Leonie Heath
Mr Fezziwig / Hugo Harty – Halcro Johnston
Harry / Young Ebenezer – Craig Whitely
Tom Jenkins – Robbie Towns
Mrs Fezziwig / Mrs Dilber – Tessa Vale
Topper – Leon Kay
Mary / Miss Dilber – Anna Mcgarahan
Mrs Cratchit – Louisa Maxwell
Mr Jollygoode – Ian Caddick
Pringle – Steven Sparling
Dick Wilkins – Johnathan Dudley
Beggar Woman – Nikki Gerrard
Chestnut Seller – Roisin Sullivan
Bess – Natalie Moore Williams
Butcher – Kieron Harris

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Monday, December 17, 2012

REVIEW: Christianne Stotjin with HKPhil

Cultural Centre Concert Hall, Saturday December 8

So, this is another late review. Officially, I am in a panic state right now… work seems to be endless, no matter what I do, there just not enough hours in a day. Needless to say that it is Christmas time and there are endless invitations to entertain. Yes, I would rather attend a party than to write in my blog. It just feels more appropriate given that these people that I know took the effort to invite me while writing a review for “possible” readers is a bit of a vanity project.

In any case, I saw this concert more than a week ago. While it was entitled Jaap’s Mendelssohn, my real reason for attending this concert was Christianne Stotjin. I have always enjoyed Stotjin’s recordings (Tchaikovsky Romances in particular) and was most eager to hear her interpretation of Elgar’s Sea Pictures, a song cycle beautifully recorded by no less than her teacher Dame Janet Baker!

Mendelssohn’s The Hebrides (Fingal’s Cave) opened the evening. There’s nothing pedestrian in this treatment from Maestro van Zweden. His Hebrides beautifully captured the heaving and surging wave right at the start and elucidated all the contrasting moods of this, in my opinion, the best of Mendelssohn’s overtures.

Elgar’s Sea Pictures followed. The first thing that came to my mind upon hearing Stotjin was, “Gosh, her interpretation is very different from Baker’s.” While Baker’s was a calm and almost bucolic account, Stotjin’s throbbed with contained intense emotions. Most noticeable was Stotjin’s dark mezzo that has that fetching quality. She has a way of unfolding a story that sounded natural and full of personality. The account may not be intimate, but there was no shortage of warmth. If I really need to find fault, I would say that the tone in Stotjin’s different ranges varied and I suspect that it was not mere vocal colouring.

The title piece - Mendelssohn's Symphony No. 3 Scottish - came after the interval. Peculiarly, my recollection of the performance was that my mind somehow kept going back to the Sea Pictures. Having said that, on what I had consciously and attentively heard that night, van Zweden with the Hong Kong Philharmonic gave a romantic yet precise reading, but still allowed solo instruments enough freedom to soften some of the harder edges.

Jaap’s Mendelssohn
7&8-12-2012 Fri & Sat 8PM
Hong Kong Cultural Centre Concert Hall

MENDELSSOHN The Hebrides (Fingal’s Cave)
ELGAR Sea Pictures
MENDELSSOHN Symphony No.3 Scottish

Jaap van Zweden, conductor
Christianne Stotijn, mezzo-soprano

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Monday, December 3, 2012

REVIEW: Brahms’ German Requiem with HKPhil

Cultural Centre Concert Hall, Saturday December 1

Yes, I am blaming work for my very late review of the Anne-Sophie Mutter performance; while for this concert, I will keep my review short as well.

For his second inaugural concert, Jaap Van Zweden chose Brahms’ German Requiem. This must be the shortest Hong Kong Philharmonic Orchestra concert I have ever attended. Aside from feeling uncomfortable in the cramp seat of the concert hall (straight 65 minutes without interval), I am actually glad that they didn’t attempt to add a filler as the time and programme felt just right.

Brahms’ German Requiem stands out for me as it is unlike the customary Requiem Mass; it uses the Lutheran Bible instead of the Latin one and totally leave out the Last Judgement which makes it more of a work of comfort for the living rather than one for the souls of the dead. Also, it is not too “Brahms” :-) 

Like many Requiems, the chorus plays a central role and for this performance, the HKPhil invited not one but two choruses – West Australian Symphony Orchestra Chorus and Tasmanian Symphony Orchestra Chorus. The chorus started quite promising with beautiful balance and attention to details. Unfortunately, this capability didn’t last with much of the blame going to the male voices. While there was not enough weight in the bass, the biggest problem came from the tenor group with surprisingly thin and unsupported high notes and even occasional off notes.

The two soloists, however, sang most beautifully. German baritone Stephan Genz’s vocal coloring had just the right gravitas without being over-dramatic. Most noticeable was the remarkable evenness of tone throughout his vocal range. Meanwhile, Russian soprano Lyubov Petrova also gave a fine performance.  The orchestra did well with breadth and grandeur that was stately in effect.

Van Zweden & A German Requiem
30-11 & 1-12-2012 Fri & Sat 8PM
Hong Kong Cultural Centre Concert Hall

BRAHMS:  A German Requiem

Jaap van Zweden, conductor
Lyubov Petrova,  soprano
Stephan Genz,  baritone
West Australian Symphony Orchestra Chorus, chorus
Tasmanian Symphony Orchestra Chorus, chorus

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Sunday, December 2, 2012

REVIEW: Anne-Sophie Mutter with HKPhil

Cultural Centre Concert Hall, Saturday November 17

Work has been most busy and it was two weeks ago since I saw Anne-Sophie Mutter with the Hong Kong Philharmonic Orchestra. Last night, I saw another HKPhil concert (Brahms’ Requiem)… and I know it is a slippery slope – the moment I start not writing a review of a performance I saw, I will start missing more… so here it is, I will keep this short.

With Michael Francis conducting, Janacek’s Taras Bulba came across with great clarity if not lacking a bit more drama. Overall, Janacek’s three gory episodes of escalating violent and horrible death achieved great narrative.

Sebastian Currier’s Time Machines for Violin and Orchestra is written for and dedicated to Anne-Sophie Mutter. The seven-movement concerto explores the relationship between the percept of music and time. This is one of those works that one has to study to understand… I mean by just listening to it, one may not easily get the concept behind it. Thank goodness to the introduction in the programme, the work was more comprehensible with some of the movements easier to understand than the others. In particular, the final movement - Harmonic Time, the cantabile line was most irresistible, drawing the listener deeper into the harmonic landscape.

Needless to say, the highlight of the evening was Mendelssohn’s Violin Concerto in E minor, Op. 64 (replacing the previously advertised Dvorak’s Violin Concerto). I was at first disappointed upon knowing the change as I have heard the Mendelssohn played so many times and imagining it played differently and significantly better seems to be not quite probable… boy, am I wrong! Mutter was awesome! She managed to stay within the style yet tastefully twist and yank a few tempo to create a tad of drama without going over-the-top…. absolutely brilliant! She gave an encore – Bach’s Violin Partita No. 2 in D minor, BWV 1004: Sarabande.

P.S. By the way, I just have to put it on record… she looked fabulous! What a total performer… the red-gown, posture and even down to wiping sweat off her neck!

Anne-Sophie Mutter in Mendelssohn
16&17-11-2012 Fri & Sat 8PM
Hong Kong Cultural Centre Concert Hall

JANÁČEK:  Taras Bulba
SEBASTIAN CURRIER:  Time Machines for violin and orchestra
MENDELSSOHN:  Violin Concerto

Michael Francis,  conductor
Anne-Sophie Mutter,  violin

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