Wednesday, March 8, 2017

REVIEW: Chan Ka-bo Countertenor Recital

Nan Lian Garden, Saturday March 4

I wanted the Baroque repertoire in the afternoon, but it was sold out; thus I ended up going to the relatively newer music of Schubert, Mendelssohn, Brahms and Pärt in the evening. The recital was 1 hour in length and Chan was accompanied by Kristo Käo with his Torres guitar. The concert was set in a small hall in the classical Chinese Nan Lian Garden.


I have a very mixed feeling about the recital. I went to the recital with preconceptions of what is the suitable repertoire for countertenors and how a countertenor should sound. Needless to say, my ears are attuned to the repertoire and sound of the likes of Andreas Scholl, David Daniels, Philippe Jaroussky, Michael Chance and Bejun Mehta, all of whom I have heard live and sang early music.



Countertenors have entertained "newer" music before. The ones that I really enjoyed is David Daniel's album Berlioz: Les Nuits D'ete and A Quiet Thing. And despite the transition from early music to 20th century music, most of the countertenors would retain the same lyrical tone. The one thing I noticed in Chan's rendition of the "newer" music was his voice was dramatic. In fact, so dramatic and big that I think the guitar and venue was a tad too lyrical and small for him. I truly wonder how he sounded like in the afternoon repertoire of early music.

Because of his voice quality, I enjoyed his rendition of Brahms and Pärt's works more than the Schubert and Mendelssohns. Overall, the recital was an important one for me. Wanting to go to the afternoon concert was a lazy choice; and I am glad that I went to the evening one as there shouldn't be any reason why countertenors should not sing music by Schubert, Mendelssohn or Brahms. The problem was mine.

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Schubert
Ave Maria, Ständchen, Danksagung an den Bach

Pärt
Vater Unser

Mendelssohn
Altdeutschelied, Nachtlied

Brahms
Wiegenlied

and songs and guitar music of Estonian composers including Kapp, Sink, Jõeleht and Eespere

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REVIEW: Les Ballet Jazz de Montreal

Hong Kong Cultural Centre Grand Theatre, Friday March 3

The first thing I noticed when I looked at the programme was how "recent" the works will be presented are. The oldest was created in 2012 and the latest was just created last year. Now that is very exciting! I have never seen Canada's Les Ballets Jazz de Montreal before, but definitely like what the company name evokes and was looking forward to see it.

The show opened with Mona Lisa, a work choreographed by Itzik Galili for two dancers. This high-octane pas de deux performed by Celine Cassone and Alexander Hille was a test of endurance and precision. The intertwining bodies, quick lifts and sudden drops were bordering acrobatics and were all executed with unbelievable ease to the avant-garde sound of typewriter competing with drums. This masterpiece was the highlight of the evening and everything else seemed to be a tad less special.

MONA LISA
Kosmos, choreographed by Andonis Foniadakis was a portrayal of modern urban living. While the choreographic language was modern dance, elements of other forms of dance were combined seamlessly. Set to the music of Julien Tarride, the work explored various moods from frenetic pace pushed by persistent percussions to thoughtful movements exalted by the sound of strings. The work was a cocktail of counterpoints and episodic bursts of intense motions that beautifully counterbalance each other.

KOSMOS
Opening the second half of the evening was Closer, choreographed by Benjamin Millepied and another work designed for two dancers. Set to Philip Glass' Mad Rush, I find the music was turned up way too loud that it overshadowed the lyricism of the music and the dance. Dancers Celine Cassone and Alexander Hille once again demonstrated the impeccable partnership they have, and that it goes beyond just technique, but also a partnership high in confidence and comfort.

CLOSER
Before closing the evening with O Balcao de Amor, a totally unnecessary short film about the work was shown. It was really odd. Instead of enhancing my experience of the work, the film actually dampened it. This work choreographed by Itzik Galili was a fun, funny and entertaining piece; and the documentary somehow took away the surprise factor. The choreography revolved around the music of Perez Prado; and it was pelted all over with comedic confetti and sexy silliness that showcased a different side of the company.

O BALCAO DE AMOR
Overall, it was an evening of beautiful contemporary works that provided wide-ranging sentiments and elicited deep connection with the audience.

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