tag:blogger.com,1999:blog-10517530658393955492024-03-13T19:16:17.221+08:00Paying Patron Perspective by SATOSHI KYOLife, Arts & Culture
cobinji@gmail.comSATOSHIhttp://www.blogger.com/profile/14734387267429261897noreply@blogger.comBlogger383125tag:blogger.com,1999:blog-1051753065839395549.post-77190670411801626472023-10-16T12:35:00.000+08:002023-10-16T12:35:26.155+08:00REVIEW: Puccini’s Tosca<p><span style="font-family: verdana;">Hong Kong Cultural Centre Grand Theatre, Sunday October 15 2023</span></p><span style="font-family: verdana;">This year marks Opera Hong Kong’s 20th anniversary; and while sticking to the familiar Tosca may be a tad safe, if all future productions are as subtle and yet complex as this one, I certainly do hope that Opera Hong Kong will have another 20 years at the very least!<br /><br /></span><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEheKfNy6hkDvwKlwRZ1S0rzZ78hF1F-fyKbR1ZBtkscV3ZiDD4LxNLNhQKOVDv0OAH4Mv_F3n4gkMiz5aFD0Rjs7OKIA2fcCf3XOudgIGAqhgijdfubt_bagaCyecBPQt1XPn4NIJf3gZfn9JzkWnw9QOMpBukveKVo8-UKrY_S7-VlT2FBFlUm57KjZAo/s720/TA-OperaHK-Tosca.webp" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="540" data-original-width="720" height="480" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEheKfNy6hkDvwKlwRZ1S0rzZ78hF1F-fyKbR1ZBtkscV3ZiDD4LxNLNhQKOVDv0OAH4Mv_F3n4gkMiz5aFD0Rjs7OKIA2fcCf3XOudgIGAqhgijdfubt_bagaCyecBPQt1XPn4NIJf3gZfn9JzkWnw9QOMpBukveKVo8-UKrY_S7-VlT2FBFlUm57KjZAo/w640-h480/TA-OperaHK-Tosca.webp" width="640" /></a></div><br /><div><span style="font-family: verdana;">In this production directed by Vincent Boussard, he made it immediately clear that these three acts by Giacomo Puccini were no longer set in June 1800 when Tosca stormed into the church looking like a superstar avoiding the paparazzi complete with trench coat and sunglasses. What wasn’t clear was what period the opera was supposed to be in, but the on-stage dynamics led me to not care at all. The set by Vincent Lemaire was simple and elegant; and contributed a layer of tension to the drama. Combined with the video and lights designed by Nicolas Hurtevent and Nicolas Gilli respectively, the whole production was profoundly subtle yet immensely compelling. <br /><br /></span><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjiADrLYbVHFfiJmZqww4hC3DjTDeaEXIyboNWQaSOmkcXrXjWmM6JUES_6DNbIG94ZcIKOsidD8jnIwi-utwbZ0ZMlUhgcwiSpTH0_HF3fbOTtqYPKmOPtZ1KnXyiRSy0a6-S3Bdqir5erlC51OzXn1QatCGCQHJMiekcDt8Wj04hoUp6BQO08OyzfHH8/s1600/Tosca%201.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1066" data-original-width="1600" height="426" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjiADrLYbVHFfiJmZqww4hC3DjTDeaEXIyboNWQaSOmkcXrXjWmM6JUES_6DNbIG94ZcIKOsidD8jnIwi-utwbZ0ZMlUhgcwiSpTH0_HF3fbOTtqYPKmOPtZ1KnXyiRSy0a6-S3Bdqir5erlC51OzXn1QatCGCQHJMiekcDt8Wj04hoUp6BQO08OyzfHH8/w640-h426/Tosca%201.jpg" width="640" /></a></div><br /></div><div><span style="font-family: verdana;">The opera started dramatically muted but immediately picked up when Claudio Sgura’s Scarpia entered the stage leaning on a cane. Here is a Scarpia that has the chilling mix of casual malice and deceptive lure. Sgura invested every word with menace, yet avoided being a caricature of villainy. Having him leaning on a cane gave the character a back story and perhaps a reason why he is the nasty and feared person he is. <br /><br /></span><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjMu1DCTZhvt33f02UNY6Bkw69kckGVFF-R6FQ9mSr5ZjdGn_pFlz3mRPzsx6mTZfe130iSwgBSmL8rdRRVXPmEQhB-mPGOFIzw42JjG85GkpSrxNd6jq6XClNidm9zGvE7AsnydordD8D9yWdOko_OsiNpfDNiEqVcF6ba-0IqoXfrVh1W0BoVlZHIWvw/s1200/Tosca%202.webp" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="630" data-original-width="1200" height="336" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjMu1DCTZhvt33f02UNY6Bkw69kckGVFF-R6FQ9mSr5ZjdGn_pFlz3mRPzsx6mTZfe130iSwgBSmL8rdRRVXPmEQhB-mPGOFIzw42JjG85GkpSrxNd6jq6XClNidm9zGvE7AsnydordD8D9yWdOko_OsiNpfDNiEqVcF6ba-0IqoXfrVh1W0BoVlZHIWvw/w640-h336/Tosca%202.webp" width="640" /></a></div><br /></div><div><span style="font-family: verdana;">In the title role, Oksana Dyka gave a solid performance despite claiming unwell. Her voice was satisfactorily sized in volume, though with a tendency to spread and harden on higher notes. While the reading could have benefitted from more color, Dyka rendered her showpiece arias exquisitely, and her acting was both tender and fiery. <br /><br /></span><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiKwbcIT06pvjkKGNi27tUbA9xWRavz7ocJ68iCo9fhu-oydYVyzb9QpRguEV4sKP2GTALjtqNay2HzNJNxUzX4nTiQwqp7tnyVyUGskKuNWru-WqMuxvLBaM0Gxk8aQerGJgZbMURtbef8sJGi52EDPT-po1Xa693dtj9g-5JQdgQuqiFhPXX9tpSqpR4/s2000/Tosca%203.webp" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1333" data-original-width="2000" height="426" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiKwbcIT06pvjkKGNi27tUbA9xWRavz7ocJ68iCo9fhu-oydYVyzb9QpRguEV4sKP2GTALjtqNay2HzNJNxUzX4nTiQwqp7tnyVyUGskKuNWru-WqMuxvLBaM0Gxk8aQerGJgZbMURtbef8sJGi52EDPT-po1Xa693dtj9g-5JQdgQuqiFhPXX9tpSqpR4/w640-h426/Tosca%203.webp" width="640" /></a></div><br /></div><div><span style="font-family: verdana;">Roberto Aronica’s Cavaradossi started the opera a lover on Prozac. Luckily, he slowly came alive as the afternoon moved on. In the end, he displayed little optimism despite Tosca's positive news, a moment that would have been more heartbreaking if he was a more passionate and zealous artist/lover at the start. <br /><br /></span><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhupwUWquWHf2XX3rvXXbNxSNgpnfUcrWxwhKuvSN7AKaolqvhDVti_MlRfgr1MEcNJ9w-IisJiraCUyQiMg55PywQ4EQpvh7bBNwAeBGjH0d5MYpm4EgY3X4o43J1EbK368mo7IeY2xxlV2COfKhQp-4u8NqwWLY4n0FdMyQR4jgrx73N8dV2KgPY4MkM/s3782/tosca%204.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="2836" data-original-width="3782" height="480" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhupwUWquWHf2XX3rvXXbNxSNgpnfUcrWxwhKuvSN7AKaolqvhDVti_MlRfgr1MEcNJ9w-IisJiraCUyQiMg55PywQ4EQpvh7bBNwAeBGjH0d5MYpm4EgY3X4o43J1EbK368mo7IeY2xxlV2COfKhQp-4u8NqwWLY4n0FdMyQR4jgrx73N8dV2KgPY4MkM/w640-h480/tosca%204.jpg" width="640" /></a></div><br /></div><div><span style="font-family: verdana;">Conductor Yves Abel was uncompromising with the Hong Kong Philharmonic Orchestra on beautiful form and dynamics. The contrasts between the beauty of the music for the lovers and with Scarpia’s violent and dark sounds were dramatically juxtaposed. </span></div><div><span style="font-family: verdana;"><br /></span></div><div><span style="font-family: verdana;">Overall, Opera Hong Kong should be very proud of this new brilliant production of Tosca!</span></div><div><span style="font-family: verdana;"><br /></span></div><div><span style="font-family: verdana;">__________</span></div><div><span style="font-family: verdana;"><br /></span></div><div><span style="font-family: verdana;"><div>Puccini's TOSCA</div><div>An Opera in Three Acts</div><div>Performed in Italian with Chinese and English Surtitles</div><div>Libretto by Giuseppe Giacosa and Luigi Illica</div><div><br /></div><div>Producer: Warren Mok</div><div>Conductor: Yves Abel</div><div>Director & Costume Designer: Vincent Boussard</div><div>Set Designer: Vincent Lemaire</div><div>Lighting Designer: Nicolas Gilli</div><div>Video Designer: Nicolas Hurtevent</div><div>Chorus Director: Alex Tam</div><div><br /></div><div>Hong Kong Philharmonic Orchestra</div><div>Opera Hong Kong Chorus</div><div>Opera Hong Kong Children Chorus</div><div><br /></div><div>CAST</div><div>Floria Tosca: Oksana Dyka </div><div>Mario Cavaradossi: Roberto Aronica </div><div>Scarpia: Claudio Sgura</div><div>Cesare Angelotti: Gabriele Ribis</div><div>Spoletta: Henry Ngan</div><div>Scaristan: Albert Lim</div><div>Sciarrone: Patrick Chan</div><div>Un Carceriere: Patrick Chan</div></span></div>SATOSHIhttp://www.blogger.com/profile/14734387267429261897noreply@blogger.com1tag:blogger.com,1999:blog-1051753065839395549.post-18037364422908522542023-08-28T09:17:00.002+08:002023-08-28T09:17:57.099+08:00REVIEW: Opera Gala by Opera Hong Kong<p style="text-align: justify;"><span style="font-family: "Century Gothic", sans-serif;">Hong Kong City Hall Concert Hall, Saturday August 26 2023</span></p><p style="text-align: justify;"></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj0MGOZyOZcrMsBjmmj2yuZ7b_NACOUvouUFPfZ_cPHv_ou8-ffVxOEwzuLnB0o9fcc3-Dadh6L4tHbrgEOC7-MTF0d8KewKv95VOXtAWQYZQ8AteGC854Qx7PdJEM4u-oCeJZ0PqWg9fpibAst7aLsizrrG_3h_Fiy6IbwFCZGPtK-2I8Hk2oL4CsFCbs/s1920/OHK_20th-Opera-Gala_WebsiteBanner_04_1080x1920-px-01.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1080" data-original-width="1920" height="360" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj0MGOZyOZcrMsBjmmj2yuZ7b_NACOUvouUFPfZ_cPHv_ou8-ffVxOEwzuLnB0o9fcc3-Dadh6L4tHbrgEOC7-MTF0d8KewKv95VOXtAWQYZQ8AteGC854Qx7PdJEM4u-oCeJZ0PqWg9fpibAst7aLsizrrG_3h_Fiy6IbwFCZGPtK-2I8Hk2oL4CsFCbs/w640-h360/OHK_20th-Opera-Gala_WebsiteBanner_04_1080x1920-px-01.jpg" width="640" /></a></div><span style="font-family: "Century Gothic", sans-serif;">When
I first arrived in Hong Kong, the only opportunity to see an opera was to wait
for the Hong Kong government's cultural arm to organize one by a local
director; or one that is part of the Hong Kong Arts Festival. I remember that I
also used to travel to Macau for the Macao International Music Festival just to
be able to get my opera fix.</span><p></p>
<p style="caret-color: rgb(0, 0, 0); margin: 0cm 0cm 0.0001pt; min-height: 22px; text-align: justify;"><span style="font-family: "Century Gothic", sans-serif;">It was a natural progression
for Hong Kong to have its own opera company after years of having excellent
orchestras. This development however is no easy task and in fact a huge leap.
After years of performing in operas in Hong Kong and being the artistic
director of the Macao International Music Festival, it was the most appropriate
and logical course for Warren Mok to head Opera Hong Kong; and what a great job
he did! It is very reassuring that the company grew from strength to strength, not only under Mok's artistic directorship, but also Ronald Kwok's chairmanship.</span></p>
<p style="caret-color: rgb(0, 0, 0); margin: 0cm 0cm 0.0001pt; min-height: 22px; text-align: justify;"><span style="font-family: "Century Gothic",sans-serif;"> <o:p></o:p></span></p>
<p style="caret-color: rgb(0, 0, 0); margin: 0cm 0cm 0.0001pt; text-align: justify;"><span style="font-family: "Century Gothic",sans-serif;">Attending Opera Hong Kong’s
20th Anniversary Opera Gala was both a pleasure and an honor. The Gala
presented performers in different stages of their careers from upcoming to
veteran. I attended the second evening performance which had a totally
different program from the previous night.</span></p>
<p style="caret-color: rgb(0, 0, 0); margin: 0cm 0cm 0.0001pt; min-height: 22px; text-align: justify;"><span style="font-family: "Century Gothic",sans-serif;"></span></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgbQcGg2TLcBTHdTppJHDnhf15nXxvU_uFxGQ38BkixVG2kfA0-APsNctJ_TKbmKAis9vBfH2uNe4TGDhNKtwKUfr42UDQDJBZXiEvgm5GnSP1RWBrN_soOVNlzAmKcd6n_4PLYtKhusDu7i1p10pOEj_T_xGelIdh5mXqWkZjW7HELnFJ4fk08fEk4ook/s3474/gala.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="3024" data-original-width="3474" height="558" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgbQcGg2TLcBTHdTppJHDnhf15nXxvU_uFxGQ38BkixVG2kfA0-APsNctJ_TKbmKAis9vBfH2uNe4TGDhNKtwKUfr42UDQDJBZXiEvgm5GnSP1RWBrN_soOVNlzAmKcd6n_4PLYtKhusDu7i1p10pOEj_T_xGelIdh5mXqWkZjW7HELnFJ4fk08fEk4ook/w640-h558/gala.jpg" width="640" /></a></div><span style="font-family: "Century Gothic", sans-serif;">Overall, it was a wonderful
evening of a hit parade, one popular aria after another. In most parts, each
aria is shared between singers with varying effects. The most effective were
the arias that were originally designed for two singers e.g. </span><i style="font-family: "Century Gothic", sans-serif;">Bacarolle</i><span style="font-family: "Century Gothic", sans-serif;"> from Offenbach's </span><i style="font-family: "Century Gothic", sans-serif;">The
Tales of Hoffmann</i><span style="font-family: "Century Gothic", sans-serif;">. Some intensely personal arias that were split for two or
more singers were less effective e.g. </span><i style="font-family: "Century Gothic", sans-serif;">Mon cœur s'ouvre à ta voix</i><span style="font-family: "Century Gothic", sans-serif;"> from Saint-Saëns's </span><i style="font-family: "Century Gothic", sans-serif;">Samson
and Delilah</i><span style="font-family: "Century Gothic", sans-serif;">. However, by doing so, the Gala managed to accommodate so many
performers; and to a certain extent, provided a bit of competition and made
more ticket sales.</span><p></p>
<p style="caret-color: rgb(0, 0, 0); margin: 0cm 0cm 0.0001pt; text-align: justify;"><span style="font-family: "Century Gothic",sans-serif;"> <o:p></o:p></span></p>
<p style="caret-color: rgb(0, 0, 0); margin: 0cm 0cm 0.0001pt; text-align: justify;"><span style="font-family: "Century Gothic",sans-serif;">My personal favorites of the
evening were Apollo Wong’s performance of <i>Vous qui faites l'endormie</i> from
Gounod’s <i>Faust</i>. Wong voiced his manifestation of Méphistophélès in this
mocking love serenade down to the final deep-throated cackle.<o:p></o:p></span></p>
<p style="caret-color: rgb(0, 0, 0); margin: 0cm 0cm 0.0001pt; min-height: 22px; text-align: justify;"><span style="font-family: "Century Gothic",sans-serif;"> <o:p></o:p></span></p>
<p style="caret-color: rgb(0, 0, 0); margin: 0cm 0cm 0.0001pt; text-align: justify;"><span style="font-family: "Century Gothic",sans-serif;">As expected, Louise Kwong
delivered an elegant performance of <i>Signore, ascolta!</i> from Puccini’s
<i>Turandot</i>. Kwong performed with heartwarming restraint, caressing top
notes and melodic lines intuitively. <o:p></o:p></span></p>
<p style="caret-color: rgb(0, 0, 0); margin: 0cm 0cm 0.0001pt; min-height: 22px; text-align: justify;"><span style="font-family: "Century Gothic",sans-serif;"> <o:p></o:p></span></p>
<p style="caret-color: rgb(0, 0, 0); margin: 0cm 0cm 0.0001pt; text-align: justify;"><span style="font-family: "Century Gothic",sans-serif;">The surprise of the evening was
Sun Li’s performance of <i>Si puo?</i> from Leoncavallo’s <i>Pagliacci</i>. Sun
was in total command of his performance and the audience. It was a cut above
the rest as Sun delivered the prologue in an off-handedly style that one felt
that the character Tonio is almost mocking the author's pretensions.<o:p></o:p></span></p>
<p style="caret-color: rgb(0, 0, 0); margin: 0cm 0cm 0.0001pt; text-align: justify;"><span style="font-family: "Century Gothic",sans-serif;"> </span></p>
<p style="caret-color: rgb(0, 0, 0); margin: 0cm 0cm 0.0001pt; text-align: justify;"><span style="font-family: "Century Gothic",sans-serif;">The Opera Hong Kong Orchestra
accompanied the varied program skillfully under the baton of Charles
Olivieri-Munroe. The Gala was also made more engaging with the presence of both the Opera Hong Kong Chorus and the Opera Hong Kong Children Chorus. <o:p></o:p></span></p><p style="caret-color: rgb(0, 0, 0); margin: 0cm 0cm 0.0001pt; text-align: justify;"><span style="font-family: "Century Gothic",sans-serif;"><br /></span></p><p style="caret-color: rgb(0, 0, 0); margin: 0cm 0cm 0.0001pt; text-align: justify;"><span style="font-family: "Century Gothic",sans-serif;">____________________</span></p><p style="margin: 0cm 0cm 0.0001pt; text-align: left;"><span style="font-family: Century Gothic, sans-serif;">Programme:</span></p><p style="margin: 0cm 0cm 0.0001pt; text-align: left;"><span style="font-family: Century Gothic, sans-serif;"><br /></span></p><p style="margin: 0cm 0cm 0.0001pt; text-align: left;"><span style="font-family: Century Gothic, sans-serif;">26 August 2023 </span></p><p style="margin: 0cm 0cm 0.0001pt; text-align: left;"><span style="font-family: Century Gothic, sans-serif;"><br /></span></p><p style="margin: 0cm 0cm 0.0001pt; text-align: left;"></p><ol style="text-align: left;"><li><span style="font-family: Century Gothic, sans-serif;">Intermezzo from The Tales of Hoffmann by J. Offenbach 奧芬巴赫:間奏曲選自《荷夫曼的故事》</span></li><li><span style="font-family: "Century Gothic", sans-serif;">Barcarolle from The Tales of Hoffmann by J. Offenbach 奧芬巴赫:《船歌》選自《荷夫曼的故事》: <b>Yuki Ip 葉葆菁 & Carol Lin 連皓忻</b></span></li><li><span style="font-family: "Century Gothic", sans-serif;">Va pour Kleinzach! from The Tales of Hoffmann by J. Offenbach 奧芬巴赫:《克列扎可》選自《荷夫曼的故事》: <b>Chen Yong 陳永, Henry Ngan 顏嘉樂, Alex Tam 譚天樂 & Opera Hong Kong Chorus 香港歌劇院合唱團</b></span></li><li><span style="font-family: "Century Gothic", sans-serif;">Doll Song from The Tales of Hoffmann by J. Offenbach 奧芬巴赫:《木偶之歌》選自《荷夫曼的故事》: <b>Etta Fung 馮曉楓 & Valentina Tao陶依靜 </b></span></li><li><span style="font-family: Century Gothic, sans-serif;">Mon coeur s'ouvre a ta voix from Samson and Delilah by C. Saint-Saëns 聖桑:《我心花怒放》選自《森遜與黛麗拉》: <b>Carol Lin 連皓忻 & Bobbie Zhang 張倩</b></span></li><li><span style="font-family: Century Gothic, sans-serif;">Je veux vivre from Roméo et Juliette by C. Gounod 古諾:《我願活在夢中》 選自《羅密歐與茱麗葉》: <b>Yuki Ip 葉葆菁 & Colette Lam 林穎穎</b> </span></li><li><span style="font-family: Century Gothic, sans-serif;">Pourquoi me réveiller from Werther by J. Massenet 馬斯奈:《為我喚醒我》 選自《維特》: <b>Chen Yong 陳永</b> </span></li><li><span style="font-family: Century Gothic, sans-serif;">Je marche sur tous les chemins from Manon by J. Massenet 馬斯奈:《我走在所有路上》 選自《曼儂》: <b>Candice Chung鍾嘉欣 & Dani Zhang 張丹</b></span></li><li><span style="font-family: Century Gothic, sans-serif;">Soldiers Chorus from Faust by C. Gounod 古諾:《軍士合唱》選自《浮士德》: <b>Opera Hong Kong Chorus 香港歌劇院合唱團</b></span></li><li><span style="font-family: Century Gothic, sans-serif;">Vous qui faites l’endormie from Faust by C. Gounod 古諾:《你假裝睡著了》選自《浮士德》: <b>Apollo Wong 黃日珩</b> </span></li><li><span style="font-family: Century Gothic, sans-serif;">Jewel Song from Faust by C. Gounod 古諾:《珠寶之歌》選自《浮士德》: <b>Bing Bing Wang 王冰冰</b></span></li><li><span style="font-family: Century Gothic, sans-serif;">Street Boys March from Carmen by G. Bizet 比才:《跟著上哨的士兵》選自《卡門》: <b>Opera Hong Kong Children Chorus 香港歌劇院兒童合唱團</b></span></li><li><span style="font-family: Century Gothic, sans-serif;">Habanera from Carmen by G. Bizet 比才:《哈巴奈拉》選自《卡門》: <b>Dominique Chan 陳皓琬, Christy Li李詩蓓 & Opera Hong Kong Chorus 香港歌劇院合唱團</b></span></li><li><span style="font-family: Century Gothic, sans-serif;">Toreador Song from Carmen by G. Bizet 比才:《鬥牛士之歌》選自《卡門》: <b>Alexander Chen陳俊堯, Alex Kwok郭俊立, Lam Kwok Ho 林國浩, Albert Lim 林俊 & Opera Hong Kong Chorus 香港歌劇院合唱團</b></span></li><li><span style="font-family: Century Gothic, sans-serif;">Les voici from Carmen by G. Bizet 比才:《來了,鬥牛勇士來了》選自《卡門》: <b>Opera Hong Kong Chorus 香港歌劇院合唱團 & Opera Hong Kong Children Chorus 香港歌劇院兒童合唱團</b></span></li><li><span style="font-family: Century Gothic, sans-serif;">Intermezzo from Cavalleria Rusticana by P. Mascagni 馬斯卡尼:間奏曲選自《鄉村騎士》</span></li><li><span style="font-family: Century Gothic, sans-serif;">Voi lo sapete, o mamma from Cavalleria Rusticana by P. Mascagni 馬斯卡尼:《媽媽啊,你知道》選自《鄉村騎士》: <b>Dominique Chan 陳皓琬 & Ashley Chui 徐曉晴</b></span></li><li><span style="font-family: Century Gothic, sans-serif;">Mamma, quel vino e generoso from Cavalleria Rusticana by P. Mascagni 馬斯卡尼:《媽媽,那些烈酒》選自《鄉村騎士》: <b>Chen Chen 陳晨, Wesley Lam 林俊傑 & Henry Ngan 顏嘉樂 </b></span></li><li><span style="font-family: Century Gothic, sans-serif;">Si puo? from Pagliacci by R. Leoncavallo 雷翁卡伐洛:《原諒》選自《丑角》: <b>Sun Li 孫礫</b></span></li><li><span style="font-family: Century Gothic, sans-serif;">Bell Chorus: Din don, suona vesper from Pagliacci by R. Leoncavallo 雷翁卡伐洛:《鐘聲合唱》選自《丑角》: <b>Opera Hong Kong Chorus 香港歌劇院合唱團</b></span></li><li><span style="font-family: Century Gothic, sans-serif;">Qual fiamma avea nel guardo... Stridono Lassù from Pagliacci by R. Leoncavallo 雷翁卡伐洛:《他眼裡有著怒火…小鳥在空中唱歌》選自《丑角》: <b>Rachel Kwok郭岍 & Li Yang 李洋</b></span></li><li><span style="font-family: Century Gothic, sans-serif;">Vesti la giubba from Pagliacci by R. Leoncavallo 雷翁卡伐洛:《穿上戲裝》選自《丑角》: <b>Chen Chen 陳晨</b></span></li><li><span style="font-family: Century Gothic, sans-serif;">O mio babbino caro from Gianni Schicchi by G. Puccini. 浦契尼:《親愛的爸爸》選自《賈尼・斯基基》: <b>Yanna Chen 陳妙燕 & Dani Zhang 張丹</b></span></li><li><span style="font-family: Century Gothic, sans-serif;">Signore ascolta from Turandot by G. Puccini 浦契尼:《先生,請聽我說》選自《杜蘭朵》: <b>Louise Kwong 鄺勵齡</b></span></li><li><span style="font-family: Century Gothic, sans-serif;">Là, sui monti dell'Est from Turandot by G. Puccini 浦契尼:《茉莉花》選自《杜蘭朵》: <b>Opera Hong Kong Children Chorus 香港歌劇院兒童合唱團</b></span></li><li><span style="font-family: Century Gothic, sans-serif;">Un bel dì vedremo from Madama Butterfly by G. Puccini 浦契尼:《美好的一天》選自《蝴蝶夫人》: <b>Nancy Yuen 阮妙芬</b></span></li><li><span style="font-family: Century Gothic, sans-serif;">Coro a bocca chiusa (Humming Chorus) from Madama Butterfly by G. Puccini 浦契尼:《遠處傳來的聲音》選自《蝴蝶夫人》: <b>Opera Hong Kong Chorus 香港歌劇院合唱團</b></span></li><li><span style="font-family: Century Gothic, sans-serif;">Vogliatemi bene (Love duet) from Madama Butterfly by G. Puccini 浦契尼:《心愛的寶貝》選自《蝴蝶夫人》: <b>Bing Bing Wang 王冰冰 & Warren Mok莫華倫</b></span></li><li><span style="font-family: Century Gothic, sans-serif;">Nessun dorma from Turandot by G. Puccini 浦契尼:《今夜無人入睡》選自《杜蘭朵》: <b>Warren Mok莫華倫, Chen Chen 陳晨, Chen Yong 陳永, Wesley Lam 林俊傑, Henry Ngan 顏嘉樂, Alex Tam 譚天樂 & Opera Hong Kong Chorus 香港歌劇院合唱團</b></span></li></ol><p></p>SATOSHIhttp://www.blogger.com/profile/14734387267429261897noreply@blogger.com0tag:blogger.com,1999:blog-1051753065839395549.post-10547343705098183002023-05-15T16:36:00.000+08:002023-05-15T16:36:42.962+08:00 REVIEW: Verdi's Il Trovatore<p><span style="font-family: verdana;">Hong Kong Cultural Centre Grand Theatre, Saturday May 13 2023</span></p><p></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjXjVzF4iDaiAUaKh-bM7epMtAfC79OCSSY-kJCC9aH4ta0T3XEPtAv3m8RAqCwVJwi59ocT5m4ngps61Dtc6mrApRbEamg04MdXpIWf7mWXQfGmtbT6SL0hwTqnAlVrJ5TcZh6_fu6enyaR2Ed-fWtgZ9StGYGryjXN5ccnW4WdaMFKzInPgb-U7ml/s1920/OHK-Website-banner-1080x1920_2-01.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1080" data-original-width="1920" height="360" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjXjVzF4iDaiAUaKh-bM7epMtAfC79OCSSY-kJCC9aH4ta0T3XEPtAv3m8RAqCwVJwi59ocT5m4ngps61Dtc6mrApRbEamg04MdXpIWf7mWXQfGmtbT6SL0hwTqnAlVrJ5TcZh6_fu6enyaR2Ed-fWtgZ9StGYGryjXN5ccnW4WdaMFKzInPgb-U7ml/w640-h360/OHK-Website-banner-1080x1920_2-01.jpg" width="640" /></a></div><span style="font-family: verdana;"><p>One of the biggest challenges in staging Il Trovatore is finding four equally good singers to showcase the four main characters in four distinct voices; and these days, the opera is definitely a challenge for any company that would try to contemporize the opera's spine-chilling tale of savagery and vengeance in 15th-century Zaragoza, Spain. Luckily, this production of Fujian Opera Dance and Drama Theatre, directed by Enrico Castiglione; and produced in Hong Kong by Opera Hong Kong anchored the time and place to its original setting. The set was simple, pleasing, and most importantly, it served the story.</p></span><p></p><p></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjpVp7DLyU-hik2JDbp1AKZOTUdkq1TC-3dt1YTJ7GuqC1Ts0dzxwvSzEmoLOKnWEPkFL0dUh--qzNDscUF3QaLnSIPpCtDWKHs9mDFBrWHNXod7PJoFSg6CgWxIPwXEeWB5s5t0YjAZKR_9Qfb5V4ySAoIstgS1WbEF0pJQyvRvQRaabbHBuoj-2jJ/s1200/trov01.webp" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="771" data-original-width="1200" height="412" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjpVp7DLyU-hik2JDbp1AKZOTUdkq1TC-3dt1YTJ7GuqC1Ts0dzxwvSzEmoLOKnWEPkFL0dUh--qzNDscUF3QaLnSIPpCtDWKHs9mDFBrWHNXod7PJoFSg6CgWxIPwXEeWB5s5t0YjAZKR_9Qfb5V4ySAoIstgS1WbEF0pJQyvRvQRaabbHBuoj-2jJ/w640-h412/trov01.webp" width="640" /></a></div><span style="font-family: verdana;"><p>In years of watching Il Trovatore, witnessing a good and balanced cast was very rare.. in fact, I can't think of a single performance I attended that had it! Unfortunately, this performance was not an exception. While the four principals brought something potently integral to the performance, there was no synergy to the total effect. Marianne Cornetti's Azucena stood out with a hauntingly dark and heavy voice. A true Verdian mezzo, her characterization was not wicked but rather a victim of her circumstances. For Marco Berti's Manrico, we first encountered his offstage voice, serenading Leonora. The tenor voice was distinctively mature and a tad too dramatic. However, when he appeared on-stage though, the immediacy and power of his voice came across as more impressive as it rendered urgency to the story. Simone Piazzola's Count di Luna Michael was a major voice. While his voice shone in the arias, his acting was understated when compared to the other three leads. Martina Serafin, as Leonora, played the soprano lead with passion and conviction. As drama intensifies, her singing had difficulty coping with her acting; and in some places, her voice tended to lean toward strained and pinched. Daniel Giulianini as Ferrando was the stand-out among the smaller roles. </p></span><p></p><p></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiAw5q8rNDmpj7bqU7s7BzCkhcp2ToBALqc3aFdJ-R98Xb8Tj2AS1vqe8jKbjrGbeKhHJMqiXRR9fKdXOwpmoKU2EnZYEYewHzArFi1ERuWeTouZ8uPR7V5Xq7-XkhiHv8-qAkiSw_34D7kmBTZikaJ5eGGBOF7Aa23TcnLbzhPyhRTrnNqb1P4Bf5k/s829/IT2.JPG" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="827" data-original-width="829" height="638" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiAw5q8rNDmpj7bqU7s7BzCkhcp2ToBALqc3aFdJ-R98Xb8Tj2AS1vqe8jKbjrGbeKhHJMqiXRR9fKdXOwpmoKU2EnZYEYewHzArFi1ERuWeTouZ8uPR7V5Xq7-XkhiHv8-qAkiSw_34D7kmBTZikaJ5eGGBOF7Aa23TcnLbzhPyhRTrnNqb1P4Bf5k/w640-h638/IT2.JPG" width="640" /></a></div><span style="font-family: verdana;"><p>The Opera Hong Kong Orchestra, led by Dejan Savic; and the Opera Hong Kong Chorus led by Alex Tam delivered; and were in good momentum from January's La Boheme. Overall, it was a welcomed performance with solid staging and a respectable cast. Personally, I do like “Il Trovatore” so much, that I am more than happy to go to see it. </p></span><p></p><p></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjvPOfnwqf04F6yrKNN27NXJnTbJib2j6yYw0KEpTEum8NKP-bu0W6XNZihi5WJVpUtyclXXUAx_1DdPH6w22OEFKULQui6jOx4wHg1y7xJyXmG_n39udz5tMWm0ol_DVEE5HHxQBGIzzqRB1rYy4mYb6BgHx4oAz8sAX_ZT5aOS-s2P1DXZFPbCEE6/s830/IT1.JPG" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="827" data-original-width="830" height="638" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjvPOfnwqf04F6yrKNN27NXJnTbJib2j6yYw0KEpTEum8NKP-bu0W6XNZihi5WJVpUtyclXXUAx_1DdPH6w22OEFKULQui6jOx4wHg1y7xJyXmG_n39udz5tMWm0ol_DVEE5HHxQBGIzzqRB1rYy4mYb6BgHx4oAz8sAX_ZT5aOS-s2P1DXZFPbCEE6/w640-h638/IT1.JPG" width="640" /></a></div><br /><span style="font-family: verdana;">____________</span><p></p><p><span style="font-family: verdana;">An Opera in Four Acts</span></p><p><span style="font-family: verdana;">Performed in Italian with Chinese and English Surtitles</span></p><p><span style="font-family: verdana;"><br /></span></p><p><span style="font-family: verdana;">Libretto by Salvatore Cammarano</span></p><p><span style="font-family: verdana;">Costumes by Fondazione Festival Belliniano</span></p><p><span style="font-family: verdana;">Producer: Warren Mok</span></p><p><span style="font-family: verdana;">Conductor: Dejan Savic</span></p><p><span style="font-family: verdana;">Director: Enrico Castiglione</span></p><p><span style="font-family: verdana;">Chorus Director: Alex Tam</span></p><p><span style="font-family: verdana;">Orchestra Executive: Anders Hui</span></p><p><span style="font-family: verdana;"><br /></span></p><p><span style="font-family: verdana;">Opera Hong Kong Orchestra</span></p><p><span style="font-family: verdana;">Opera Hong Kong Chorus</span></p><p><span style="font-family: verdana;"><br /></span></p><p><span style="font-family: verdana;">CAST</span></p><p><span style="font-family: verdana;">Leonora: Martina Serafin </span></p><p><span style="font-family: verdana;">Manrico: Marco Berti </span></p><p><span style="font-family: verdana;">Count di Luna: Simone Piazzola </span></p><p><span style="font-family: verdana;">Azucena: Marianne Cornetti </span></p><p><span style="font-family: verdana;">Ferrando: Daniel Giulianini</span></p><p><span style="font-family: verdana;">Ines: Ashley Chui </span></p><p><span style="font-family: verdana;">Ruiz: Wesley Lam</span></p>SATOSHIhttp://www.blogger.com/profile/14734387267429261897noreply@blogger.com0tag:blogger.com,1999:blog-1051753065839395549.post-14423656478725158732023-01-16T13:53:00.003+08:002023-01-17T08:42:58.304+08:00REVIEW: Puccini’s La Boheme<p><span style="font-family: verdana;"><span color="inherit" style="font-style: inherit; font-variant-caps: inherit; font-variant-ligatures: inherit; font-weight: inherit;">Hong Kong Cultural Centre Grand Theatre, Sunday January 15 2023</span><o:p class="ContentPasted0" style="color: inherit; font-style: inherit; font-variant-caps: inherit; font-variant-ligatures: inherit; font-weight: inherit;"> </o:p></span></p><p class="MsoNormal" style="margin: 0cm 0cm 8pt;"></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEisc6TrXsLycGjPyJWAYb8-WZxRWyTUoAoq9JA1Xj4phgfmavz8b6GnQzucIypnqo7keLkfiWEmMLykYHyLWFXdCoveY4OHaMkzGWN3CtOCRilUUYQd66O5DjA_dOzZjnXXlwyDD17uTjbH8DmD2Z9we-HpMzPt0iQBTHQXMFoEpMeJSV5ZKE4jazkN/s1080/boheme6.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1080" data-original-width="1080" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEisc6TrXsLycGjPyJWAYb8-WZxRWyTUoAoq9JA1Xj4phgfmavz8b6GnQzucIypnqo7keLkfiWEmMLykYHyLWFXdCoveY4OHaMkzGWN3CtOCRilUUYQd66O5DjA_dOzZjnXXlwyDD17uTjbH8DmD2Z9we-HpMzPt0iQBTHQXMFoEpMeJSV5ZKE4jazkN/w640-h640/boheme6.jpg" width="640" /></a></div><span color="inherit" style="font-family: verdana; font-style: inherit; font-variant-caps: inherit; font-variant-ligatures: inherit; font-weight: inherit;"><p class="MsoNormal" style="margin: 0cm 0cm 8pt;"><span color="inherit" style="font-style: inherit; font-variant-caps: inherit; font-variant-ligatures: inherit; font-weight: inherit; text-align: justify;">This is my second La Boheme in less than a month. The last one was at Palau de les Arts in Valencia, Spain last December 23 2022. Unfortunately, this Opera Hong Kong production of La Boheme had the same problem as the one in Valencia, and that was the production design proved to be a huge liability. Having said that, it was a good thing that the cast was good enough to offset whatever distraction the production forced upon the audience.</span><o:p class="ContentPasted0" style="color: inherit; font-style: inherit; font-variant-caps: inherit; font-variant-ligatures: inherit; font-weight: inherit; text-align: justify;"> </o:p></p></span><p></p><p class="MsoNormal" style="margin: 0cm 0cm 8pt;"></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiPULaaxRDQ9KjPccBkp_iDbILydiver0axEGhzQ5n2sAa0G5bXJKvz33aB_GgSbTs9__KtiTac_-y5hyajQV86Xm2BTrcY96NfmsFMLoAvpHNT5qprOeXDtGooNdByLzU3dAxqQNM4WTTlh5jiYg4BAIoRx-0HTN8USEIQAgKcOVbojq63EM9F6Vhg/s1600/boheme1.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1600" data-original-width="1066" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiPULaaxRDQ9KjPccBkp_iDbILydiver0axEGhzQ5n2sAa0G5bXJKvz33aB_GgSbTs9__KtiTac_-y5hyajQV86Xm2BTrcY96NfmsFMLoAvpHNT5qprOeXDtGooNdByLzU3dAxqQNM4WTTlh5jiYg4BAIoRx-0HTN8USEIQAgKcOVbojq63EM9F6Vhg/w426-h640/boheme1.jpg" width="426" /></a></div><span color="inherit" style="font-family: verdana; font-style: inherit; font-variant-caps: inherit; font-variant-ligatures: inherit; font-weight: inherit;"><p class="MsoNormal" style="margin: 0cm 0cm 8pt;"><span color="inherit" style="font-style: inherit; font-variant-caps: inherit; font-variant-ligatures: inherit; font-weight: inherit; text-align: justify;">The strength of this performance lies in the four main characters of the opera. Kang Wang, whom we saw last in La Traviata in October 2022, was a very believable Rodolfo. His tenor was even and it soared to a bright and warm top. His beautiful and nuanced phrasing made his character very sympathetic. Most importantly, his every stage action complemented what was happening on stage. When Mimi was singing “Sì, mi chiamano Mimì”, one can see and feel Rodolfo slowly falling deeply in love with her.</span><span color="inherit" style="font-style: inherit; font-variant-caps: inherit; font-variant-ligatures: inherit; font-weight: inherit; text-align: justify;"> </span><o:p class="ContentPasted0" style="color: inherit; font-style: inherit; font-variant-caps: inherit; font-variant-ligatures: inherit; font-weight: inherit; text-align: justify;"> </o:p></p></span><p></p><p class="MsoNormal" style="margin: 0cm 0cm 8pt;"></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi5cXi8CKroajTf2FJQyxYfAZ1Z-l4hfzeJu48cV4Kg_jQ9cwIL__MmN6Srd_BJRQX1KK4Pgx1R5EGbGg5froo8f_VyNgcxqdbB9eS2BxkJogqZXFcbAK-OlRF8ZCjRFeFOioU_WJZV25BrPw8IqeNVktNbQb7_9hbO6YI7j7NhKIfgvo4vVk_thIwc/s1440/boheme5.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="960" data-original-width="1440" height="426" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi5cXi8CKroajTf2FJQyxYfAZ1Z-l4hfzeJu48cV4Kg_jQ9cwIL__MmN6Srd_BJRQX1KK4Pgx1R5EGbGg5froo8f_VyNgcxqdbB9eS2BxkJogqZXFcbAK-OlRF8ZCjRFeFOioU_WJZV25BrPw8IqeNVktNbQb7_9hbO6YI7j7NhKIfgvo4vVk_thIwc/w640-h426/boheme5.jpg" width="640" /></a></div><p></p><p class="MsoNormal ContentPasted0" style="margin: 0cm 0cm 8pt;"><span class="ContentPasted0" color="inherit" style="border: 0px; font-family: verdana; font-stretch: inherit; font-style: inherit; font-variant: inherit; font-weight: inherit; line-height: inherit; margin: 0px; padding: 0px; text-align: justify; vertical-align: baseline;">Francesa Dotto’s Mimi matched Rodolfo with the same intensity and sincerity. With a round and even tone, Francesca Dotto brought a narrative fluidity to her aria “Mi chiamano Mimì” with sumptuous legato. Yunpeng Wang’s Marcello</span><span style="font-family: verdana; text-align: justify;"> </span><span class="ContentPasted0" color="inherit" lang="EN-HK" style="border: 0px; font-family: verdana; font-stretch: inherit; font-style: inherit; font-variant: inherit; font-weight: inherit; line-height: inherit; margin: 0px; padding: 0px; text-align: justify; vertical-align: baseline;">was very special. Rarely do I see a singer that elevated the role of Marcello <span class="ContentPasted0" color="inherit" style="border: 0px; font-stretch: inherit; font-style: inherit; font-variant: inherit; font-weight: inherit; line-height: inherit; margin: 0px; padding: 0px; vertical-align: baseline;"> </span>to a level at par with Rodolfo. His vocal works and stage presence were on-point at every single turn. Finally, Nina Solodovnikova’s Musetta was every bit beautiful and feisty, yet excusable and kind-hearted. <span class="ContentPasted0" color="inherit" style="border: 0px; font-stretch: inherit; font-style: inherit; font-variant: inherit; font-weight: inherit; line-height: inherit; margin: 0px; padding: 0px; vertical-align: baseline;"> </span>She managed to juice out every ounce of fun and flirt from her "Quando me'n vo'" to great effect.<o:p class="ContentPasted0"> </o:p></span></p><p class="MsoNormal ContentPasted0" style="margin: 0cm 0cm 8pt;"><span style="font-family: verdana;"><span class="ContentPasted0" color="inherit" lang="EN-HK" style="border: 0px; font-stretch: inherit; font-style: inherit; font-variant: inherit; font-weight: inherit; line-height: inherit; margin: 0px; padding: 0px; vertical-align: baseline;"></span></span></p><div class="separator" style="clear: both; text-align: center;"><span style="font-family: verdana;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj_Z2cz7bCmcqqmCuYKBXVH_FKjRaHBec-c5EWCNB2mjJwr8swweVJXB2O94b2bRy_XzbckNbAv6IW84El-APuwTECW21mi4evQSpcFYGVuRPXvUH-zjLTK1GREN85cgMsqRnW6aslRMxdKUBI72rp9LHCPH6AbXLeN42KuweOgDk7t37auUxxUvw3G/s1600/boheme3.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1600" data-original-width="1066" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj_Z2cz7bCmcqqmCuYKBXVH_FKjRaHBec-c5EWCNB2mjJwr8swweVJXB2O94b2bRy_XzbckNbAv6IW84El-APuwTECW21mi4evQSpcFYGVuRPXvUH-zjLTK1GREN85cgMsqRnW6aslRMxdKUBI72rp9LHCPH6AbXLeN42KuweOgDk7t37auUxxUvw3G/w426-h640/boheme3.jpg" width="426" /></a></span></div><span color="inherit" style="font-family: verdana; font-style: inherit; font-variant-caps: inherit; font-variant-ligatures: inherit; font-weight: inherit;"><p class="MsoNormal ContentPasted0" style="margin: 0cm 0cm 8pt;"><span color="inherit" style="font-style: inherit; font-variant-caps: inherit; font-variant-ligatures: inherit; font-weight: inherit; text-align: justify;">Okay, now let us deal with the production design. The idea of setting La Boheme in Hong Kong is a brave one but I believe it is a doable one. However, in this production, while there was some possible level of social and economic match of Paris around 1830-40's, there were just so many inconsistencies in time, space and temperature that they befuddle the story and performance. In most parts of the production, it felt like the main singers were in a different world from the chorus. And for the love of god, what was the breakdancing during scene-change all about? By the way, having Rodolfo shell out a bill (not coins) to the assumed street performer and hugging him didn’t justify this strange inclusion at all.</span><o:p class="ContentPasted0" style="color: inherit; font-style: inherit; font-variant-caps: inherit; font-variant-ligatures: inherit; font-weight: inherit; text-align: justify;"> </o:p></p></span><p></p><p class="MsoNormal ContentPasted0" style="margin: 0cm 0cm 8pt;"></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgB9G73tuxivGkSvkn-ZrscrVDe6PxzqIpAk49xmOqhJlxIpIur7fxtgADScWf_KOsBW-P5Zfwl9hXUuDnuwieE6_Qj_ZWR_xmK3quD_vh5AP99NwEtIbbs_SHy3ed9fWyT5eslM1Z1arxaICqr4cugqhqV-D8Xyi_Zv8tCukt49Qy_ifoYpWhGXrFd/s2048/boheme4.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1365" data-original-width="2048" height="426" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgB9G73tuxivGkSvkn-ZrscrVDe6PxzqIpAk49xmOqhJlxIpIur7fxtgADScWf_KOsBW-P5Zfwl9hXUuDnuwieE6_Qj_ZWR_xmK3quD_vh5AP99NwEtIbbs_SHy3ed9fWyT5eslM1Z1arxaICqr4cugqhqV-D8Xyi_Zv8tCukt49Qy_ifoYpWhGXrFd/w640-h426/boheme4.jpg" width="640" /></a></div><span style="background-color: white;"><p class="MsoNormal ContentPasted0" style="font-family: verdana; margin: 0cm 0cm 8pt;"><span style="text-align: justify;">Ultimately, Puccini's music is enduring for good reasons and the performers did justice to it. The main roles were performed flawlessly and whatever misgivings I have on the production, it was still a worthwhile Sunday night out.</span></p><p class="MsoNormal ContentPasted0" style="font-family: verdana; margin: 0cm 0cm 8pt;"><span style="text-align: justify;">__________</span></p><p class="MsoNormal ContentPasted0" style="margin: 0cm 0cm 8pt; text-align: justify;"><span style="font-family: verdana;">Puccini's LA BOHEME</span></p><p class="MsoNormal ContentPasted0" style="margin: 0cm 0cm 8pt; text-align: justify;"><span style="font-family: verdana;">An Opera in Four Acts</span></p></span><p></p><p class="MsoNormal ContentPasted0" style="margin: 0cm 0cm 8pt; text-align: justify;"><span style="font-family: verdana;">Libretto by Giuseppe Giacosa and Luigi Illica</span></p><p class="MsoNormal ContentPasted0" style="margin: 0cm 0cm 8pt; text-align: justify;"><span style="font-family: verdana;"><br /></span></p><p class="MsoNormal ContentPasted0" style="margin: 0cm 0cm 8pt; text-align: justify;"><span style="font-family: verdana;">Producer: Warren Mok</span></p><p class="MsoNormal ContentPasted0" style="margin: 0cm 0cm 8pt; text-align: justify;"><span style="font-family: verdana;">Conductor: Roberto Gianola</span></p><p class="MsoNormal ContentPasted0" style="margin: 0cm 0cm 8pt; text-align: justify;"><span style="font-family: verdana;">Director: Tang Shu-wing</span></p><p class="MsoNormal ContentPasted0" style="margin: 0cm 0cm 8pt; text-align: justify;"><span style="font-family: verdana;">Chorus Director: Alex Tam</span></p><p class="MsoNormal ContentPasted0" style="margin: 0cm 0cm 8pt; text-align: justify;"><span style="font-family: verdana;">Orchestra Executive: Anders Hui</span></p><p class="MsoNormal ContentPasted0" style="margin: 0cm 0cm 8pt; text-align: justify;"><span style="font-family: verdana;"><br /></span></p><p class="MsoNormal ContentPasted0" style="margin: 0cm 0cm 8pt; text-align: justify;"><span style="font-family: verdana;">Opera Hong Kong Orchestra</span></p><p class="MsoNormal ContentPasted0" style="margin: 0cm 0cm 8pt; text-align: justify;"><span style="font-family: verdana;">Opera Hong Kong Chorus</span></p><p class="MsoNormal ContentPasted0" style="margin: 0cm 0cm 8pt; text-align: justify;"><span style="font-family: verdana;">Opera Hong Kong Children Chorus</span></p><p class="MsoNormal ContentPasted0" style="margin: 0cm 0cm 8pt; text-align: justify;"><span style="font-family: verdana;"><br /></span></p><p class="MsoNormal ContentPasted0" style="margin: 0cm 0cm 8pt; text-align: justify;"><span style="font-family: verdana;">CAST</span></p><p class="MsoNormal ContentPasted0" style="margin: 0cm 0cm 8pt; text-align: justify;"><span style="font-family: verdana;">Rodolfo: </span><span style="font-family: verdana;">Kang Wang</span></p><p class="MsoNormal ContentPasted0" style="margin: 0cm 0cm 8pt; text-align: justify;"><span style="font-family: verdana;">Mimi: </span><span style="font-family: verdana;">Francesca Dotto </span></p><p class="MsoNormal ContentPasted0" style="margin: 0cm 0cm 8pt; text-align: justify;"><span style="font-family: verdana;">Marcello: </span><span style="font-family: verdana;">Yunpeng Wang</span></p><p class="MsoNormal ContentPasted0" style="margin: 0cm 0cm 8pt; text-align: justify;"><span style="font-family: verdana;">Musetta: </span><span style="font-family: verdana;">Nina Solodovnikova</span></p><p class="MsoNormal ContentPasted0" style="margin: 0cm 0cm 8pt; text-align: justify;"><span style="font-family: verdana;">Schaunard: </span><span style="font-family: verdana;">Paolo Ciavarelli </span></p><p class="MsoNormal ContentPasted0" style="margin: 0cm 0cm 8pt; text-align: justify;"><span style="font-family: verdana;">Colline: </span><span style="font-family: verdana;">Vladimir Sazdovski</span></p><p class="MsoNormal ContentPasted0" style="margin: 0cm 0cm 8pt; text-align: justify;"><span style="font-family: verdana;">Benoit: </span><span style="font-family: verdana;">James Price</span></p><p class="MsoNormal ContentPasted0" style="margin: 0cm 0cm 8pt; text-align: justify;"><span style="font-family: verdana;">Alcindoro: </span><span style="font-family: verdana;">Freddie Tong </span></p><p class="MsoNormal ContentPasted0" style="margin: 0cm 0cm 8pt; text-align: justify;"><span style="font-family: verdana;">Parpignol: </span><span style="font-family: verdana;">Wesley Lam</span></p>SATOSHIhttp://www.blogger.com/profile/14734387267429261897noreply@blogger.com0tag:blogger.com,1999:blog-1051753065839395549.post-21675995090803915232023-01-04T16:16:00.001+08:002023-01-09T11:38:20.066+08:00Theatre Pilgrimage – 16 Shows in 4 Cities<span style="font-family: verdana;"><br />It was back in 2018 that I had my last Theatre Pilgrimage when I managed to squeeze 9 shows out of my trip to Valencia (Spain) and London (UK). So, for this trip, perhaps it is more proper to call it Theatre Revenge (after years of Covid) as I managed to watch 16 shows during my vacation in Valencia (Spain), Berlin (Germany), Athens (Greece) and London (UK). </span><div><span style="font-family: verdana;"><br /><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhhRzzY3xC0VWbQ9en1v1r0rhNsMen2isQQMQEwSyA4hbJrVcGe8Jfh73G0ybEEZRj6D-wrHrJNRFpPURbq7LOj7AN-orV7BtaLAdesNwjzDAtgvQKjbJenm6hXLStPTKWKUPgt7CFEGHqoIF6sZKUeVpYbhbq-i1JX_aPJoemN5JkmnUV6TVspV3mf/s738/316815541_10166898599960480_8570068757444203507_n.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="738" data-original-width="738" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhhRzzY3xC0VWbQ9en1v1r0rhNsMen2isQQMQEwSyA4hbJrVcGe8Jfh73G0ybEEZRj6D-wrHrJNRFpPURbq7LOj7AN-orV7BtaLAdesNwjzDAtgvQKjbJenm6hXLStPTKWKUPgt7CFEGHqoIF6sZKUeVpYbhbq-i1JX_aPJoemN5JkmnUV6TVspV3mf/w640-h640/316815541_10166898599960480_8570068757444203507_n.jpg" width="640" /></a></div></span><div><span style="font-family: verdana;"><br /></span></div><div><span style="font-family: verdana;">Like all of my Theatre Pilgrimage, I will rank all 16 shows I saw based on my PERSONAL ENJOYMENT. Needless to say, it is very subjective and there are lots of variables that affect my personal enjoyment – from my personal bias e.g. I will always prefer a musical over a play, to circumstances e.g. seat, cast, ticket price, etc. Also, like previous pilgrimage reviews, I will make them brief. </span></div><div><span style="font-family: verdana;"><br /></span></div><div style="text-align: justify;"><span style="font-family: verdana;">1. <u style="font-weight: bold;">MY NEIGHBOUR TOTORO</u></span><span style="font-family: verdana;"> – Barbican Centre (London) Monday December 19 2022 Matinee – This play with live music and singing was absolutely and undoubtedly the most enjoyable of the 16 shows. From start to finish, the sense of wonder in the theatre was palpable. Like the Disney The Lion King on-stage musical, there was no attempt to hide the puppetry involved. Instead, it was highlighted so that the audience can appreciate the artistry while suspending their disbelief. But beyond Totoro, the Catbus and all other creatures, the human characters in the play were believable and effective. I would love to see this show again… and again! </span></div><div style="text-align: left;"><span style="font-family: verdana;"><br /></span></div><div style="text-align: left;"><span style="font-family: verdana;"><div class="separator" style="clear: both; text-align: center;"><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/a/AVvXsEiH_sMeVH2HJ_gUg34KdPntZTAOAObiHQZ4rHxIbd8kyJHRSqkV7fTWjf6YFB-BVqyizoEMYXSHwbM7McpP4aIlhjLplJc3JtQ00OXV1rlGMnfa_pmpgiEfwn7Uv-iSYsLDo15mSrL6kH6OLdbdA_agySvBvHEnEPdQEz_HiCeA3sBkbEujJHGomowj" style="margin-left: 1em; margin-right: 1em;"><img alt="" data-original-height="400" data-original-width="600" height="426" src="https://blogger.googleusercontent.com/img/a/AVvXsEiH_sMeVH2HJ_gUg34KdPntZTAOAObiHQZ4rHxIbd8kyJHRSqkV7fTWjf6YFB-BVqyizoEMYXSHwbM7McpP4aIlhjLplJc3JtQ00OXV1rlGMnfa_pmpgiEfwn7Uv-iSYsLDo15mSrL6kH6OLdbdA_agySvBvHEnEPdQEz_HiCeA3sBkbEujJHGomowj=w640-h426" width="640" /></a></div><br /><br /></div></span><span style="font-family: verdana;"><div style="text-align: justify;">2. <b style="text-decoration-line: underline;">CABARET</b> – Kit Kat Club at the Playhouse Theatre (London) Tuesday December 20 2022 Evening – I have seen several Cabaret productions on Broadway and West End, and this one stood out because the production took a holistic approach. The wonderful experience started with entering the theatre via a side door and through a labyrinthine path where one receives a shot of Schnapps before being entertained by “prologue” performers. The staging was confined to a small revolving multi-tiered stage in an arena format, which was meticulously and brilliantly converted from a proscenium theatre! Callun Scott Howells as The Encee was absolutely amazing, while Emily Benjamin as Sally Bowles was likewise incredible. Every revival should go through such rethinking!!! Yes, I would love to see it again! </div></span></div><div style="text-align: left;"><span style="font-family: verdana;"><br /></span></div><div style="text-align: left;"><span style="font-family: verdana;"><div class="separator" style="clear: both; text-align: center;"><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/a/AVvXsEh_996n99ofvwF21uEf9lgXWO83YIeQFZmK3t_Zbbhyod9vv5Q9CkrGqfVJ4sHizLOLvoYYcuKNpqOkgZmLkxs1g4kyztrBKV8ze13UTgXVidT_Fkrma21K0PJh7ui2BUy0KG62E8WwvEu8nAXbi53XP6XZ2BUbWwsYmLhVco28SxyUjH5vpzr8TrbZ" style="margin-left: 1em; margin-right: 1em;"><img alt="" data-original-height="576" data-original-width="1024" height="360" src="https://blogger.googleusercontent.com/img/a/AVvXsEh_996n99ofvwF21uEf9lgXWO83YIeQFZmK3t_Zbbhyod9vv5Q9CkrGqfVJ4sHizLOLvoYYcuKNpqOkgZmLkxs1g4kyztrBKV8ze13UTgXVidT_Fkrma21K0PJh7ui2BUy0KG62E8WwvEu8nAXbi53XP6XZ2BUbWwsYmLhVco28SxyUjH5vpzr8TrbZ=w640-h360" width="640" /></a></div><br /><div style="text-align: justify;"><span style="text-align: left;">3. <b style="text-decoration-line: underline;">SIX</b></span><span style="text-align: left;"> – Vaudeville Theatre (London) Wednesday December 21 2022 Evening – SIX was unexpectedly good. This musical presented the lives of the six wives of Henry VIII as a pop concert. The show was short and did not have an intermission, which was just right. While I am not sure how this musical will age, it definitely felt current and witty when I saw it. Having said that, I will not spend money to see it again, but instead, will keep the cast recording in my library. </span></div></div></span></div><div style="text-align: left;"><span style="font-family: verdana;"><br /></span></div><div style="text-align: left;"><span style="font-family: verdana;"><div class="separator" style="clear: both; text-align: center;"><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/a/AVvXsEgpcfnkoLmNznNrUWR6lxPCWCqiQm4U6cdmQzHdxIic7RWwkNa3rvcg26finxNqWFRvaUjSnsj6SZ9KR8VfJRcR6BwnvlHPmY3-PN7vyfExMUXprMtztmfCxBI9W4RaikdI7-j1KelCUa3mlAudFrcaKmTCET1dpYboZIThEo-KJDbdqCZmQadWf30M" style="margin-left: 1em; margin-right: 1em;"><img alt="" data-original-height="540" data-original-width="840" height="413" src="https://blogger.googleusercontent.com/img/a/AVvXsEgpcfnkoLmNznNrUWR6lxPCWCqiQm4U6cdmQzHdxIic7RWwkNa3rvcg26finxNqWFRvaUjSnsj6SZ9KR8VfJRcR6BwnvlHPmY3-PN7vyfExMUXprMtztmfCxBI9W4RaikdI7-j1KelCUa3mlAudFrcaKmTCET1dpYboZIThEo-KJDbdqCZmQadWf30M=w640-h413" width="640" /></a></div><br /><div style="text-align: justify;"><span style="text-align: left;">4. <b style="text-decoration-line: underline;">BACK TO THE FUTURE: THE MUSICAL</b></span><span style="text-align: left;"> – Adelphi Theatre (London) Sunday December 18 2022 Evening – This has the feel of a classic musical comedy combined with modern special effects. Like the old musical comedies, there were tons of big production numbers that sometimes felt out-of-place or at least a tad forced. Overall, the production was top-notched and it translated the movie to the stage skillfully. Cory English as Doc Brown was good but not great while Ben Joyce as Marty McFly was very unconvincing as an American. I would love to see Roger Bart as Doc Brown, otherwise, I wouldn’t mind not seeing this show again. </span></div></div></span></div><div style="text-align: left;"><span style="font-family: verdana;"><br /></span></div><div style="text-align: left;"><span style="font-family: verdana;"><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/a/AVvXsEjxA_PPahgPYv9Mbp3DnORgReP8SNRt0qyanuXXncv9E0UXmnjvFy7UPMnDxBYc1HhmOlQM0JW0s4c8W-2SwIZyLkMvnQsVKWx4r0RTlS2-TZOShQPBK4Lixk2v1_CFazzv_RXaPJo42EpGiwctOr6Tx_bhJBQap6-yX_26BcWZlVa8dT5kD6GkmYvQ" style="margin-left: 1em; margin-right: 1em;"><img alt="" data-original-height="355" data-original-width="710" height="320" src="https://blogger.googleusercontent.com/img/a/AVvXsEjxA_PPahgPYv9Mbp3DnORgReP8SNRt0qyanuXXncv9E0UXmnjvFy7UPMnDxBYc1HhmOlQM0JW0s4c8W-2SwIZyLkMvnQsVKWx4r0RTlS2-TZOShQPBK4Lixk2v1_CFazzv_RXaPJo42EpGiwctOr6Tx_bhJBQap6-yX_26BcWZlVa8dT5kD6GkmYvQ=w640-h320" width="640" /></a></div><br /><div style="text-align: justify;">5. <b style="text-decoration-line: underline;">MOULIN ROUGE THE MUSICAL</b> – Piccadilly Theatre (London) Monday December 19 2022 Evening – This is so close to BACK TO THE FUTURE that it can easily be no. 4. I think the reason or reasons why I enjoy MOULIN ROUGE less was because the songs were not original and/or the ladies sitting behind me were all drunk and rowdy that at one point, they were singing along… and not in tune! This Moulin Rouge was loosely based on the movie version, and was splashy like a grand variety show punctuated with dialogues to bring forth the story. </div></span></div><div style="text-align: left;"><span style="font-family: verdana;"><br /></span></div><div style="text-align: left;"><span style="font-family: verdana;"><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/a/AVvXsEi9rGG716hzBMEzpOeLsFxmFMyXkjOhLIKEFzxfY3_Z-9qyps7WwExQx__g26kUyWf1eoX7ScqFT_4Le2xFCA6T2IQ-Akl7k0qCYs7ywQ7WP5E4c7qijYApykT1ATX4QM41SS-lX2CVHiUSpsH2bERVI2NrgU3T2rPQxy5IK2u6cQkRtemVPPH_5MFh" style="margin-left: 1em; margin-right: 1em;"><img alt="" data-original-height="1200" data-original-width="1920" height="400" src="https://blogger.googleusercontent.com/img/a/AVvXsEi9rGG716hzBMEzpOeLsFxmFMyXkjOhLIKEFzxfY3_Z-9qyps7WwExQx__g26kUyWf1eoX7ScqFT_4Le2xFCA6T2IQ-Akl7k0qCYs7ywQ7WP5E4c7qijYApykT1ATX4QM41SS-lX2CVHiUSpsH2bERVI2NrgU3T2rPQxy5IK2u6cQkRtemVPPH_5MFh=w640-h400" width="640" /></a></div><br /><div style="text-align: justify;">6. <b style="text-decoration-line: underline;">LA JAULA DE LAS LOCAS</b> (La Cage Aux Folles) – Teatro Olympia (Valencia) Thursday December 29 2022 Evening – I have to admit that this Spanish version worked for me as I am very familiar with the original English version. While my Spanish comprehension level was not quite there yet, this production was beautiful, intriguing, and different from the other staging I have seen. Most importantly, Ivan Labanda and Armando Pita as Albin “Zaza” and Georges were brilliant. They both looked comfortable and were having a grand time. Also, Jorge Gonzalez as Jacob was hilarious. </div></span></div><div style="text-align: left;"><span style="font-family: verdana;"><br /></span></div><div style="text-align: left;"><span style="font-family: verdana;"><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/a/AVvXsEhAyTkp6PppD4LZmOAPujOzEf5IFArKAQumDp9lk5paMS11l2NhpAl99ZL0h2dV8-jR7I10TqgFrTIQ35riFSoDhb9T9n93FhSqdz4rabGsTZLyRWnPgRKP75Qx2Rdl8_tMh6YbNMWfV0h6UiMNCQ6xrOUHjCJxkd6ZKJmIEjPJlavx-QUeLQh6nqon" style="margin-left: 1em; margin-right: 1em;"><img alt="" data-original-height="1680" data-original-width="1875" height="573" src="https://blogger.googleusercontent.com/img/a/AVvXsEhAyTkp6PppD4LZmOAPujOzEf5IFArKAQumDp9lk5paMS11l2NhpAl99ZL0h2dV8-jR7I10TqgFrTIQ35riFSoDhb9T9n93FhSqdz4rabGsTZLyRWnPgRKP75Qx2Rdl8_tMh6YbNMWfV0h6UiMNCQ6xrOUHjCJxkd6ZKJmIEjPJlavx-QUeLQh6nqon=w640-h573" width="640" /></a></div><br /><div style="text-align: justify;">7. <b style="text-decoration-line: underline;">MITRIDATE, RE DI PONTO</b> – Staatsoper Unter Den Linden (Berlin) Friday December 9 2022 Evening – Now this was a total surprise. In general, I do not like Mozart’s early work, and this one was written when he was 14 years old. I know I don’t like it as I once saw it at the Festival Internacional de Música y Danza de Granada in 2012 at the Carlos V Palace. There were so many things going for this production and everything came together. Marc Minkowski conducting was elegant. The staging by Satoshi Miyagi and stage design by Junpei Kiz kept the production simple yet fantastical, and the costume design by Kayo Takahashi Deschene was equally fantastical. Most important of all, the cast occupied their roles and their moments. </div></span></div><div style="text-align: left;"><span style="font-family: verdana;"><br /></span></div><div style="text-align: left;"><span style="font-family: verdana;"><div class="separator" style="clear: both; text-align: center;"><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/a/AVvXsEjMLsoiW_OmCbcXeZvyPxlR9YMY35oALz_MjQilbS16rjimLt0HzZ6JC12Im2U_G26iXU7wELAwbZAVQKCukWiflQ0m69r1_0lEqkg2WGt70oBHkH-juyTULhgR354MFFFgJUBY4x9E44Pg9EpT7ycpYQTRwTk1svaS94QshfoYc4KqnpqvrcvxtahC" style="margin-left: 1em; margin-right: 1em;"><img alt="" data-original-height="747" data-original-width="1126" height="424" src="https://blogger.googleusercontent.com/img/a/AVvXsEjMLsoiW_OmCbcXeZvyPxlR9YMY35oALz_MjQilbS16rjimLt0HzZ6JC12Im2U_G26iXU7wELAwbZAVQKCukWiflQ0m69r1_0lEqkg2WGt70oBHkH-juyTULhgR354MFFFgJUBY4x9E44Pg9EpT7ycpYQTRwTk1svaS94QshfoYc4KqnpqvrcvxtahC=w640-h424" width="640" /></a></div></div><br /><div style="text-align: justify;">8. <b style="text-decoration-line: underline;">PRETTY WOMAN THE MUSICAL</b> – Savoy Theatre (London) Saturday December 17 2022 Evening – This musical version managed to almost recreate the magic of the original movie. It was entertaining, but I can’t help but feel that the production design looked and felt like it was made for touring. Meanwhile, Olivia Brookes as pretty woman Vivian Ward was a tad underwhelming. I would love to see it again with a different Vivian Ward. </div></span></div><div style="text-align: left;"><span style="font-family: verdana;"><br /></span></div><div style="text-align: left;"><span style="font-family: verdana;"><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/a/AVvXsEgSD10UexjihGEyYvwhv_WPAFtvx3_CQW6RxL2TDCwmo1L2zNgjatSwPC4Fj2_JTuigYcM7Z7FiZcsHYFONQNPc3lHXOUsGE6gd3RhxScHlmMxTC61JPgNeqFdULKPnFaitQeRr-UulshGlKT4xm16STWMV2no1cIPWZQpyc5x0zjd4f5qN_wBXaW7z" style="margin-left: 1em; margin-right: 1em;"><img alt="" data-original-height="608" data-original-width="1080" height="360" src="https://blogger.googleusercontent.com/img/a/AVvXsEgSD10UexjihGEyYvwhv_WPAFtvx3_CQW6RxL2TDCwmo1L2zNgjatSwPC4Fj2_JTuigYcM7Z7FiZcsHYFONQNPc3lHXOUsGE6gd3RhxScHlmMxTC61JPgNeqFdULKPnFaitQeRr-UulshGlKT4xm16STWMV2no1cIPWZQpyc5x0zjd4f5qN_wBXaW7z=w640-h360" width="640" /></a></div><br /><div style="text-align: justify;">9. <b style="text-decoration-line: underline;">& JULIET</b> – Shaftesbury Theatre (London) Saturday December 17 2022 Matinee - This jukebox musical featured existing music mostly co-written by Max Martin. It was a really fun show that suffered a bit of philosophization. Miriam-Teal Lee as Juliet was absolutely divine. For some reason, I actually wouldn’t mind watching it again. </div></span></div><div style="text-align: justify;"><span style="font-family: verdana;"><br /></span></div><div style="text-align: left;"><span style="font-family: verdana;"><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/a/AVvXsEgOprCUMal4P_nnrYE6lgtLbH27XPy6LzKR603jdaGQj5Tm479XGtny3K19xsK9_OZ4Srjsg5wgSAfD3uOQDhtMc6Tef6BsIAJCFGGRJS4ormiCNaNAbDh2qXzFBUBtkYwqCN0hcQ35Z5Em2KwgCBMW5Q3L__0FPk1LkiAlrbtQpMMDQnxrzWHXYrg8" style="margin-left: 1em; margin-right: 1em;"><img alt="" data-original-height="500" data-original-width="900" height="356" src="https://blogger.googleusercontent.com/img/a/AVvXsEgOprCUMal4P_nnrYE6lgtLbH27XPy6LzKR603jdaGQj5Tm479XGtny3K19xsK9_OZ4Srjsg5wgSAfD3uOQDhtMc6Tef6BsIAJCFGGRJS4ormiCNaNAbDh2qXzFBUBtkYwqCN0hcQ35Z5Em2KwgCBMW5Q3L__0FPk1LkiAlrbtQpMMDQnxrzWHXYrg8=w640-h356" width="640" /></a></div><br /><div style="text-align: justify;">10. <b style="text-decoration-line: underline;">DON QUICHOTTE</b> (Don Quixote) – Deutsche Oper Berlin (Berlin) Wednesday December 7 2022 Evening - This is an opera in five acts by Jules Massenet to a French libretto by Henri Caïn, which I have heard of but has never seen on stage or even listened to. Overall, I am lukewarm to this performance as there were too many noisy teenagers… too many that a person sitting near me had to stand up, shuffle his way out of his row to complain to the theatre usher. This, however, didn’t solve the problem. Music-wise, I am not convinced on the combination of bass and contralto for the two main characters. Having said that, this production is staged by Jakop Ahlbom, and it was a visual feast. Patrick Guetti as Don Quichotte was also a treat.</div></span></div><div style="text-align: left;"><span style="font-family: verdana;"> </span></div><div style="text-align: left;"><span style="font-family: verdana;"><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/a/AVvXsEiNhqEGaBzotlk-SUaa69trjtm4nNKyrBlLZjtdkp8s8X4c7vb4wgbyMV8-9_zrxmR0xQUWd4sEEeXAs9Jj9BJhJ7mX7nDTkXGKskq5sotscer1yDCZBTYaTfbC4KS24npy4UZKdFYH3Hdh0tdsiOUlsafnx2StIamhF69dsYe6lwLNJQ6iUEJ31XHH" style="margin-left: 1em; margin-right: 1em;"><img alt="" data-original-height="658" data-original-width="994" height="424" src="https://blogger.googleusercontent.com/img/a/AVvXsEiNhqEGaBzotlk-SUaa69trjtm4nNKyrBlLZjtdkp8s8X4c7vb4wgbyMV8-9_zrxmR0xQUWd4sEEeXAs9Jj9BJhJ7mX7nDTkXGKskq5sotscer1yDCZBTYaTfbC4KS24npy4UZKdFYH3Hdh0tdsiOUlsafnx2StIamhF69dsYe6lwLNJQ6iUEJ31XHH=w640-h424" width="640" /></a></div><br /><div style="text-align: justify;">11. <b style="text-decoration-line: underline;">CITY LIGHTS: CHARLIE CHAPLIN</b> - Rex Theatre (Athens) Sunday December 11 2022 Evening – A rather unusual musical with an original score by Thodoris Economou and lyrics by Stavros Stavrou. Based on Charlie Chaplin’s masterpiece City Lights, this production is set in a film studio and follows the plot of the 1931 film. It was a well-thought-out and atmospheric production from the National Theatre of Greece. The only thing I wished for was that it should have been 87 minutes like the film, rather than 120 minutes to keep the pace and magic of the film.</div></span></div><div style="text-align: left;"><span style="font-family: verdana;"> </span></div><div style="text-align: left;"><span style="font-family: verdana;"><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/a/AVvXsEhwLl6eCdN48U1TikYQ02ueasVAfiph4gvwbHyrXe1Kd8iur9fxZxKjfdmgUDwyPKM3rq-3JGsWNokVVWjq1nMXHH7XlOabmsJxiqZWTp-oA_Ui9L_hKjOPAL9i8DoQu4OhkX8YOAHA3iZIIaYAIR6Rgr6ZsOa3oJ59xH_DZBsY0wq_cpuPRm60CpRG" style="margin-left: 1em; margin-right: 1em;"><img alt="" data-original-height="720" data-original-width="1280" height="360" src="https://blogger.googleusercontent.com/img/a/AVvXsEhwLl6eCdN48U1TikYQ02ueasVAfiph4gvwbHyrXe1Kd8iur9fxZxKjfdmgUDwyPKM3rq-3JGsWNokVVWjq1nMXHH7XlOabmsJxiqZWTp-oA_Ui9L_hKjOPAL9i8DoQu4OhkX8YOAHA3iZIIaYAIR6Rgr6ZsOa3oJ59xH_DZBsY0wq_cpuPRm60CpRG=w640-h360" width="640" /></a></div><br /><div style="text-align: justify;">12. <b style="text-decoration-line: underline;">LA BOHEME</b> - Palau de les Arts (Valencia) Friday December 23 2022 Evening – The only thing great about this production was the cast. It was a very balanced cast of very good singers. That’s it. The production was a disaster. I am not sure what Davide Livermore had when he thought up this production. There were so many things yet there was nothing. It was cheap at every level and very distracting. </div></span></div><div style="text-align: left;"><span style="font-family: verdana;"><br /></span></div><div style="text-align: left;"><span style="font-family: verdana;"><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/a/AVvXsEg_CD0s47pNOAfB879h9uBQTA5zAFaKL52OCkXj8KSEQ6uMWydocfoyKlU9XCGalTB9PTRxp7M2gHFzxFCXvyU-1WdkeWAWf7voYUQQoKcjm_HZ9v-Vgh1QJfsoasNko7Dw0JIuDskk5I0Woizf16zlXASGcjD2QsXfdaGKO1z4CHjEWWp5fUGVlwMC" style="margin-left: 1em; margin-right: 1em;"><img alt="" data-original-height="720" data-original-width="1280" height="360" src="https://blogger.googleusercontent.com/img/a/AVvXsEg_CD0s47pNOAfB879h9uBQTA5zAFaKL52OCkXj8KSEQ6uMWydocfoyKlU9XCGalTB9PTRxp7M2gHFzxFCXvyU-1WdkeWAWf7voYUQQoKcjm_HZ9v-Vgh1QJfsoasNko7Dw0JIuDskk5I0Woizf16zlXASGcjD2QsXfdaGKO1z4CHjEWWp5fUGVlwMC=w640-h360" width="640" /></a></div><br /><div style="text-align: justify;">13. <u style="font-weight: bold;">GOOD</u> – Harold Pinter Theatre (London) Friday December 16 2022 Evening - This play in two acts written by British playwright Cecil Philip Taylor was set in pre-war Germany, it demonstrated how John Halder, a liberal-minded professor whose best friend is the Jewish Maurice, was not only slowly seduced into joining the Nazis but also end up rationalizing and embracing the Final Solution. For me, this was on my radar because of David Tennant; and he was brilliant as Halder as he beautifully displayed his lack of principle and conviction. Having said that, I was bored. I am not sure why… maybe because the reviews were very good and I expected more or maybe because I was tired due to my delayed flight and London train strike that I almost missed the play; or perhaps I was annoyed that I started my London vacation with this gruesome play. </div><div style="text-align: justify;"><br /></div></span></div><div style="text-align: left;"><span style="font-family: verdana;"><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/a/AVvXsEhwn4JcUTG10MNoCRxSnfmTaJ9zj14kQjf5WLIVdKwLs2Hl750mcZc36YuEZiNxBLC01U3Atru875j_csW74Pss6kPu8b4lL-rDqxIzCWKplwiWCqN0p5NT4fi4te5N_dPj-YFGg1JVh4G63k76YGPVKRvWLD89ceb5fvKpRc5Dsyy2sBwANQMfhuNp" style="margin-left: 1em; margin-right: 1em;"><img alt="" data-original-height="630" data-original-width="1200" height="336" src="https://blogger.googleusercontent.com/img/a/AVvXsEhwn4JcUTG10MNoCRxSnfmTaJ9zj14kQjf5WLIVdKwLs2Hl750mcZc36YuEZiNxBLC01U3Atru875j_csW74Pss6kPu8b4lL-rDqxIzCWKplwiWCqN0p5NT4fi4te5N_dPj-YFGg1JVh4G63k76YGPVKRvWLD89ceb5fvKpRc5Dsyy2sBwANQMfhuNp=w640-h336" width="640" /></a></div><br /><div style="text-align: justify;">14. <b style="text-decoration-line: underline;">El GUARDAESPALDAS EL MUSICAL</b> (The Bodyguard The Musical) – Teatro Olympia (Valencia) Saturday December 3 2022 Evening – What can I say? I didn’t like it in English when I first saw it in Melbourne back in 2017, yet I still went to see this in Spanish. This musical was a bad version of the movie; and the movie was not exactly a good one! All this musical managed to do was pack as many Whitney Houston hit songs into it even though some were totally out of place.</div></span></div><div style="text-align: left;"><span style="font-family: verdana;"> </span></div><div style="text-align: left;"><span style="font-family: verdana;"><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/a/AVvXsEgflwMOg46ge9cRQ3VQ82hXuIPzylIVVuqaeKrcslmaAhZHBiWXQQT49lbL6vrW1ZqxdzXx_icaP97HpwseJjszj7zYtJU8PBg7acF2N__837pET0ax4w1FhDy4PXHj3L1F_bvFuQig6xHEDU5o9e_6MylCyxAkT0VXgA7Dlwj8CgdtZRXpKz0swZKo" style="margin-left: 1em; margin-right: 1em;"><img alt="" data-original-height="1442" data-original-width="968" height="640" src="https://blogger.googleusercontent.com/img/a/AVvXsEgflwMOg46ge9cRQ3VQ82hXuIPzylIVVuqaeKrcslmaAhZHBiWXQQT49lbL6vrW1ZqxdzXx_icaP97HpwseJjszj7zYtJU8PBg7acF2N__837pET0ax4w1FhDy4PXHj3L1F_bvFuQig6xHEDU5o9e_6MylCyxAkT0VXgA7Dlwj8CgdtZRXpKz0swZKo=w429-h640" width="429" /></a></div><br /><div style="text-align: justify;">15. <b style="text-decoration-line: underline;">HEATHERS THE MUSICAL</b> – The Other Palace Wednesday December 21 2022 Matinee – I was absolutely not the target audience of this musical. There was way too much teenage angst, but the worst part was the dark themes of the movie were sanitized with bubbly music and cartoon-like characters. </div></span></div><div style="text-align: left;"><span style="font-family: verdana;"><br /></span></div><div style="text-align: left;"><span style="font-family: verdana;"><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/a/AVvXsEg1JpPC1XeA1MhPRAubFbXQk8cstsN0rSlpLRytHtvpwhK2MPqyhq-4d87dYl8vz524YitXK4Rqqe3OtcAVQjAG4Cy5RN0r4p5WG-Nv-MVC4r_Dm3HWdSrwN5bLCh7JFuOaQ54zuU2DpDQxiVAGNIftaTkvNELByxGMzHv1A1WYpNhHhx1IDLGWNCr2" style="margin-left: 1em; margin-right: 1em;"><img alt="" data-original-height="355" data-original-width="710" height="320" src="https://blogger.googleusercontent.com/img/a/AVvXsEg1JpPC1XeA1MhPRAubFbXQk8cstsN0rSlpLRytHtvpwhK2MPqyhq-4d87dYl8vz524YitXK4Rqqe3OtcAVQjAG4Cy5RN0r4p5WG-Nv-MVC4r_Dm3HWdSrwN5bLCh7JFuOaQ54zuU2DpDQxiVAGNIftaTkvNELByxGMzHv1A1WYpNhHhx1IDLGWNCr2=w640-h320" width="640" /></a></div><br /><div style="text-align: justify;">16. <b style="text-decoration-line: underline;">MOTHER GOOSE</b> – Duke of York’s Theatre Tuesday December 20 2022 Matinee – This was my second pantomime and I still don’t get it. Not even a West-end pantomime with no other than Sir Ian McKellen managed to convince me! There is something about the corny gags, slapstick comedy, cross-dressing, and insertions of topical humour in a well-known tale that shouts tacky. Combine that with the audience participation format, then it was just chaos. Some British friends of mine were shocked and offended that I didn’t like it, but the equally same amount of British friends was equally baffled by its popularity, with one saying, “Never could find it amusing even as a child.”</div><div style="text-align: justify;"><br /></div></span></div></div><div style="text-align: left;"><span style="font-family: verdana;"><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/a/AVvXsEj18KDo8de-E2TmbbM1NMaYJeGRd_uDT6loLJqpGpU6J1EtaAHpxxNDclAUFdFr9OXdgsdY48re-08wFzZ4WqGbUtWiVOgNRPZwCQf2fqbwHFbDxVwQMsqVLUAn62BJ5qtlv9bRgIMWmn0uRMxOnV7h7-sdYtwKCo-R5SWucAO4DiEwEvW19xHVCOgH" style="margin-left: 1em; margin-right: 1em;"><img alt="" data-original-height="355" data-original-width="710" height="320" src="https://blogger.googleusercontent.com/img/a/AVvXsEj18KDo8de-E2TmbbM1NMaYJeGRd_uDT6loLJqpGpU6J1EtaAHpxxNDclAUFdFr9OXdgsdY48re-08wFzZ4WqGbUtWiVOgNRPZwCQf2fqbwHFbDxVwQMsqVLUAn62BJ5qtlv9bRgIMWmn0uRMxOnV7h7-sdYtwKCo-R5SWucAO4DiEwEvW19xHVCOgH=w640-h320" width="640" /></a></div><br /><br /></span></div>SATOSHIhttp://www.blogger.com/profile/14734387267429261897noreply@blogger.com0tag:blogger.com,1999:blog-1051753065839395549.post-70054046464139977452022-11-14T09:52:00.001+08:002022-11-14T09:52:28.522+08:00 REVIEW: Akram Khan’s Jungle Book Reimagined<span style="font-family: verdana;">Hong Kong Cultural Centre Grand Theatre, Saturday November 12 2022 </span><div><span style="font-family: verdana;"><br /></span></div><div><span style="font-family: verdana;">I first saw Akram Khan in 2011 when he presented DESH, his first full-length solo work. Since then, I have seen other memorable (for good or not-as-good reasons) works – to name a few - such as English National Ballet’s Giselle (2018), his first full-length ballet, and XENOS (2019) which marked his final appearance as a solo dancer in a full-length piece. </span></div><div><span style="font-family: verdana;"><br /></span></div><div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg6u6D8ArnMZ-4JwAv53K5Z_boCmaKsXeZxXWWumk05dPa5b54K-NoFN8sBkYvIBAk5bTp6CXzK_U9oDKOpGcKmgohnPqvDd8NG3CmwemMtIC2RrT8-KUu7_4516fkWGkP0OvjGBv06E94c-dRRBa4xBlUwSkx1lWgf6jI7EMmkP2FrLwA2log8PHBL/s774/Jungle1.JPG" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="774" data-original-width="710" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg6u6D8ArnMZ-4JwAv53K5Z_boCmaKsXeZxXWWumk05dPa5b54K-NoFN8sBkYvIBAk5bTp6CXzK_U9oDKOpGcKmgohnPqvDd8NG3CmwemMtIC2RrT8-KUu7_4516fkWGkP0OvjGBv06E94c-dRRBa4xBlUwSkx1lWgf6jI7EMmkP2FrLwA2log8PHBL/w588-h640/Jungle1.JPG" width="588" /></a></div><br /><span style="font-family: verdana;"><br /></span></div><div><span style="font-family: verdana;">Akram Khan’s Jungle Book Reimagined brought me back to DESH, with a clear and evocative storyline aided by props, animation, voices, and music. In fact, Jungle Book Reimagined and DESH share the same composer (Jocelyn Pook), lighting designer (Michael Hulls); and the animation and video design were done by YeastCulture. </span></div><div><span style="font-family: verdana;"><br /></span></div><div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjsRs3eAoMfVFwxh-VETv20m0DQDo2thcrCwpSkBmcPCwtyMeeuzsegF1Q5RGvRtjuSQlsVWhmFEOZXf9n5P1ybhIFxExPHu2kauEbuemEwQwsxE0bGSDeZwr-jKkFzmxobpWAF3AHAIbpWjkExD2iAzStETIBKxQqyBYq3bvT7ix9DBmk6dDKUg-NZ/s1920/Jungle2.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1280" data-original-width="1920" height="426" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjsRs3eAoMfVFwxh-VETv20m0DQDo2thcrCwpSkBmcPCwtyMeeuzsegF1Q5RGvRtjuSQlsVWhmFEOZXf9n5P1ybhIFxExPHu2kauEbuemEwQwsxE0bGSDeZwr-jKkFzmxobpWAF3AHAIbpWjkExD2iAzStETIBKxQqyBYq3bvT7ix9DBmk6dDKUg-NZ/w640-h426/Jungle2.jpg" width="640" /></a></div><span style="font-family: verdana;"><div><span style="font-family: verdana;"><br /></span></div><div style="text-align: justify;">This cautionary reimagining of Rudyard Kipling’s Jungle Book was a dreary post-apocalyptic vision anchored on climate disaster. Mowgli and her family were floating on a raft, but she fell into the sea and was found by animals who had taken over the abandoned land.
The choreographic language was distinctly Khan while incorporating stylized animal actions and behaviors. All dancers wear almost the same costume, which makes it hard at first to distinguish one character from another. However, with the help of the dialogues delivered in voiceover, very soon the characters were clearly delineated. </div></span></div><div><span style="font-family: verdana;"><br /></span></div><div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjU8OjFrzHYXruax7hRxmcIjMCOjWqeIXx-SSol_9Ny_aze_cwE7Wa51SrBRpwtE_JaM3BuXkVyuCtL_n1A5OrRs-Rbxvr_VLrHyzOnA-MnrZvRTM473ZtNPlGz4kZrN7SAGOUUeuwpyNpUMUk_U1pElhYzfnmz1Cs45HbxYisG2tZKbwuQf8tRo-wu/s1920/Jungle3.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1280" data-original-width="1920" height="426" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjU8OjFrzHYXruax7hRxmcIjMCOjWqeIXx-SSol_9Ny_aze_cwE7Wa51SrBRpwtE_JaM3BuXkVyuCtL_n1A5OrRs-Rbxvr_VLrHyzOnA-MnrZvRTM473ZtNPlGz4kZrN7SAGOUUeuwpyNpUMUk_U1pElhYzfnmz1Cs45HbxYisG2tZKbwuQf8tRo-wu/w640-h426/Jungle3.jpg" width="640" /></a></div><br /><span style="font-family: verdana;"><br /></span></div><div style="text-align: justify;"><span style="font-family: verdana;">Jungle Book Reimagined, like any good production, the whole that is greater than the simple sum of its parts. BUT, if there’s one reason why think I came out of the theatre dazed with amazement was the ability of the dancers to communicate the different roles in the story despite being stripped of any visual aid be it costume or props. Their ability to move as a pack with unity yet with distinct personalities was for me a wonderment. </span></div><div><span style="font-family: verdana;"><br /></span></div><div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEidWEJyJHYvpWzntTartMAkJa8r5Wmq_8Mrfxt9QfenQ4HWTQezT4YEZklub0Mp7EIoPQPh9aepwdU7owaAj8ajLiFWAsEaOYy47iBqUQKGDL8W37wr7LUOiWflrtmmYeNt8Q5phLHIbKxMM013RrAniWkhPNszXsNBsKTWJJiWaL3QPSk7orlZJfc1/s2708/Jungle4.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1991" data-original-width="2708" height="470" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEidWEJyJHYvpWzntTartMAkJa8r5Wmq_8Mrfxt9QfenQ4HWTQezT4YEZklub0Mp7EIoPQPh9aepwdU7owaAj8ajLiFWAsEaOYy47iBqUQKGDL8W37wr7LUOiWflrtmmYeNt8Q5phLHIbKxMM013RrAniWkhPNszXsNBsKTWJJiWaL3QPSk7orlZJfc1/w640-h470/Jungle4.jpg" width="640" /></a></div><br /><span style="font-family: verdana;"><br /></span></div><div style="text-align: justify;"><span style="font-family: verdana;">Overall, the story and message of this re-imagination is an important one, while maybe gloomy, there’s an abundance of stage magic to keep my attention and influence retention. I would go and see it again. </span></div><div style="text-align: justify;"><span style="font-family: verdana;"><br /></span></div><div><span style="font-family: verdana;">_________ </span></div><div><span style="font-family: verdana;"><br /></span></div><div><span style="font-family: verdana;">Director/Choreographer: Akram Khan </span></div><div><span style="font-family: verdana;">Creative Associate/Coach: Mavin Khoo </span></div><div><span style="font-family: verdana;">Writer: Tariq Jordan </span></div><div><span style="font-family: verdana;">Dramaturgical Advisor: Sharon Clark </span></div><div><span style="font-family: verdana;">Composer: Jocelyn Pook </span></div><div><span style="font-family: verdana;">Sound Designer: Gareth Fry </span></div><div><span style="font-family: verdana;">Lighting Designer: Michael Hulls </span></div><div><span style="font-family: verdana;">Visual Stage Designer: Miriam Buether </span></div><div><span style="font-family: verdana;">Art Direction and Director of Animation: Adam Smith (YeastCulture) </span></div><div><span style="font-family: verdana;">Producer/Director of Video Design: Nick Hillel (YeastCulture) </span></div><div><span style="font-family: verdana;">Rotoscope Artists/Animators: Naaman Azhari, Natasza Cetner, Edson R Bazzarin</span></div><div><span style="font-family: verdana;">Rehearsal Directors: Nicky Henshall, Andrew Pan, Angela Towler (Tour) </span></div><div><span style="font-family: verdana;">Dancers: Lucia Chocarro, Tom Davis-Dunn, Harry Theadora Foster, Thomasin Gülgeç, Max Revell, Matthew Sandiford, Pui Yung Shum, Fukiko Takase, Holly Vallis, Vanessa Vince-Pang, Jan Mikaela Villanueva, Luke Watson</span></div>SATOSHIhttp://www.blogger.com/profile/14734387267429261897noreply@blogger.com0tag:blogger.com,1999:blog-1051753065839395549.post-57508732943583768002022-11-06T21:21:00.009+08:002022-11-06T21:32:24.889+08:00REVIEW: Side By Side By Sondheim<div style="text-align: justify;"><span style="font-family: verdana;">Kwai Tsing Theatre Black Box Theatre, Saturday November 5 2022 (Evening)</span></div><div style="text-align: justify;"><span style="font-family: verdana;"><br /></span></div><div style="text-align: justify;"><span style="font-family: verdana;">Hong Kong 3 Arts Musical Institute's latest offering, Side By Side by Sondheim was a pleasant and entertaining show. The cast members put their best feet forward, mastering more than 30 song numbers. They did their best but the question was whether their best was good enough. </span></div><div style="text-align: justify;"><span style="font-family: verdana;"><br /></span></div><div style="text-align: justify;"><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiUIor4nKC-UNT-U7PijSGbW7FDeUx6_xrndPgFdS_BEat-Ajc6ygjfZ1167R7OiwH0JCqOAOrme2-OraCu5fta7p8XpZQbSQRXjJB3toJsl1cnAMTcQLhCWzIybXjNPFkFGfP_RGY2Ht65KsQMIV6ypvDo0vXvrCUXRTtMge3Kym7UYzT8TT-I2PIa/s2048/Side%20by%20Side.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1437" data-original-width="2048" height="450" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiUIor4nKC-UNT-U7PijSGbW7FDeUx6_xrndPgFdS_BEat-Ajc6ygjfZ1167R7OiwH0JCqOAOrme2-OraCu5fta7p8XpZQbSQRXjJB3toJsl1cnAMTcQLhCWzIybXjNPFkFGfP_RGY2Ht65KsQMIV6ypvDo0vXvrCUXRTtMge3Kym7UYzT8TT-I2PIa/w640-h450/Side%20by%20Side.jpg" width="640" /></a></div><br /><span style="font-family: verdana;"><br /></span></div><div style="text-align: justify;"><span style="font-family: verdana;">The first thing I noticed was that none of the singers had any substantial vibrato in their voice, which is rather odd when listened to given that it was an evening of musical theatre songs. Vibrato warms the voice and helps carry it, while it makes the singer sound empathetic. While there are a lot of successful musical theatre performers that do not have substantial vibrato, they were exceptions rather than the rule. How this production managed to create a vibrato-free show was a surprise. </span></div><div style="text-align: justify;"><span style="font-family: verdana;"><br /></span></div><div style="text-align: justify;"><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhhXweKN8_he6INeecfAh7XpYBAUFSlb4HBrZ4AHQEOOSbE9X0RTYTm2iFWPD84E-Tfe4RJr30_yQRY9TQYPcNDyOl5XQV0fnvU36b1jmW1HNv2u7G-XJh4VGkOm0oKCCD5y1-QX9NgRcjJpemIQEEMfst9Qx5-fauxCy9V86bg-L3cwj8xwsrMVT_N/s2048/Side%20by%20Side%201.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1367" data-original-width="2048" height="428" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhhXweKN8_he6INeecfAh7XpYBAUFSlb4HBrZ4AHQEOOSbE9X0RTYTm2iFWPD84E-Tfe4RJr30_yQRY9TQYPcNDyOl5XQV0fnvU36b1jmW1HNv2u7G-XJh4VGkOm0oKCCD5y1-QX9NgRcjJpemIQEEMfst9Qx5-fauxCy9V86bg-L3cwj8xwsrMVT_N/w640-h428/Side%20by%20Side%201.jpg" width="640" /></a></div><span style="font-family: verdana;"><div style="text-align: justify;"><span style="font-family: verdana;"><br /></span></div>The show was creatively scripted with vignettes in Cantonese on the background of each song. Hank Kwong was particularly effective in engaging the audience when introducing numbers. Wong was one good example of a singing actor where his stage presence and movements made him a good performer. </span></div><div style="text-align: justify;"><span style="font-family: verdana;"><br /></span></div><div style="text-align: justify;"><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh6PGN0QB2gLxqNdyxdW3r17XRrJiVzHPX3FWyoILwhV0xVZVpHbx42mFXLrsnCvfftMR0MarpAiwBgUq-DvBq1N-xhXA5Cb7Wc6m_cSggb_DY7d1HudtboPjxX0hy-axukIBDJeWmP-ULKj_b8D8_tFkBn8rURSkEWywdGW39hN-B_nx1UzA2DkKJ9/s2048/Side%20by%20Side%203.jpg" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="2048" data-original-width="1152" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh6PGN0QB2gLxqNdyxdW3r17XRrJiVzHPX3FWyoILwhV0xVZVpHbx42mFXLrsnCvfftMR0MarpAiwBgUq-DvBq1N-xhXA5Cb7Wc6m_cSggb_DY7d1HudtboPjxX0hy-axukIBDJeWmP-ULKj_b8D8_tFkBn8rURSkEWywdGW39hN-B_nx1UzA2DkKJ9/w360-h640/Side%20by%20Side%203.jpg" width="360" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">Hank Kwong</td></tr></tbody></table><span style="font-family: verdana;"><br /></span></div><div style="text-align: justify;"><span style="font-family: verdana;">The show was most successful in the more upbeat or funny songs. Barcelona, Broadway Baby, and You Could Drive A Person Crazy were funny but The Boy From was simply hilarious. The top of the class in this production was Natalie Hung whose sweet voice and nuanced actions perfectly suited the intimate venue of the Black Box of the Kwai Tsing Theatre. </span></div><div style="text-align: justify;"><span style="font-family: verdana;"><br /></span></div><div style="text-align: justify;"><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgez05wSuLJwYTz_vx9U1XJxqvFlte-WTuNJz3BpJ3Mx6X2ft9Pg01yirBFTsHjdeCPv4tZD8Li5phLEl45M6gQMb1Zrao4So7gXJ9zAxbXMRKETcEYRCg9z4wIR31pS63ry4wLQkQ9IBzAKVgeFfdsSJmMZhVwLnYycRaSDvzMNRMNFrDfAeXSibz2/s2048/Side%20by%20Side%202.jpg" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="2048" data-original-width="1368" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgez05wSuLJwYTz_vx9U1XJxqvFlte-WTuNJz3BpJ3Mx6X2ft9Pg01yirBFTsHjdeCPv4tZD8Li5phLEl45M6gQMb1Zrao4So7gXJ9zAxbXMRKETcEYRCg9z4wIR31pS63ry4wLQkQ9IBzAKVgeFfdsSJmMZhVwLnYycRaSDvzMNRMNFrDfAeXSibz2/w428-h640/Side%20by%20Side%202.jpg" width="428" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">Natalie Hung</td></tr></tbody></table><span style="font-family: verdana;"><br /></span></div><div style="text-align: justify;"><span style="font-family: verdana;">There were a few numbers that I wished the performers enunciated the gorgeous lyrics more clearly. Songs such as Getting Married Today, Another Hundred People, and Buddy's Blues relied so much on their witty words that when uncommunicated can be quite a big letdown. There were also a few numbers such as Send In The Clowns, Being Alive, and Losing My Mind, that I wished the performers trusted the intimate setting and dig deeper emotionally, and avoided manufactured gestures. </span></div><div style="text-align: justify;"><span style="font-family: verdana;"><br /></span></div><div style="text-align: justify;"><span style="font-family: verdana;">Overall, it was a good show and I would recommend it to anyone who was looking for some light entertainment in this city of strangers.</span></div><div style="text-align: justify;"><span style="font-family: verdana;"><br /></span></div><div style="text-align: justify;"><span style="font-family: verdana;">__________</span></div><div style="text-align: justify;"><span style="font-family: verdana;"><br /></span></div><div style="text-align: justify;"><span style="font-family: verdana;"><div>Music & Lyrics:Stephen Sondheim</div><div>Music:Leonard Bernstein, May Rodgers, Richard Rodgers, Jule Styne</div><div>Artistic Director / Choreographer : Mohamed Drissi</div><div>Director: Candice Moore</div><div>Music Director: Edgar Hung</div><div>Vocal Coach: Jordan Cheng</div><div>Cast: Natalie Hung, Hank Kwong, Tony Li, Nicole Tam, Marco Tang, Hugo Tung, Chloe Wong, Kitty Wong</div></span></div>SATOSHIhttp://www.blogger.com/profile/14734387267429261897noreply@blogger.com0tag:blogger.com,1999:blog-1051753065839395549.post-48515730417967140062022-10-17T16:44:00.001+08:002022-10-17T19:14:06.763+08:00REVIEW: Carmina Burana<p><span style="font-family: verdana;">Hong Kong Cultural Centre Grand Theatre, Saturday October 15 2022 (Evening)</span></p><p><span style="font-family: verdana;"><br /></span></p><p></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgW_rrp6wKUZjgtp1c89YxbubqL5BSo1GXtHRNmDPwg6kfaAIPSpLUh9M5Ks1QHbkhEPHvU0TpWsC6JF1AWNpuFuFOpH6NHwWM5LGV3TZtmS9tWs2GvPZa7p0SjorgLBRfDqIngF9DUGzqcmqez-Xl9T8vfcmJOlAiuPtJ8FiTrwcP5BoIOEoItHX-8/s591/car.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="395" data-original-width="591" height="428" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgW_rrp6wKUZjgtp1c89YxbubqL5BSo1GXtHRNmDPwg6kfaAIPSpLUh9M5Ks1QHbkhEPHvU0TpWsC6JF1AWNpuFuFOpH6NHwWM5LGV3TZtmS9tWs2GvPZa7p0SjorgLBRfDqIngF9DUGzqcmqez-Xl9T8vfcmJOlAiuPtJ8FiTrwcP5BoIOEoItHX-8/w640-h428/car.jpg" width="640" /></a></div><span style="font-family: verdana; text-align: justify;"><p>In celebration of the Hong Kong SAR’s 25th anniversary, the Hong Kong Philharmonic Orchestra (HK Phil) and the Hong Kong Ballet came together to bring us the Asian premiere of the ballet Carl Orff’s Carmina Burana. These two organizations have come a long way to become the pride of Hong Kong for their excellence. They are joined by the combined HK Phil Chorus and The Hong Kong Children’s Choir; and with the internationally-acclaimed soloists soprano Vivian Yau, tenor Ren Shengzhi; and baritone Elliot Madore.</p></span><p></p><p style="text-align: justify;"></p><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgmvbAfd2oA4JlUBXT2BHv_txPF9zfLtuMbHN4cpL9iKbOpcr3XGsHHaK_E08hTcpaO2K9RUh9bso7WCFV0zzlUPfb6rgFAPi8DlMwZniVWrDLa95-RUBf8qb8XBArcrwyqTgNssIzBpNYBj3BoIhxgFLSIDcbjmBlu4gSMIWgLAhxkaNVnWBh4S4BZ/s2048/car1.jpg" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="1152" data-original-width="2048" height="360" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgmvbAfd2oA4JlUBXT2BHv_txPF9zfLtuMbHN4cpL9iKbOpcr3XGsHHaK_E08hTcpaO2K9RUh9bso7WCFV0zzlUPfb6rgFAPi8DlMwZniVWrDLa95-RUBf8qb8XBArcrwyqTgNssIzBpNYBj3BoIhxgFLSIDcbjmBlu4gSMIWgLAhxkaNVnWBh4S4BZ/w640-h360/car1.jpg" width="640" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;"><span style="font-family: arial;"><i>The Last Song</i></span></td></tr></tbody></table><span style="font-family: verdana;"></span><p></p><p style="text-align: justify;"><span style="font-family: verdana;"><br /></span></p>Taking each element separately, the HK Phil did a great job under the baton of Lio Kuokman. The Hong Kong Ballet brought a palpable performance. The three soloists soared in their parts. The choir, however, didn’t bring enough oomph in some critical moments. Together the sum was less than its parts.<p></p><p style="text-align: justify;"></p><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjNqeOsb_f_6D6W2o2tm8duSw8clewu9Wqjn4euhCRuJPlM8VyN21Xe73nVx5fFUB8DZzVNEllFdn8nTm0HTQ7khB7pa7vtY2sOrUgha9Xpk2Sr9EyxEkPcjmKnrmNKsQ_Foi1bNMvtb1kIJ3FySdWMqFJxrD3gHjkMA5-42ogjlNTAnUryXCUuC-FU/s2048/car2.jpg" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="1363" data-original-width="2048" height="426" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjNqeOsb_f_6D6W2o2tm8duSw8clewu9Wqjn4euhCRuJPlM8VyN21Xe73nVx5fFUB8DZzVNEllFdn8nTm0HTQ7khB7pa7vtY2sOrUgha9Xpk2Sr9EyxEkPcjmKnrmNKsQ_Foi1bNMvtb1kIJ3FySdWMqFJxrD3gHjkMA5-42ogjlNTAnUryXCUuC-FU/w640-h426/car2.jpg" width="640" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;"><span style="font-family: arial;"><i>The Last Song</i></span></td></tr></tbody></table><span style="font-family: verdana;"><br /></span><p></p><p style="text-align: justify;"><span style="font-family: verdana;">Orff subtitled Carmina Burana as a "scenic cantata" with the intention to stage the work with set design, dance, and/or other stage actions. However, with no storyline, let alone conflict, notable characters to boast of, Carmina Burana proved very difficult to stage. I have seen several attempts to stage it, yet none has succeeded. Having said that, Septime Webre’s choreography may just be the best so far. It was visually enticing, but unfortunately still lacking in cohesion with music and libretto… never mind harking back to Orff’s belief of "Theatrum Mundi", in which music, movement, and speech were inseparable.</span></p><p style="text-align: justify;"></p><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjbq8uDvQqBUJi0Lsame5yHDvs1j31eu2D4qckUUqDZyYo7O4TdeJYEw4M4z5UkekBlD4yUAGVIMDRKQX_4Sgx8KoQTw-OqP8kZO5POyhUQTX37mNkBib9LhkdNqpWGJJav18Uaaw29DrmHpWScwdJUO4nDF2g49szRGOn7bney-CGMH-8gncAL2Nq3/s2048/car4.jpg" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="1152" data-original-width="2048" height="360" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjbq8uDvQqBUJi0Lsame5yHDvs1j31eu2D4qckUUqDZyYo7O4TdeJYEw4M4z5UkekBlD4yUAGVIMDRKQX_4Sgx8KoQTw-OqP8kZO5POyhUQTX37mNkBib9LhkdNqpWGJJav18Uaaw29DrmHpWScwdJUO4nDF2g49szRGOn7bney-CGMH-8gncAL2Nq3/w640-h360/car4.jpg" width="640" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;"><span style="font-family: arial;"><i>Carmina Burana</i></span></td></tr></tbody></table><p></p><p style="text-align: justify;"><span style="font-family: verdana;">The highlight of the evening was the world premiere of The Last Song, choreographed by Hu Song Wei Ricky with various music from Johann Sebastian Bach. The Last Song was about two figures, Oscar Wilde and his muse the Nightingale, and their aspirations, struggles and ends. Having two male dancers dancing as these two figures very much alluded to the sexuality of Wilde and is contrary to the original gender of the bird in Wilde’s The Nightingale and the Rose. This ballet highlighted the sufferings in an unenlightened society. Together with the profound performance of HKPhil and their soloists Jing Wang (violin) and Richard Bamping (cello), this work was by far more thoughtful, meaningful and relevant but maybe less appropriate as the title programme to celebrate an anniversary.</span></p><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEijpdOLMvpFkcVjTqMeUfJmVNvmRsAj_qx8FpitHjbKQdghgBistt_LFmxJnn3iVR-K3I1v6_NR2GYDBV9U_46-mH84qsQjMBvPqPCYeIaJbGR5RTz5MhFdm2Frmc82HqqnvtSIDNzbettM-pVO1hewIUKyr1jay9NsjqMSv5AEb_5CIhmil65mneeG/s2048/car5.jpg" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="1152" data-original-width="2048" height="360" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEijpdOLMvpFkcVjTqMeUfJmVNvmRsAj_qx8FpitHjbKQdghgBistt_LFmxJnn3iVR-K3I1v6_NR2GYDBV9U_46-mH84qsQjMBvPqPCYeIaJbGR5RTz5MhFdm2Frmc82HqqnvtSIDNzbettM-pVO1hewIUKyr1jay9NsjqMSv5AEb_5CIhmil65mneeG/w640-h360/car5.jpg" width="640" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;"><span style="font-family: arial;"><i>Carmina Burana</i></span></td></tr></tbody></table><br /><p style="text-align: justify;"><span style="text-align: left;">__________</span></p><div><br /></div><div><div><span style="font-family: verdana;">Hong Kong Ballet x Hong Kong Philharmonic Orchestra</span></div><div><span style="font-family: verdana;">Carmina Burana</span></div><div><span style="font-family: verdana;">14–16 OCT 2022</span></div><div><span style="font-family: verdana;">FRI 7:30pm</span></div><div><span style="font-family: verdana;">SAT-SUN 2:30pm & 7:30pm</span></div><div><span style="font-family: verdana;">Grand Theatre, Hong Kong Cultural Centre</span></div><div><br /></div><div><span style="font-family: verdana;"><br /></span></div><div><span style="font-family: verdana;"><i>WORLD PREMIERE: THE LAST SONG</i></span></div><div><span style="font-family: verdana;"><i>MUSIC: J. S. Bach</i></span></div><div><i><span style="font-family: verdana;">CHOREOGRAPHY AND COSTUME DESIGN: </span><span style="font-family: verdana;">Hu Song Wei Ricky</span></i></div><div><span style="font-family: verdana;"><i>ASSOCIATE COSTUME DESIGNER: Joanne Chong</i></span></div><div><span style="font-family: verdana;"><i>SET DESIGN: Siu Wai Man</i></span></div><div><span style="font-family: verdana;"><i>LIGHTING DESIGN: Mak Kwok Fai</i></span></div><div><span style="font-family: verdana;"><i>VIOLIN Jing Wang, Concertmaster, HK Phil</i></span></div><div><span style="font-family: verdana;"><i>CELLO Richard Bamping, Principal Cello, HK Phil</i></span></div><div><span style="font-family: verdana;"><i><br /></i></span></div><div><span style="font-family: verdana;"><i>ASIAN PREMIERE: CARMINA BURANA</i></span></div><div><span style="font-family: verdana;"><i>MUSIC: Carl Orff</i></span></div><div><span style="font-family: verdana;"><i>CHOREOGRAPHY AND SET DESIGN: Septime Webre</i></span></div><div><span style="font-family: verdana;"><i>COSTUME DESIGN: Liz Vandal</i></span></div><div><span style="font-family: verdana;"><i>LIGHTING DESIGN: Mak Kwok Fai</i></span></div><div><i><span style="font-family: verdana;">LIVE CHORUS: Hong Kong Philharmonic Chorus, </span><span style="font-family: verdana;">The Hong Kong Children’s Choir</span></i></div><div><span style="font-family: verdana;"><i>SOPRANO: Vivian Yau</i></span></div><div><span style="font-family: verdana;"><i>TENOR: Ren Shengzhi</i></span></div><div><span style="font-family: verdana;"><i>BARITONE: Elliot Madore</i></span></div><div><span style="font-family: verdana;"><i><br /></i></span></div><div><span style="font-family: verdana;"><i>LIVE ORCHESTRA Hong Kong Philharmonic Orchestra</i></span></div><div><span style="font-family: verdana;"><i>CONDUCTOR Lio Kuokman, Resident Conductor, HK Phil</i></span></div></div>SATOSHIhttp://www.blogger.com/profile/14734387267429261897noreply@blogger.com0tag:blogger.com,1999:blog-1051753065839395549.post-32613386283838775462022-10-10T10:44:00.001+08:002022-10-17T19:18:49.384+08:00REVIEW: Verdi's La Traviata<p><span style="font-family: verdana;">Hong Kong Cultural Centre Grand Theatre, Sunday October 9 2022</span></p><p><span style="font-family: verdana; text-align: justify;"><br /></span></p><p><span style="font-family: verdana; text-align: justify;">The social media were abuzz with good reviews on Opera Hong Kong’s latest offer, La Traviata, when I watched the last performance. My expectation was high and I was not disappointed at all.</span></p><p></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi2UVsB2iRM35zf3MbWPG9-QSlpwZP1dP7g5FaJE0gGSJWmc4YMlv1UfDFESZH_PrFPYSChKjeQAsGd4bQPDL4z8Ba1iDy-uJK9McmAfF3miW6s8K-1TqtEb1FrFiwyr-XC3h7ECl430MgdYn2U9yx7gVVsoKh7Eh8rawxjjTdMjQaTyr7oTW6p15Tg/s2560/La-Trviata-2022-Digital_1000x460H-px-scaled.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1178" data-original-width="2560" height="294" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi2UVsB2iRM35zf3MbWPG9-QSlpwZP1dP7g5FaJE0gGSJWmc4YMlv1UfDFESZH_PrFPYSChKjeQAsGd4bQPDL4z8Ba1iDy-uJK9McmAfF3miW6s8K-1TqtEb1FrFiwyr-XC3h7ECl430MgdYn2U9yx7gVVsoKh7Eh8rawxjjTdMjQaTyr7oTW6p15Tg/w640-h294/La-Trviata-2022-Digital_1000x460H-px-scaled.jpg" width="640" /></a></div><p></p><p><span style="font-family: verdana; text-align: justify;">La Traviata is one of the most performed operas in the world for good reason. It is blessed with a dramatic story that is filled with gorgeous music. However, it also means that I have seen many…perhaps ways too many of it in various transformations to make it relevant and/or interesting. Apart from a second stage squeaking up and down the main stage, this production directed by Jean-Louis Grinda was relatively traditional but aesthetically pleasing.</span></p><p style="text-align: justify;"><span style="font-family: verdana;">To start with, the Hong Kong Philharmonic Orchestra, conducted by Renato Palumbo, was elegant and filled with attention to detail. It proved to be a most sensitive companion to the singing onstage in every twist and turn. </span></p><p style="text-align: justify;"><span style="font-family: verdana;"></span></p><div class="separator" style="clear: both; text-align: center;"><span style="font-family: verdana;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj8GXhcREpe2Fo3ohlmoGmMNbkvrgQUMhClWGfx5aicfAU9A0C24rJRHcSwW-xSSYk_RfR8PUyjDJC5HLw6ZTXT_WUyblqxd8UPvl472IyC3v8AwAXB54YODe4weCF-LLFroXvKwMYq03AhbU6ZbjnhJGAUAxyuYqFrzUDIQN8MnitjBj5qJr164xTW/s739/la%20traviata%203.JPG" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="736" data-original-width="739" height="638" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj8GXhcREpe2Fo3ohlmoGmMNbkvrgQUMhClWGfx5aicfAU9A0C24rJRHcSwW-xSSYk_RfR8PUyjDJC5HLw6ZTXT_WUyblqxd8UPvl472IyC3v8AwAXB54YODe4weCF-LLFroXvKwMYq03AhbU6ZbjnhJGAUAxyuYqFrzUDIQN8MnitjBj5qJr164xTW/w640-h638/la%20traviata%203.JPG" width="640" /></a></span></div><p style="text-align: justify;"><span style="font-family: verdana;">Nonetheless, at the core of this last performance was the outstanding and exquisite portrayal of the three main characters. Very rarely did I experience such balanced and sympathetic performances amongst the three main characters that I can see and relate to where they were coming from. </span></p><p></p><p style="text-align: justify;"><span style="font-family: verdana;"></span></p><div class="separator" style="clear: both; text-align: center;"><span style="font-family: verdana;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgILR9VVDiRB2tTrIhpPokSdBicT6PHUfDLyM7gOB7OPxPiuli7gr097rQkDzmkkAO8P8YKARmjb96KblTR9u8kEwpFZPCXzpSjvbsLvugZC8hRC3nfnw_5yK5I0W4pa2ui4lnPGnpklkCUiwqXmp_fJwktGmHR8GvYZzcUHVGGBDZGV67lFF6ClSyk/s756/la%20traviata%202.JPG" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="530" data-original-width="756" height="448" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgILR9VVDiRB2tTrIhpPokSdBicT6PHUfDLyM7gOB7OPxPiuli7gr097rQkDzmkkAO8P8YKARmjb96KblTR9u8kEwpFZPCXzpSjvbsLvugZC8hRC3nfnw_5yK5I0W4pa2ui4lnPGnpklkCUiwqXmp_fJwktGmHR8GvYZzcUHVGGBDZGV67lFF6ClSyk/w640-h448/la%20traviata%202.JPG" width="640" /></a></span></div><p style="text-align: justify;"><span style="font-family: verdana;">Russian soprano Venera Gimadieva’s characterization of Violetta was of great depth and subtlety. With secure coloratura and lyricism, Violetta’s overwhelming feeling for Alfredo was totally believable. Chinese tenor Kang Wang’s Alfredo has all the charm of a cute and innocent puppy whose attention to every nuanced stage action was a masterclass for opera singers. This, with his beguiling tenor voice, created a character that is full of warmth and affection. American baritone Stephen Powell’s Germont was of textbook acting with firm authoritative richness in his round baritone voice. He maintained an unobtrusive but substantial presence throughout his time onstage.</span></p><p></p><p style="text-align: justify;"></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEidUyjMoSJgCedZjftRJOrhOuPJCe7r5LbU9FOZhN-O6HRBv2A_wdwrCWlw-IOrUaTrw1gNyMqVktCsJdrMqzsFKSlLN_qpcDNUmjDGKDJQHA-R4s4iMGHz55AXk8VAx8MwxepKq8Fhrtg-qrOWghoDWXekuVLO2ubofwOMC98Auh0k1s-yql1GRl9z/s794/la%20traviata%201.JPG" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="794" data-original-width="726" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEidUyjMoSJgCedZjftRJOrhOuPJCe7r5LbU9FOZhN-O6HRBv2A_wdwrCWlw-IOrUaTrw1gNyMqVktCsJdrMqzsFKSlLN_qpcDNUmjDGKDJQHA-R4s4iMGHz55AXk8VAx8MwxepKq8Fhrtg-qrOWghoDWXekuVLO2ubofwOMC98Auh0k1s-yql1GRl9z/w586-h640/la%20traviata%201.JPG" width="586" /></a></div><br /><p></p><p style="text-align: justify;"><span style="font-family: verdana;">The rest of the cast rounded off this excellent production beautifully; and it made me wish that THE Russian, Chinese and American on the world stage can also perform as harmoniously as this production.</span></p><p style="text-align: justify;"><span style="font-family: verdana;">__________</span></p><p style="text-align: justify;"><span style="font-family: verdana;"><b>Verdi's LATRAVIATA</b></span></p><p style="text-align: justify;"><span style="font-family: verdana;">An Opera in Three Acts</span></p><p style="text-align: justify;"><span style="font-family: verdana;">Performed in Italian with Chinese and English Surtitles</span></p><p style="text-align: justify;"><span style="font-family: verdana;"></span></p><p style="text-align: justify;"><span style="font-family: verdana;">Libretto by Maria Piave</span></p><p style="text-align: justify;"><span style="font-family: verdana;">Producer: Warren Mok</span></p><p style="text-align: justify;"><span style="font-family: verdana;">Conductor: Renato Palumbo</span></p><p style="text-align: justify;"><span style="font-family: verdana;">Director: Jean-Louis Grinda</span></p><p style="text-align: justify;"><span style="font-family: verdana;">Chorus Director: Alex Tam</span></p><p style="text-align: justify;"><span style="font-family: verdana;"><br /></span></p><p style="text-align: justify;"><span style="font-family: verdana;">Hong Kong Philharmonic Orchestra </span></p><p style="text-align: justify;"><span style="font-family: verdana;">Opera Hong Kong Chorus</span></p><p style="text-align: justify;"><span style="font-family: verdana;">Edge‘n Pointe Dance Centre</span></p><p style="text-align: justify;"><span style="font-family: verdana;"><br /></span></p><p style="text-align: justify;"><span style="font-family: verdana;"><b>CAST</b></span></p><p style="text-align: justify;"><span style="font-family: verdana;">Violetta Valéry: </span><span style="font-family: verdana;">Venera Gimadieva</span></p><p style="text-align: justify;"><span style="font-family: verdana;">Alfredo: </span><span style="font-family: verdana;">Kang Wang </span></p><p style="text-align: justify;"><span style="font-family: verdana;">Germont: </span><span style="font-family: verdana;">Stephen Powell </span></p><p style="text-align: justify;"><span style="font-family: verdana;">Flora Bervoix: </span><span style="font-family: verdana;">Bobbie Zhang </span></p><p style="text-align: justify;"><span style="font-family: verdana;">Annina: </span><span style="font-family: verdana;">Rachel Kwok</span></p><p style="text-align: justify;"><span style="font-family: verdana;">Gastone: </span><span style="font-family: verdana;">Samuel Huang</span></p><p style="text-align: justify;"><span style="font-family: verdana;">Barone Douphol: </span><span style="font-family: verdana;">Lam Kwok Ho</span></p><p style="text-align: justify;"><span style="font-family: verdana;">Marchese d’Obigny: </span><span style="font-family: verdana;">Alex Kwok</span></p><p style="text-align: justify;"><span style="font-family: verdana;">Dottore Grenvil: </span><span style="font-family: verdana;">Freddie Tong</span></p><p style="text-align: justify;"><span style="font-family: verdana;">Giuseppe: </span><span style="font-family: verdana;">Wesley Lam</span></p><p style="text-align: justify;"><span style="font-family: verdana;">Commissioner: </span><span style="font-family: verdana;">Charles Tsang</span></p><div><br /></div>SATOSHIhttp://www.blogger.com/profile/14734387267429261897noreply@blogger.com0tag:blogger.com,1999:blog-1051753065839395549.post-66330707094304052872022-09-23T16:07:00.064+08:002022-10-10T16:03:37.850+08:00REVIEW: The Impossible Trial 大狀王<p><span face="Calibri, sans-serif"><span style="font-size: medium;">Xiqu Centre Grand
Theatre, Thursday September 22 2022</span></span></p><div class="Ar Au Ao" id=":sk"><div aria-controls=":va" aria-label="Message Body" aria-multiline="true" aria-owns=":va" class="Am Al editable LW-avf tS-tW tS-tY" g_editable="true" hidefocus="true" id=":sg" itacorner="6,7:1,1,0,0" role="textbox" spellcheck="false" style="direction: ltr; min-height: 628px;" tabindex="1">
<p class="MsoNormal" style="font-family: Calibri, sans-serif; line-height: 107%; margin: 0cm 0cm 8pt; text-align: justify;"></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgc8cV1VkRYF__BjU9nzUBCagOapsRIxWmJgCwcU20x_Rbd5rQvASyRnbT4USloeEi3Ss3at1ftZyLM91HBWzGfD6Tcm99Ec2VnLAFJz5S_kuvoknY563nPv1qwYMAmWu4BxwXIfV27owP-L8Jt_9UCW-4DIjJyzXNFrOlg67wTllop2ItDXRXcnnwU/s1080/e66c568beab8bef31b0e002dbb21bca13.jpg" style="margin-left: 1em; margin-right: 1em;"><span style="font-size: medium;"><img border="0" data-original-height="1080" data-original-width="1080" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgc8cV1VkRYF__BjU9nzUBCagOapsRIxWmJgCwcU20x_Rbd5rQvASyRnbT4USloeEi3Ss3at1ftZyLM91HBWzGfD6Tcm99Ec2VnLAFJz5S_kuvoknY563nPv1qwYMAmWu4BxwXIfV27owP-L8Jt_9UCW-4DIjJyzXNFrOlg67wTllop2ItDXRXcnnwU/w640-h640/e66c568beab8bef31b0e002dbb21bca13.jpg" width="640" /></span></a></div><span style="font-size: medium;"><br /><span style="font-family: "MS Gothic";"><br /></span></span><p></p><p class="MsoNormal" style="font-family: Calibri, sans-serif; line-height: 107%; margin: 0cm 0cm 8pt; text-align: justify;"><span style="font-size: medium;"><span style="font-family: "MS Gothic";">大狀王 </span>THE IMPOSSIBLE TRIAL - a musical is commissioned by Freespace,
co-presented, and co-produced with HKRep. There was a preview run in 2019 and since
then, the creative team has tried to fully-stage it. I was very lucky to be
able to see the premiere of this original Cantonese musical production.</span></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhoohB1Yx-IsBLwqMnVjFOj0PYS_KG5ZJ8YipSXLtWa5FvxoKj_-GBNBgm5opvTxUJXa6Vhcl8XNab2RZvyrrRnQ1CG-KMi5jOYvQn7Kc_bmWfxa9VARs4fa7XH-0-YLONsFc0sDPHSCAODFWpKSFvO91cMjMn7lK2lNDKHFaiYS-CuCI4kcj4myY38/s2048/304906186_10160655911678982_5312982937177984434_n.jpg" style="margin-left: 1em; margin-right: 1em;"><span style="font-size: medium;"><img border="0" data-original-height="1365" data-original-width="2048" height="426" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhoohB1Yx-IsBLwqMnVjFOj0PYS_KG5ZJ8YipSXLtWa5FvxoKj_-GBNBgm5opvTxUJXa6Vhcl8XNab2RZvyrrRnQ1CG-KMi5jOYvQn7Kc_bmWfxa9VARs4fa7XH-0-YLONsFc0sDPHSCAODFWpKSFvO91cMjMn7lK2lNDKHFaiYS-CuCI4kcj4myY38/w640-h426/304906186_10160655911678982_5312982937177984434_n.jpg" width="640" /></span></a></div><p class="MsoNormal" style="font-family: Calibri, sans-serif; line-height: 107%; margin: 0cm 0cm 8pt; text-align: justify;"><span style="font-size: medium;"><br /></span></p>
<p class="MsoNormal" style="font-family: Calibri, sans-serif; line-height: 107%; margin: 0cm 0cm 8pt; text-align: justify;"><span style="font-size: medium;">There were not a lot of
tickets left when I decided to go and see this musical. Unlike musicals in
English, I tend to be a bit warier about whether I would be able to appreciate a
musical in Cantonese. Luckily, this has subtitles in Chinese and English. Oh,
not to mention that it was in Xiqu Centre. I have only been in its Grand Theatre
once for a Cantonese opera, which attracted a fairly rowdy crowd.</span></p>
<div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjvf0gousEtJ4WcipNNbejE05bfUqpnp7BvIiFkNc6-1z6Kagk7vfDUSlpfwMVb8bGS_o_GgN_iV0qQmQU9v0EFDHfpYqqU4iUhawmzt_Ag1VJFOtZONqfAcblo0TpgpuOxCfYD3hUUgOWdYr8Y2emei_Q3N_VNiIrXcdxbhiyybl8oa421lzJF3Umk/s1024/52386405077_4fce7b04ae_b.jpg" style="margin-left: 1em; margin-right: 1em;"><span style="font-size: medium;"><img border="0" data-original-height="683" data-original-width="1024" height="426" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjvf0gousEtJ4WcipNNbejE05bfUqpnp7BvIiFkNc6-1z6Kagk7vfDUSlpfwMVb8bGS_o_GgN_iV0qQmQU9v0EFDHfpYqqU4iUhawmzt_Ag1VJFOtZONqfAcblo0TpgpuOxCfYD3hUUgOWdYr8Y2emei_Q3N_VNiIrXcdxbhiyybl8oa421lzJF3Umk/w640-h426/52386405077_4fce7b04ae_b.jpg" width="640" /></span></a></div><span style="font-size: medium;"><br /></span><p class="MsoNormal" style="font-family: Calibri, sans-serif; line-height: 107%; margin: 0cm 0cm 8pt; text-align: justify;"><span style="font-size: medium;">The musical has a very
good storyline with a fine twist. Its main character, Fong Tong Geng (Lau Shau
Ching), was Guangdong’s most prominent advocate but was also known for his greed
and malice. At the height of his career, his life took a tumble and he was haunted
by the bitter ghost of childhood friend Ah Sai (Jordan Cheng). Fong fights back
to right his wrongs and redeems himself.</span></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgz7lD_MAkeyHiH5RhTTHMvOBfwTtvQ8iQZRMviLCGNfSfLtOrSzfV68vBUN194HYnnIVg4ulGJz9fV8JxeaaIgGoxd7K6G_tPtnhfPXxsxYrAIY8QLY6p52Es19qgyLkt6NvfTo1yYXaLoJXEUxkZnZeh7eltZiFJsnZWAAuUI-9LmYcAArZ18SElw/s2048/305807146_10160655914863982_8037926754550598622_n.jpg" style="margin-left: 1em; margin-right: 1em;"><span style="font-size: medium;"><img border="0" data-original-height="2048" data-original-width="1366" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgz7lD_MAkeyHiH5RhTTHMvOBfwTtvQ8iQZRMviLCGNfSfLtOrSzfV68vBUN194HYnnIVg4ulGJz9fV8JxeaaIgGoxd7K6G_tPtnhfPXxsxYrAIY8QLY6p52Es19qgyLkt6NvfTo1yYXaLoJXEUxkZnZeh7eltZiFJsnZWAAuUI-9LmYcAArZ18SElw/w426-h640/305807146_10160655914863982_8037926754550598622_n.jpg" width="426" /></span></a></div><p class="MsoNormal" style="font-family: Calibri, sans-serif; line-height: 107%; margin: 0cm 0cm 8pt; text-align: justify;"><span style="font-size: medium;"><br /></span></p>
<p class="MsoNormal" style="font-family: Calibri, sans-serif; line-height: 107%; margin: 0cm 0cm 8pt; text-align: justify;"><span style="font-size: medium;">The music of Leon Ko
was varied and effective, and the lyrics of Chris Shum were excellent. The
staging was simple and the reliance on the revolving stage and moving platform
was heavy. In some instances, I felt that the production should just let the
actors and songs do their job. Overall, the 3-hour show was a tad too long. Good
editing seems to be a common deficit in Cantonese musicals… the last one I saw,
<span style="font-family: "MS Gothic";">一水南天</span> A
TALE OF THE SOUTHERN SKY ran for 3 hours and 15 minutes!</span></p><p class="MsoNormal" style="font-family: Calibri, sans-serif; line-height: 107%; margin: 0cm 0cm 8pt; text-align: justify;"><span style="font-size: medium;"><br /></span></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEijp5Tx_o_1Cex6SSNsF93KqEOLrcfPLR_ErhesRXA2K-3xQlCTc5JfezjWgKf9P3ElKj4Y6nQrkBrQ28STNDfVJdzviXbFUTqrOeuTLbusptH2vCHMbexbCfQzFZP32y4ubfYh68vE3Ns1j8yZSnvbg75Gjl-ztQ7YZjMwXI0spImEa3J30v4LlBZB/s2550/IMG_3468.jpg" style="margin-left: 1em; margin-right: 1em;"><span style="font-size: medium;"><img border="0" data-original-height="1912" data-original-width="2550" height="480" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEijp5Tx_o_1Cex6SSNsF93KqEOLrcfPLR_ErhesRXA2K-3xQlCTc5JfezjWgKf9P3ElKj4Y6nQrkBrQ28STNDfVJdzviXbFUTqrOeuTLbusptH2vCHMbexbCfQzFZP32y4ubfYh68vE3Ns1j8yZSnvbg75Gjl-ztQ7YZjMwXI0spImEa3J30v4LlBZB/w640-h480/IMG_3468.jpg" width="640" /></span></a></div><span style="font-size: medium;"><br /></span><p class="MsoNormal" style="font-family: Calibri, sans-serif; line-height: 107%; margin: 0cm 0cm 8pt; text-align: justify;"><span style="font-size: medium;">Lau Shau Ching and
Jordan Cheng were the leads and were both exceptional. Lau’s comedic timing was
impeccable and Cheng’s renditions were palpable. Another fine actor was Rick
Lau as Ho Tam Yu. The rest of the cast, especially the female) were better actors
than singers, very often shortchanging and limiting the potential of some of
the ballads.</span></p>
<p class="MsoNormal" style="font-family: Calibri, sans-serif; line-height: 107%; margin: 0cm 0cm 8pt; text-align: justify;"><span style="font-size: medium;">Overall, I was glad
that I went and would actually not mind going again. </span></p><p class="MsoNormal" style="font-family: Calibri, sans-serif; line-height: 107%; margin: 0cm 0cm 8pt; text-align: justify;">____________________</p><p class="MsoNormal" style="line-height: 107%; margin: 0cm 0cm 8pt; text-align: justify;"><span face="Calibri, sans-serif"><b>Production Team</b></span></p><p class="MsoNormal" style="line-height: 107%; margin: 0cm 0cm 8pt; text-align: justify;"><span face="Calibri, sans-serif">Composer and Musical Director: Leon Ko</span></p><p class="MsoNormal" style="line-height: 107%; margin: 0cm 0cm 8pt; text-align: justify;"><span face="Calibri, sans-serif">Lyricist: </span><span face="Calibri, sans-serif">Chris Shum</span></p><p class="MsoNormal" style="line-height: 107%; margin: 0cm 0cm 8pt; text-align: justify;"><span face="Calibri, sans-serif">Playwright: Cheung Fei Fan</span></p><p class="MsoNormal" style="line-height: 107%; margin: 0cm 0cm 8pt; text-align: justify;"><span face="Calibri, sans-serif">Director: Fong Chun Kit</span></p><p class="MsoNormal" style="line-height: 107%; margin: 0cm 0cm 8pt; text-align: justify;"><span face="Calibri, sans-serif">Staging Director & Choreographer: Ivanhoe Lam</span></p><p class="MsoNormal" style="line-height: 107%; margin: 0cm 0cm 8pt; text-align: justify;"><span face="Calibri, sans-serif">Scenographer: Wong Yat Kwan</span></p><p class="MsoNormal" style="line-height: 107%; margin: 0cm 0cm 8pt; text-align: justify;"><span face="Calibri, sans-serif">Dramaturg: Low Kee Hong</span></p><p class="MsoNormal" style="line-height: 107%; margin: 0cm 0cm 8pt; text-align: justify;"><span face="Calibri, sans-serif">Co-choreographer: Lim Wei Wei</span></p><p class="MsoNormal" style="line-height: 107%; margin: 0cm 0cm 8pt; text-align: justify;"><span face="Calibri, sans-serif">Band Leader: Anna Lo</span></p><p class="MsoNormal" style="line-height: 107%; margin: 0cm 0cm 8pt; text-align: justify;"><span face="Calibri, sans-serif">Singing Coach: Lianna Tse</span></p><p class="MsoNormal" style="line-height: 107%; margin: 0cm 0cm 8pt; text-align: justify;"><span face="Calibri, sans-serif">Set Designer: Bill Cheung</span></p><p class="MsoNormal" style="line-height: 107%; margin: 0cm 0cm 8pt; text-align: justify;"><span face="Calibri, sans-serif">Costume Designer: Vanessa Suen Wing Kwan</span></p><p class="MsoNormal" style="line-height: 107%; margin: 0cm 0cm 8pt; text-align: justify;"><span face="Calibri, sans-serif">Lighting Designer: Yeung Tsz Yan</span></p><p class="MsoNormal" style="line-height: 107%; margin: 0cm 0cm 8pt; text-align: justify;"><span face="Calibri, sans-serif">Sound Designer: Can Ha</span></p><p class="MsoNormal" style="line-height: 107%; margin: 0cm 0cm 8pt; text-align: justify;"><span face="Calibri, sans-serif"><br /></span></p><p class="MsoNormal" style="line-height: 107%; margin: 0cm 0cm 8pt; text-align: justify;"><span face="Calibri, sans-serif"><b>Cast</b></span></p><p class="MsoNormal" style="line-height: 107%; margin: 0cm 0cm 8pt; text-align: justify;"><span face="Calibri, sans-serif">Lau Shau Ching - Fong Tong Geng</span></p><p class="MsoNormal" style="line-height: 107%; margin: 0cm 0cm 8pt; text-align: justify;"><span face="Calibri, sans-serif">Jordan Cheng - Ah Sai</span></p><p class="MsoNormal" style="line-height: 107%; margin: 0cm 0cm 8pt; text-align: justify;"><span face="Calibri, sans-serif">Tunes Ting - Sau Sau</span></p><p class="MsoNormal" style="line-height: 107%; margin: 0cm 0cm 8pt; text-align: justify;"><span face="Calibri, sans-serif">Clinton Zhang - Storyteller</span></p><p class="MsoNormal" style="line-height: 107%; margin: 0cm 0cm 8pt; text-align: justify;"><span face="Calibri, sans-serif">Rick Lau - Ho Tam Yu</span></p><p class="MsoNormal" style="line-height: 107%; margin: 0cm 0cm 8pt; text-align: justify;"><span face="Calibri, sans-serif">Yau Ting Fai </span></p><p class="MsoNormal" style="line-height: 107%; margin: 0cm 0cm 8pt; text-align: justify;"><span face="Calibri, sans-serif">Fung Chi Yau</span></p><p class="MsoNormal" style="line-height: 107%; margin: 0cm 0cm 8pt; text-align: justify;"><span face="Calibri, sans-serif">Man Sui Hing</span></p><p class="MsoNormal" style="line-height: 107%; margin: 0cm 0cm 8pt; text-align: justify;"><span face="Calibri, sans-serif">Kiki Cheung</span></p><p class="MsoNormal" style="line-height: 107%; margin: 0cm 0cm 8pt; text-align: justify;"><span face="Calibri, sans-serif">ManMan Kwok</span></p><p class="MsoNormal" style="line-height: 107%; margin: 0cm 0cm 8pt; text-align: justify;"><span face="Calibri, sans-serif">Vivian Chan</span></p><p class="MsoNormal" style="line-height: 107%; margin: 0cm 0cm 8pt; text-align: justify;"><span face="Calibri, sans-serif">Adam Tang</span></p><p class="MsoNormal" style="line-height: 107%; margin: 0cm 0cm 8pt; text-align: justify;"><span face="Calibri, sans-serif">Rick Cheung</span></p><p class="MsoNormal" style="line-height: 107%; margin: 0cm 0cm 8pt; text-align: justify;"><span face="Calibri, sans-serif">Christopher Ying</span></p><p class="MsoNormal" style="line-height: 107%; margin: 0cm 0cm 8pt; text-align: justify;"><span face="Calibri, sans-serif">Olga Chung</span></p><p class="MsoNormal" style="line-height: 107%; margin: 0cm 0cm 8pt; text-align: justify;"><br /></p></div></div>SATOSHIhttp://www.blogger.com/profile/14734387267429261897noreply@blogger.com0tag:blogger.com,1999:blog-1051753065839395549.post-44511345985422130142022-09-05T09:27:00.003+08:002022-10-10T16:04:25.389+08:00REVIEW: Nocturnes<p><span style="font-family: verdana;">Hong Kong Cultural Centre Grand Theatre, Saturday September 3 2022</span></p><p><span style="font-family: verdana;"><br /></span></p><p><span style="font-family: verdana;"></span></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiCvKqpZjIrEVteuoyzkvRA0e6erei0eWafpU_52bFE6WMm96UvRtQDqQ7YTiWn8fZ4robDi6ju7MNcwW_cL0rvvC1u-hXzc_tRnfi2gkWF88Pvf9gvy7VfK2zwsHrSuxBwFlzwM-NCeCe9QbmefGB-ENiLDpuaBhyofZAxCoX_oS5hV2TxClvN4op9/s750/20.+Facebook+Post_01.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="750" data-original-width="750" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiCvKqpZjIrEVteuoyzkvRA0e6erei0eWafpU_52bFE6WMm96UvRtQDqQ7YTiWn8fZ4robDi6ju7MNcwW_cL0rvvC1u-hXzc_tRnfi2gkWF88Pvf9gvy7VfK2zwsHrSuxBwFlzwM-NCeCe9QbmefGB-ENiLDpuaBhyofZAxCoX_oS5hV2TxClvN4op9/w400-h400/20.+Facebook+Post_01.jpg" width="400" /></a></div><br /><br /><span style="font-family: verdana;">Nocturnes, presented by the Hong Kong Contemporary Music promised a multi-arts collaboration between composer Fung Lam and photographer/director Wing Shya, featuring "the experience of the relationship between oneself and the city through a musical and cinematic journey." </span><div><br /></div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhmNiSxXbOPPaFbTvO6IS1Na5e8NVps70b3JRrYqThJz9CzEXraZiV-M4PG8UzB7CR07q6qGH_0He2mNxEHHQ2KebUJud1BUoKuG84g4grKKHqbyrAkrOShs4h1SccRS5Hn2jLHrIHj6yive0tq8qjomcvdAPxCHICdyzTcMAimAA5i2uKbKrngT1JR/s3020/Nocturnes2.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="3020" data-original-width="3020" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhmNiSxXbOPPaFbTvO6IS1Na5e8NVps70b3JRrYqThJz9CzEXraZiV-M4PG8UzB7CR07q6qGH_0He2mNxEHHQ2KebUJud1BUoKuG84g4grKKHqbyrAkrOShs4h1SccRS5Hn2jLHrIHj6yive0tq8qjomcvdAPxCHICdyzTcMAimAA5i2uKbKrngT1JR/w400-h400/Nocturnes2.jpg" width="400" /></a></div><div><br /><p></p><p><span style="font-family: verdana;">On the evening of September 4, it started with "I". At first, I thought it indicated 1am, but by the time it was "VII", and it was still stirring, then I was sad that it was just the movement numbers instead. As a musical composition inspired by, or evocative of, the night, Lam's Nocturnes was easy to listen to and developed beautifully. Cinematically, Shya's visual aspects started very strong but very quickly fell into a formulaic uni-dimensional pattern. </span></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhyXXf9z9UZ1ftoAa3q2um-td-4atuA19URsuMaSlU40Cv7Iwm5EKzUOcRk5DkSq9RVHiRNVfJvxNOpjz1xc1WGC2ZAsKikiLiHeQWOKrKwoUF_Ca9I-xlZSBpfZP1vVlxHQ0ITbNmPAYaL1hQB1KSl9sU-21BSNGV8U-HtqR8dK0R0fPvNMMObVxmE/s4032/Nocturnes1.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="3024" data-original-width="4032" height="300" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhyXXf9z9UZ1ftoAa3q2um-td-4atuA19URsuMaSlU40Cv7Iwm5EKzUOcRk5DkSq9RVHiRNVfJvxNOpjz1xc1WGC2ZAsKikiLiHeQWOKrKwoUF_Ca9I-xlZSBpfZP1vVlxHQ0ITbNmPAYaL1hQB1KSl9sU-21BSNGV8U-HtqR8dK0R0fPvNMMObVxmE/w400-h300/Nocturnes1.jpg" width="400" /></a></div><p></p><p><span style="font-family: verdana;">Overall, I didn't fall asleep, but neither the music nor the video brought me anywhere. I found myself counting, not sheeps, but the time signatures. It was interesting. I am glad I went to this premiere, but I wouldn't put myself through it again.</span></p><p><span style="font-family: verdana;">__________</span></p><p><span style="font-family: verdana;">Fung Lam x Wing Shya: Nocturnes </span><span style="font-family: verdana;">林丰X夏永康《夜曲》: </span><span style="font-family: verdana;">A Cross-media Creation </span></p><p><span style="font-family: verdana;">Performers:</span></p><div style="text-align: left;"><span style="font-family: verdana;">Timothy Sun, Saxophones <br /></span><span style="font-family: verdana;">Hong Kong Contemporary Music Group <br /></span><span style="font-family: verdana;">Fung Lam, Music Director and Piano <br /></span><span style="font-family: verdana;">Kitty Cheung, Violin <br /></span><span style="font-family: verdana;">Louie Lai-lai, Violin <br /></span><span style="font-family: verdana;">Cass Ho, Viola <br /></span><span style="font-family: verdana;">Juanita Wong, Cello</span></div><p><span style="font-family: verdana;">Cast in Film: </span></p><div style="text-align: left;"><span style="font-family: verdana;">Yoko Ho <br /></span><span style="font-family: verdana;">Natalie Hsu <br /></span><span style="font-family: verdana;">Bonny Kong <br /></span><span style="font-family: verdana;">Lam Hoi-suet <br /></span><span style="font-family: verdana;">Lam Wing-ying <br /></span><span style="font-family: verdana;">Li Shak-man <br /></span><span style="font-family: verdana;">Silver Poon <br /></span><span style="font-family: verdana;">Shum Nga-wing <br /></span><span style="font-family: verdana;">Helen So <br /></span><span style="font-family: verdana;">Kuku So <br /></span><span style="font-family: verdana;">Rachel Song <br /></span><span style="font-family: verdana;">Elizabeth Tang</span></div></div>SATOSHIhttp://www.blogger.com/profile/14734387267429261897noreply@blogger.com0tag:blogger.com,1999:blog-1051753065839395549.post-90734215752208746792022-08-15T14:36:00.000+08:002022-10-10T16:04:02.945+08:00REVIEW: Don Pasquale Hong Kong City Hall Concert Hall, Saturday August 13 2022<div><br /></div><div>The wait was too long! The last time I was in a theatre to see an opera was almost a year ago when Opera Hong Kong mounted Madama Butterfly. Don Pasquale was definitely a welcome diversion and thank goodness it was more than decent! </div><div><br /></div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEio_bsH2YCtUMEM2OMX7dYo3MZabsAtXH1Ms40dsdx8pcKlx-t1kZUWRLi9-bEVoV29L3h20Qk-vjLS7I4gmy4YIbjVeze7vXdE6De3c1iIImawwDM7HCLnttlEKeaWwip1N3Oq2IPoTe6lZch0BrIoW5FnOr_NWaZuoN9nwr-AsI8C3EdQ2fM4U6Af/s1000/OPHK-Don-Pasquale-1000x460H.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="460" data-original-width="1000" height="294" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEio_bsH2YCtUMEM2OMX7dYo3MZabsAtXH1Ms40dsdx8pcKlx-t1kZUWRLi9-bEVoV29L3h20Qk-vjLS7I4gmy4YIbjVeze7vXdE6De3c1iIImawwDM7HCLnttlEKeaWwip1N3Oq2IPoTe6lZch0BrIoW5FnOr_NWaZuoN9nwr-AsI8C3EdQ2fM4U6Af/w640-h294/OPHK-Don-Pasquale-1000x460H.jpg" width="640" /></a></div><div><br /></div><div>Don Pasquale is a delightful opera buffa in three acts by Gaetano Donizetti with an Italian libretto collaborated by Giovanni Ruffini and the composer himself. This semi-staged opera by Opera Hong Kong is a follow-up to the success of last year's I Capuleti e I Montecchi. While Don Pasquale is a lesser-known work of Donizetti, it is a funny and witty opera that is at the same time touchingly romantic… that is if one can deem the calculating and cruel aspect of the story as a farcical handle for hearty entertainment. </div><div><br /><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEja3q0W0mj4thnJTNuoBj8qjMG3vNK7GFFbQJgc-jlAZV4NV6es_Py3k6qXJ8UkGo9kUC9ExYi8rz6aXOe5piGA2MM9W_OJSSUCJFJUS1_xXixOlz4hdEaAweTLZ7-ZbiL15TBnXWQafp5I02ah3W_H9PK4POwammlZ5ofFb1ZlIe0PW_MmgtAqA_fE/s1200/pasquale1.webp" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="800" data-original-width="1200" height="426" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEja3q0W0mj4thnJTNuoBj8qjMG3vNK7GFFbQJgc-jlAZV4NV6es_Py3k6qXJ8UkGo9kUC9ExYi8rz6aXOe5piGA2MM9W_OJSSUCJFJUS1_xXixOlz4hdEaAweTLZ7-ZbiL15TBnXWQafp5I02ah3W_H9PK4POwammlZ5ofFb1ZlIe0PW_MmgtAqA_fE/w640-h426/pasquale1.webp" width="640" /></a></div></div><div><br /></div><div>First thing first, the Opera Hong KongOrchestra led by Olsi Qinami was tentative at first but managed to keep it together as the opera progressed. In general, the orchestra was loud with narrow dynamics and sometimes too loud that it drowned out the singers.</div><div><br /></div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh35VLKiwU_CqcWKpOUR94APIOP-IuWvkDJg8S3vVPWfG6ot-xZs7P-ZTN2T_AdGm1T57nSr8grDhrK4VkbzQK9xErB1JNSVBd3A1TICO5Vlgalnwpjpkn5Igp9oEE6KfEJ_k8hDYCiZPoF19HkXHMUu1nYIs7THA9JkWjja4cvmz4WZVhW3nn8cOkO/s4032/don.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="3024" data-original-width="4032" height="480" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh35VLKiwU_CqcWKpOUR94APIOP-IuWvkDJg8S3vVPWfG6ot-xZs7P-ZTN2T_AdGm1T57nSr8grDhrK4VkbzQK9xErB1JNSVBd3A1TICO5Vlgalnwpjpkn5Igp9oEE6KfEJ_k8hDYCiZPoF19HkXHMUu1nYIs7THA9JkWjja4cvmz4WZVhW3nn8cOkO/w640-h480/don.jpg" width="640" /></a></div><br /><div>As for the singers, Apollo Wong’s Don Pasquale makes a strangely endearing Pasquale. While he may be a tad lighter than the usual basso buffo that I expect in the role of Pasquale, his comic timing and patter singing was a delight. Candice Chung’s Norina was a cut above the rest. Her tone was bright and clear and her coloratura and trills were precise yet nuanced. Her acting was effective and always at the service of character and plot. Albert Lim’s Dr. Malatesta was a great match to Wong’s Pasquale, while Henry Ngan’s Ernesto sounded too studied and a bit effortful on some occasion of the evening.</div><div><br /></div><div>Overall, this semi-staged performance,directed by Nancy Yuen, felt whole. The production was lucid and charming.</div><div><br /></div><div>__________</div><div><p class="MsoNormal"><span lang="EN-HK">Don Pasquale <o:p></o:p></span></p></div>
A Semi-staged Opera in Three Acts <div>Performed in Italian with Chinese and English Surtitles </div><div>Composed by Gaetano Donizetti
Libretto by Giovanni Ruffini </div><div><br /></div><div>Producer: Warren Mok </div><div>Conductor: Olsi Qinami </div><div>Director: Nancy Yuen </div><div>Chorus Director: Alex Tam </div><div>Orchestra Executive: Anders Hui </div><div><br /></div><div>Opera Hong Kong Orchestra </div><div>Opera Hong Kong Chorus </div><div><br /></div><div>CAST </div><div>Don Pasquale: Apollo Wong </div><div>Norina: Candice Chung (13/8); Anna Zhang (14/8) </div><div>Dr Malatesta: Albert Lim (13/8)
Alexander Chen (14/8) </div><div>Ernesto: Henry Ngan (13/8)
Jiang Kuncheng (14/8) </div><div><br /></div>SATOSHIhttp://www.blogger.com/profile/14734387267429261897noreply@blogger.com0tag:blogger.com,1999:blog-1051753065839395549.post-1843613276162130202021-11-29T13:42:00.002+08:002022-10-10T16:04:41.047+08:00REVIEW: Fung Lam X anothermountainman - Yet Another Dream <p>The Box, Freespace, Saturday 27 November 2021 </p><p style="text-align: justify;">This multimedia concert, presented by the Jockey Club New Arts Power, featured 20 years of Hong Kong composer Fung Lam 林丰’s works played by the Hong Kong Contemporary Music Group and staged and directed by Hong Kong visual artist Anothermountainman 又一山人 (Stanley Wong). </p><div class="separator" style="clear: both; text-align: center;"><a href="https://1.bp.blogspot.com/-eDaLLCtIWkc/YaRlThX6ZGI/AAAAAAAAEjk/TPQxm2qnOIUtjwKsCYKwC9fLhLHjuq_4gCLcBGAsYHQ/s1000/Yet-Another-Dream_Key-Visual_Square-e1633398226371.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="971" data-original-width="1000" height="389" src="https://1.bp.blogspot.com/-eDaLLCtIWkc/YaRlThX6ZGI/AAAAAAAAEjk/TPQxm2qnOIUtjwKsCYKwC9fLhLHjuq_4gCLcBGAsYHQ/w400-h389/Yet-Another-Dream_Key-Visual_Square-e1633398226371.jpg" width="400" /></a></div><br /><p style="text-align: justify;">Upon entering the theater, the audience was met with a huge piece of cloth hanging down from the trusses above the stage, carefully fashioned, positioned, pulled and tucked, forming a cloud-like sculpture. This will then become the visual focal point where lighting and projections provided varied moods and images. </p><p style="text-align: justify;">14 works were presented providing a dreamy soundscape. While Fung may not be the most original composer, his music was artistically accessible and has a distinctive sound and texture to them. His exploration of space, the expanse of musical line, most often times ponderous, was something that kept appearing in his music. </p><br /><div class="separator" style="clear: both; text-align: center;"><a href="https://1.bp.blogspot.com/-PU5ebYFhqW8/YaRmH5b1p8I/AAAAAAAAEjw/Qwmbi8MlUAk9RS9ecG9gfmLwWgV0X5cHACLcBGAsYHQ/s1080/261013399_1030390134176156_1111136620760087172_n.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1080" data-original-width="1080" height="400" src="https://1.bp.blogspot.com/-PU5ebYFhqW8/YaRmH5b1p8I/AAAAAAAAEjw/Qwmbi8MlUAk9RS9ecG9gfmLwWgV0X5cHACLcBGAsYHQ/w400-h400/261013399_1030390134176156_1111136620760087172_n.jpg" width="400" /></a></div><br /><p style="text-align: justify;">Most of the works I like were in the early part of the concert. The concert opened with Breath/1, an effective atmospheric composition that seduced the audience to enter his world. This was followed by <i>Illumination</i>, a chamber orchestra version of the original work premiered by the BBC Philharmonic and the piano solo <i>Painting by God</i>. Both works felt the most personal and intuitive in the concert. </p><p></p><p style="text-align: justify;">The other two works that I like were <i>Remembering Dowland</i> and <i>Jasmine</i>. Both works were inspired by and rework of classics e.g. John Dowland's <i>Lachrimae</i> and Chinese folk song <i>Jasmine</i>. With these, Lam managed to extract new from old, resulting in flowing haunting soundscapes that evokes yearning and nostalgia.</p><p style="text-align: justify;">At the other end of the spectrum, I find both works <i>Before a Passage</i> and <i>Music for The Mills: Chapter 7</i> most unfulfilling. Both pieces were site-specific compositions and were originally part of multi-disciplinary projects. As stand-alone works, they wandered listlessly and without purpose. </p><p><br /></p><div class="separator" style="clear: both; text-align: center;"><a href="https://1.bp.blogspot.com/-8JUffEMvXwk/YaRmH-r93AI/AAAAAAAAEjs/fvCsUzPRP3EnbyZN0luyIJf9VvDA38HkACLcBGAsYHQ/s1080/260896644_1030390144176155_1468969346492241390_n.png" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1080" data-original-width="1080" height="400" src="https://1.bp.blogspot.com/-8JUffEMvXwk/YaRmH-r93AI/AAAAAAAAEjs/fvCsUzPRP3EnbyZN0luyIJf9VvDA38HkACLcBGAsYHQ/w400-h400/260896644_1030390144176155_1468969346492241390_n.png" width="400" /></a></div><p></p><p style="text-align: justify;">Visually, I felt that the big cloth fulfilled its purpose. The lighting was moody and supported the music well. However, the video projections ranged from brilliant to common. </p><p style="text-align: justify;">Overall, I am truly glad that I attended this performance amidst my almost impossible schedule. The payback was a night of exquisitely crafted musical works, charming and challenging.</p><p style="text-align: justify;">__________</p><p style="text-align: justify;">Composer and Music Director: Fung Lam</p><p style="text-align: justify;">Visual Artist and Director: anothermountainman</p><p style="text-align: justify;">Performer: Hong Kong Contemporary Music Group</p><p style="text-align: justify;">Producer: Kiwi Chan</p><p style="text-align: justify;">Upcycled Textile Installation: Toby Crispy @FashionClinic by T</p><p style="text-align: justify;">Audio Design: Anthony Yeung</p><p style="text-align: justify;">Lighting Design: Lawmanray</p>SATOSHIhttp://www.blogger.com/profile/14734387267429261897noreply@blogger.com0tag:blogger.com,1999:blog-1051753065839395549.post-22843319810829403802021-10-16T23:55:00.000+08:002022-10-10T16:04:56.949+08:00REVIEW: Boundless Groove: A Sonic Journey in Nature by Wuji Ensemble<div>The Box, Freespace, Friday 15 October 2021</div><div><br /></div><div style="text-align: justify;">Boundless Groove: A Sonic Journey in Nature by Wuji Ensemble or 爵式無極之《一任逍遙》- 無極樂團 was described as "a combination of contemporary jazz and Chinese music in this innovative concert inspired by the majesty of nature", it was intriguing enough that I went to see it. This was my first time to watch and listen to The Wuji Ensemble, a group that was founded in 2003 and since then, has grown and gained a following. </div><div style="text-align: justify;"><br /><div class="separator" style="clear: both; text-align: center;"><a href="https://1.bp.blogspot.com/-ucBpby95ds0/YWryZsWJrdI/AAAAAAAAEgs/oVYhaXzJFYor2E8IMzo67E1Uz5TsATpcwCLcBGAsYHQ/s791/Wuji1.JPG" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="791" data-original-width="657" height="400" src="https://1.bp.blogspot.com/-ucBpby95ds0/YWryZsWJrdI/AAAAAAAAEgs/oVYhaXzJFYor2E8IMzo67E1Uz5TsATpcwCLcBGAsYHQ/w333-h400/Wuji1.JPG" width="333" /></a></div></div><div style="text-align: justify;"><br /></div><div style="text-align: justify;">The concert was carefully staged on multi-level platforms and lighted atmospherically... a nice touch but felt too precious for my taste. The whole staging was definitely more Chinese music than jazz until they started playing. The programme was composed of 6 works with a short piece introducing or transitioning to a major piece, and that was a big problem for me. With each work segueing to another piece without letting the ears rest and the mind recollect, the concert became a bit unfriendly and detached. It was like listening to a movie soundtrack and the performers were in their own world and the audience was just happened to be there. </div><div style="text-align: justify;"><br /><div class="separator" style="clear: both; text-align: center;"><a href="https://1.bp.blogspot.com/-X5PChJJM-1s/YWryshIrYcI/AAAAAAAAEg0/m4qlnSewG6of-jPScPWzetMukNO3fwsuQCLcBGAsYHQ/s891/Wuji.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="425" data-original-width="891" height="191" src="https://1.bp.blogspot.com/-X5PChJJM-1s/YWryshIrYcI/AAAAAAAAEg0/m4qlnSewG6of-jPScPWzetMukNO3fwsuQCLcBGAsYHQ/w400-h191/Wuji.jpg" width="400" /></a></div></div><div style="text-align: justify;"><br /></div><div style="text-align: justify;">The three major pieces had varying degrees of success with the middle piece, Sea of Rocks by Cynthia Wong having the least impact on me. It sounded the least organic and the most studied. Lui Ngao-yuen's Prologue: Seek and Trane opened the concert successfully and very much set the tone for the whole evening. Lui Ngao-yuen at the double-bass led with confidence and flair and provided the most texture of the three major works. Law Wing-fai's Impromptu benefited from the preceding improvisation work Sound Scroll, as it captured the freewheeling loose and spacious feel that I ended up yearning from the concert. </div><div style="text-align: justify;"><br /></div><div style="text-align: justify;">Overall, it was a good experiment on how to package a sincerely interesting concept, but I do wish it would try to capture more the spirit and heart of jazz than the spirituality of the orient. </div><div style="text-align: justify;"><br /></div><div style="text-align: justify;">____________________</div><div style="text-align: justify;">PROGRAMME<span style="white-space: pre;"> </span></div><div style="text-align: justify;"><ul><li>Prologue: Seek by Lui Ngao-yuen 呂奡元</li><li>Trane (world premiere) by Lui Ngao-yuen 呂奡元</li><li>Transition: Landscape on Canvas by Lui Ngao-yuen 呂奡元</li><li>Sea of Rocks (world premiere) by Cynthia Wong 黃旨穎</li><li>Transition: Sound Scroll - Improvisation</li><li>Impromptu (world premiere) by Law Wing-fai 羅永暉</li></ul>____________________</div><div style="text-align: justify;"><div>Production Team</div><div>Artistic Director:Law Wing-fai</div><div>Music Director:Wong Chi-ching</div><div>Programme Concept:Lui Ngao-yuen & Lam Tsan-tong</div><div>Set Design:Yuen Hon-wai</div><div>Lighting Design:Gabriel Fung</div><div>Sound Design:Anthony Yeung</div><div>Costume Design:Jade Leung</div><div>Projection Design:IZEN</div><div><br /></div><div>Performers</div><div>Pipa:Lam Tsan-tong</div><div>Guzheng:Wan Xing</div><div>Yangqin:Bryan Lai</div><div>Clarinet:Linus Fung</div><div>Double Bass:Lui Ngao-yuen</div><div>Keyboard:Bowen Li</div><div>Percussion:Dean Li</div><div>Enlightenment Music:Paul Yip</div><div>Pipa/ Ruan Ensemble:Au Yuen-ying, So Pui-yi & Tong Ming-hok</div></div><div style="text-align: justify;"><br /></div>SATOSHIhttp://www.blogger.com/profile/14734387267429261897noreply@blogger.com0tag:blogger.com,1999:blog-1051753065839395549.post-18184758616519578872021-10-09T16:47:00.001+08:002022-10-10T16:05:03.173+08:00REVIEW: Madama Butterfly Hong Kong Cultural Centre Grand Theatre, Friday October 8 2021 <div><br /><div class="separator" style="clear: both; text-align: center;"><a href="https://1.bp.blogspot.com/-YN791UpmVFA/YWFX0FXpWNI/AAAAAAAAEdM/IgS-DNAKOlclul1upPJNsWWo6KURvxu2QCLcBGAsYHQ/s1080/Butterfly%2B5.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1080" data-original-width="1080" height="400" src="https://1.bp.blogspot.com/-YN791UpmVFA/YWFX0FXpWNI/AAAAAAAAEdM/IgS-DNAKOlclul1upPJNsWWo6KURvxu2QCLcBGAsYHQ/w400-h400/Butterfly%2B5.jpg" width="400" /></a></div><br /><div>Normally, I would have whined about having to watch Madama Butterfly AGAIN! But hey, this is no regular time and I am thirsty for live opera, and this Opera Hong Kong production of Madama Butterfly did more than a fine job quenching my thirst! </div><div><br /></div><div class="separator" style="clear: both; text-align: center;"><a href="https://1.bp.blogspot.com/-Ojk9uUleUaY/YWFYvc0OxfI/AAAAAAAAEeM/ClQrcYbyBmENUOAMROK3JPJO980Gl4v0ACLcBGAsYHQ/s1440/Butterfly%2B4.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="960" data-original-width="1440" height="266" src="https://1.bp.blogspot.com/-Ojk9uUleUaY/YWFYvc0OxfI/AAAAAAAAEeM/ClQrcYbyBmENUOAMROK3JPJO980Gl4v0ACLcBGAsYHQ/w400-h266/Butterfly%2B4.jpg" width="400" /></a></div><div style="text-align: justify;"><br /></div><div style="text-align: justify;">Director Pier Francesco Maestrini’s change in the setting of the opera from the beginning of the 20th-century to 1860 was totally gratuitous. Luckily, the production design, apart from a few samurai elements, remained clear and contributed to the narrative. The strength of this production lies in the set and lighting design of Nicolas Boni and Bruno Ciulli respectively. The still and moving projection at the front and back; and the floating inset stage were absolutely brilliant. It was traditional and atmospheric, yet at times surreal. It was bold and delicate, utterly captivating. </div><div style="text-align: justify;"><br /></div><div class="separator" style="clear: both; text-align: center;"><a href="https://1.bp.blogspot.com/-iCZfd_xPY_8/YWFZPQ0fqII/AAAAAAAAEeg/m3anRR7xdM436VLXicoCOa83Q0FZNa2CwCLcBGAsYHQ/s2048/Butterfly%2B1.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1366" data-original-width="2048" height="266" src="https://1.bp.blogspot.com/-iCZfd_xPY_8/YWFZPQ0fqII/AAAAAAAAEeg/m3anRR7xdM436VLXicoCOa83Q0FZNa2CwCLcBGAsYHQ/w400-h266/Butterfly%2B1.jpg" width="400" /></a></div><div class="separator" style="clear: both; text-align: justify;"><br /></div><div style="text-align: justify;">The night started strong with the Hong Kong Philharmonic Orchestra led by Yves Abel delivering pure drama. When Myklailo Malafil’s B. F. Pinkerton and Chen Yong’s Goro came in, however, I was a bit confused as I had difficulty hearing them. It was only until Sae-Kyung Rim’s Cio-Cio-san started singing that I realized that the two tenors lacked volume. Rim’s Cio-Cio-san was believable. Her dark rich tones provided a confident characterization in the first act, while her brighter tones underscored the character’s more hopeful misapprehensions. </div><div style="text-align: justify;"><br /></div><div class="separator" style="clear: both; text-align: center;"><a href="https://1.bp.blogspot.com/-ZS9IY2EJaCQ/YWFbKvf_gHI/AAAAAAAAEfY/-vzq_PrOfEgmx-PTjbzIRP7fVoAoZb_ywCLcBGAsYHQ/s2048/Butterfly%2B2.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1364" data-original-width="2048" height="266" src="https://1.bp.blogspot.com/-ZS9IY2EJaCQ/YWFbKvf_gHI/AAAAAAAAEfY/-vzq_PrOfEgmx-PTjbzIRP7fVoAoZb_ywCLcBGAsYHQ/w400-h266/Butterfly%2B2.jpg" width="400" /></a></div><div class="separator" style="clear: both; text-align: center;"><br /></div><div style="text-align: justify;">Yayoi Toriki’s Suzuki was one of the highlights of the evening. Apart from her beautiful singing, her acting was always present and in the interest of the narrative. I have to also mention Lars Wing Monson’s portrayal of Cio-Cio-san's child was an absolute pleasure to watch. Not only was he cute, but his timing was impeccable. </div><div><br /></div><div class="separator" style="clear: both; text-align: center;"><a href="https://1.bp.blogspot.com/-0fhqRq_bp5c/YWFbuBTlbvI/AAAAAAAAEf4/G1FxZiNpHBorFt8_JfVtVpmEAmHFq22KACLcBGAsYHQ/s2048/Butterfly%2B3.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1364" data-original-width="2048" height="266" src="https://1.bp.blogspot.com/-0fhqRq_bp5c/YWFbuBTlbvI/AAAAAAAAEf4/G1FxZiNpHBorFt8_JfVtVpmEAmHFq22KACLcBGAsYHQ/w400-h266/Butterfly%2B3.jpg" width="400" /></a></div><br /><div style="text-align: justify;">Overall, Opera Hong Kong’s Madama Butterfly was an absolute treat. Go for the performance but definitely for the production design. </div><div><br /></div><div>__________________________________ </div><div>A co-production of Opera Hong Kong and Slovene National Theatre Maribor </div><div>An Opera in Three Acts </div><div>Composed by Giacomo Puccini </div><div>Libretto by Luigi Illica and Giuseppe Giacosa </div><div>Producer: Warren Mok </div><div>Conductor: Yves Abel </div><div>Director: Pier Francesco Maestrini </div><div>Set Designer: Nicolás Boni </div><div>Costume Designer: Luca Dall’Alpi </div><div>Lighting Designer: Bruno Ciulli </div><div>Assistant Director: Tim Ribič </div><div>Chorus Director: Alex Tam </div><div><br /></div><div>Hong Kong Philharmonic Orchestra </div><div>Opera Hong Kong Chorus </div><div><br /></div><div>CAST </div><div>Cio-Cio-san: Sae-Kyung Rim (6/10, 8/10, 10/10), Bing Bing Wang (7/10, 9/10) </div><div>Suzuki: Yayoi Toriki </div><div>B. F. Pinkerton: Mykhailo Malafii (6/10, 8/10, 10/10), Khachatur Badalyan (7/10, 9/10) </div><div>Sharpless: Marcin Bronikowski (6/10, 8/10, 10/10), Christian Federici (7/10, 9/10) </div><div>Goro: Chen Yong (6/10, 8/10, 10/10), Henry Ngan (7/10, 9/10) </div><div>Prince Yamadori: Sammy Chien </div><div>Yakuside: Lam Kwok Ho </div><div>The Bonze: Apollo Wong </div><div>The Commissioner: Frankie Fung </div><div>The Official Registrar: Charles Tsang </div><div>Kate Pinkerton: Michelle Lange </div><div>Cio-Cio-san’s mother: Rachel Kwok </div><div>The cousin: Candice Chung </div><div>The aunt: Gladys Ho</div></div>SATOSHIhttp://www.blogger.com/profile/14734387267429261897noreply@blogger.com0tag:blogger.com,1999:blog-1051753065839395549.post-20009943707882650172021-08-31T10:48:00.000+08:002022-10-10T16:05:17.257+08:00REVIEW: I Capuleti e i Montecchi<p><span style="font-family: verdana;">Hong Kong City Hall Concert Hall, Sunday August 29 2021</span></p><p style="text-align: justify;"><span style="font-family: verdana;">To see a Bellini opera on stage in Hong Kong is rare. In my 25 years in Hong Kong, I can’t even remember any being staged… until 2021. This year marks Bellini’s 220th birth anniversary and Hong Kong didn’t only have one but two Bellini operas. In July, Hong Kong saw Norma; and on Sunday, we saw I Capuleti e i Montecchi, a semi-staged opera presented by Opera Hong Kong.</span></p><p style="text-align: justify;"><span style="font-family: verdana;"></span></p><div class="separator" style="clear: both; text-align: center;"><span style="font-family: verdana;"><a href="https://lh3.googleusercontent.com/-003bXrgTR7w/YS2XOeHxFTI/AAAAAAAAEak/87Jfq9GtJ-A3F1IIVEl5EXdcw9GSTsh3ACLcBGAsYHQ/image.png" style="margin-left: 1em; margin-right: 1em;"><img alt="" data-original-height="1152" data-original-width="1536" height="300" src="https://lh3.googleusercontent.com/-003bXrgTR7w/YS2XOeHxFTI/AAAAAAAAEak/87Jfq9GtJ-A3F1IIVEl5EXdcw9GSTsh3ACLcBGAsYHQ/w400-h300/image.png" width="400" /></a></span></div><span style="font-family: verdana;"><br /></span><span style="font-family: verdana;">Having I Capuleti e i Montecchi, a reinvention of the tragic Shakespearean tale Romeo and Juliet (Romeo e Giulietta), is definitely a treat. Rarely in Hong Kong do we see an opera with the romantic male lead sung en travesti (performed by the opposite sex) apart from the occasional Cherubino in Mozart’s Le Nozze di Figaro. The real treat however was not visual, but the undeniable lyrical coherence of the mezzo-soprano and soprano voices in duet. </span><p></p><p style="text-align: justify;"><span style="font-family: verdana;"></span></p><div class="separator" style="clear: both; text-align: center;"><a href="https://lh3.googleusercontent.com/-na7TcLPckcE/YS2X7xu3fkI/AAAAAAAAEaw/shm7ON2xLVU01PlDL7FeD1DUIIueAUItACLcBGAsYHQ/image.png" style="margin-left: 1em; margin-right: 1em;"><img alt="" data-original-height="600" data-original-width="992" height="243" src="https://lh3.googleusercontent.com/-na7TcLPckcE/YS2X7xu3fkI/AAAAAAAAEaw/shm7ON2xLVU01PlDL7FeD1DUIIueAUItACLcBGAsYHQ/w400-h243/image.png" width="400" /></a></div><p></p><p style="text-align: justify;"><span style="font-family: verdana;">In this opera, the two lead roles were cast exemplarily. Hands down, it was Louise Kwong 鄺勵齡 as Giulietta who stole the show. Kwong mesmerized the audience with her powerful, even-toned, and nuanced performance. She was a very convincing Giulietta in voice and in action and I eagerly look forward to seeing more of her in the future. Then Bobbie Zhang 張倩, equally convincing as Romeo. Together, both voiced their fated passions with exquisite tone and ample technique. While the rest of the cast was competent, they seem to fade into the background when either Romeo or Giulietta was onstage. </span></p><p style="text-align: justify;"><span style="font-family: verdana;"></span></p><div class="separator" style="clear: both; text-align: center;"><span style="font-family: verdana;"><a href="https://lh3.googleusercontent.com/-H3DgbscJHTs/YS2X0oV63yI/AAAAAAAAEas/YRONnvwfPpICvUpk6lyrWXP2qArh2G-aQCLcBGAsYHQ/image.png" style="margin-left: 1em; margin-right: 1em;"><img alt="" data-original-height="2048" data-original-width="2048" height="400" src="https://lh3.googleusercontent.com/-H3DgbscJHTs/YS2X0oV63yI/AAAAAAAAEas/YRONnvwfPpICvUpk6lyrWXP2qArh2G-aQCLcBGAsYHQ/w400-h400/image.png" width="400" /></a></span></div><span style="font-family: verdana;"><br /></span><span style="font-family: verdana;">While the performance may be semi-stage, there were enough sets and props to convey the story effectively. I have seen “fully-staged” operas with fewer materials and effects onstage! The Opera Hong Kong Orchestra led by Francesco di Mauro did a fine job. Solo clarinetist John Schertle played an expressly gorgeous arioso at the beginning of Act II.</span><p></p><p style="text-align: justify;"><span style="font-family: verdana;">Overall, it was a terrific evening, and one that Opera Hong Kong should be very proud of!</span></p><p><span style="font-family: verdana;">____________</span></p><p><span style="font-family: verdana;">I Capuleti e i Montecchi</span></p><p><span style="font-family: verdana;">A Semi-staged Opera in Two Acts</span></p><p><br /></p><p><span style="font-family: verdana;">Composed by Vincenzo Bellini</span></p><p><span style="font-family: verdana;">Libretto by Felice Romani</span></p><p><span style="font-family: verdana;"><br /></span></p><p><span style="font-family: verdana;">Producer: Warren Mok</span></p><p><span style="font-family: verdana;">Conductor: Francesco di Mauro</span></p><p><span style="font-family: verdana;">Director: Nancy Yuen</span></p><p><span style="font-family: verdana;">Chorus Director: Alex Tam</span></p><p><span style="font-family: verdana;">Orchestra Executive: Anders Hui</span></p><p><span style="font-family: verdana;"><br /></span></p><p><span style="font-family: verdana;">Opera Hong Kong Orchestra</span></p><p><span style="font-family: verdana;">Opera Hong Kong Chorus</span></p><p><span style="font-family: verdana;"><br /></span></p><p><span style="font-family: verdana;">CAST</span></p><p><span style="font-family: verdana;">Romeo: </span><span style="font-family: verdana;">Bobbie Zhang</span></p><p><span style="font-family: verdana;">Giulietta: </span><span style="font-family: verdana;">Louise Kwong</span></p><p><span style="font-family: verdana;">Tebaldo: </span><span style="font-family: verdana;">Chen Chen (27/8), </span><span style="font-family: verdana;">Chen Yong (29/8)</span></p><p><span style="font-family: verdana;">Capellio: </span><span style="font-family: verdana;">Sammy Chien</span></p><p><span style="font-family: verdana;">Lorenzo: </span><span style="font-family: verdana;">Alexander Chen</span></p><p><span style="font-family: verdana;"><br /></span></p>SATOSHIhttp://www.blogger.com/profile/14734387267429261897noreply@blogger.com0tag:blogger.com,1999:blog-1051753065839395549.post-13904736663775670442021-05-31T09:42:00.005+08:002022-10-10T16:05:30.893+08:00 REVIEW: Edward Lam Dance Theatre’s 一個人的一一 (14 Variations on the Theme of Yi Yi)<p><span style="font-family: verdana;">Hong Kong Cultural Centre Grand Theatre, Saturday May 29 2021</span></p><p><span style="font-family: verdana;"><br /></span></p><p></p><div class="separator" style="clear: both; text-align: center;"><a href="https://1.bp.blogspot.com/-X2gif_hIeyk/YLQ-gtFW6iI/AAAAAAAAEVI/AE7zZ7YmZfEsvd_U0SSW__41ku-V4cMWQCLcBGAsYHQ/s789/yiyi3.JPG" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="648" data-original-width="789" height="329" src="https://1.bp.blogspot.com/-X2gif_hIeyk/YLQ-gtFW6iI/AAAAAAAAEVI/AE7zZ7YmZfEsvd_U0SSW__41ku-V4cMWQCLcBGAsYHQ/w400-h329/yiyi3.JPG" width="400" /></a></div><span style="font-family: verdana;"><p><span style="text-align: justify;">I was looking for something to do on the weekend when I saw the post on Edward Lam Dance Theatre’s 一個人的一一 (14 Variations on the Theme of Yi Yi). I have never been to any show by this company and thought maybe I should give it a try. Further research in the organization’s website didn’t provide much idea on what to expect except that it has something to do with the award-winning 2001 movie Yi Yi directed by Edward Yang. Another dilemma was that I have never seen the movie, so I tasked myself to watch the movie before going to the stage performance.</span></p></span><p></p><p style="text-align: justify;"><span style="font-family: verdana;">First of all, the movie was long, it has all the signature Cannes Film Festival characteristics e.g. long mood shots and throw-away poetic dialogues delivered like regular people. For me, it was a good film, and it sets a certain expectation on the stage performance of 14 Variations on the Theme of Yi Yi.</span></p><p style="text-align: justify;"></p><div class="separator" style="clear: both; text-align: center;"><a href="https://1.bp.blogspot.com/-SpGiu2udbr8/YLQ-t1RSiTI/AAAAAAAAEVM/ha2HADgyeNc2v1v7H531kVacn5ZYP9WewCLcBGAsYHQ/s729/yiyi1.JPG" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="443" data-original-width="729" height="243" src="https://1.bp.blogspot.com/-SpGiu2udbr8/YLQ-t1RSiTI/AAAAAAAAEVM/ha2HADgyeNc2v1v7H531kVacn5ZYP9WewCLcBGAsYHQ/w400-h243/yiyi1.JPG" width="400" /></a></div><span style="font-family: verdana;"><p style="text-align: justify;">Nothing in the Edward Lam Dance Theatre website prepared me to what I saw in 14 Variations on the Theme of Yi Yi. While the movie Yi Yi ended with Yang Yang reading his letter to his grandma, the performance begins with Yang Yang (performed by Wang Hung-yuan 王宏元 and Huang Chun-chieh 黃俊傑)as a grown-up… but now, he has more than a still camera. Instead, he has a video camera and a plethora of other games.</p></span><p></p><p style="text-align: justify;"></p><div class="separator" style="clear: both; text-align: center;"><a href="https://1.bp.blogspot.com/-aJh7Inrdpiw/YLQ-0vcpCpI/AAAAAAAAEVU/NaCuVfesYGU2ge8f_4zzZ2KaS-w5yKrWACLcBGAsYHQ/s729/yiyi2.JPG" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="386" data-original-width="729" height="211" src="https://1.bp.blogspot.com/-aJh7Inrdpiw/YLQ-0vcpCpI/AAAAAAAAEVU/NaCuVfesYGU2ge8f_4zzZ2KaS-w5yKrWACLcBGAsYHQ/w400-h211/yiyi2.JPG" width="400" /></a></div><span style="font-family: verdana;"><p style="text-align: justify;">The show played out in the theme of 14 days quarantine. Each day featured words from the original movie with additional random noises put out just to confuse me. Like quarantine, it was tedious and difficult to be mindful of. Everything that happened on stage looked staged with the sole purpose to be mindless and pretentious. The work was so incoherent that it reminded me of some performance art in a gallery or a random video installation in a museum. Nothing wrong with that except that this one looks like something purposely done to alienate and disrespect the essence of the movie.</p><p style="text-align: justify;"><br /></p></span><p></p><div><br /></div>SATOSHIhttp://www.blogger.com/profile/14734387267429261897noreply@blogger.com0tag:blogger.com,1999:blog-1051753065839395549.post-15219190176459502722021-05-16T21:56:00.001+08:002022-10-10T16:05:38.487+08:00REVIEW: Carmen<p><span style="font-family: arial;"><span class="TextRun SCXW226550395 BCX0" color="windowtext" data-contrast="auto" face="Calibri, Calibri_EmbeddedFont, Calibri_MSFontService, sans-serif" lang="EN-US" style="-webkit-tap-highlight-color: transparent; -webkit-user-drag: none; font-size: 11pt; font-variant-ligatures: none; line-height: 19.425px; margin: 0px; padding: 0px; user-select: text;" xml:lang="EN-US">Hong Kong Cultural Centre Grand Theatre, Saturday May 15 2021</span><span class="EOP SCXW226550395 BCX0" color="windowtext" data-ccp-props="{"201341983":0,"335559739":160,"335559740":259}" face="Calibri, Calibri_EmbeddedFont, Calibri_MSFontService, sans-serif" style="-webkit-tap-highlight-color: transparent; -webkit-user-drag: none; font-size: 11pt; line-height: 19.425px; margin: 0px; padding: 0px; user-select: text;"> </span></span></p><div class="OutlineElement Ltr BCX0 SCXW226550395" style="-webkit-tap-highlight-color: transparent; -webkit-user-drag: none; background-color: white; clear: both; cursor: text; direction: ltr; font-family: "Segoe UI", "Segoe UI Web", Arial, Verdana, sans-serif; font-size: 12px; margin: 0px; overflow: visible; padding: 0px; position: relative; user-select: text;"><p></p><p class="Paragraph SCXW226550395 BCX0" paraeid="{8b284e3a-3a21-4c13-aea2-b123f122e59c}{165}" paraid="2050463916" style="-webkit-tap-highlight-color: transparent; -webkit-user-drag: none; background-color: transparent; color: windowtext; font-kerning: none; margin: 0px; overflow-wrap: break-word; padding: 0px; text-align: justify; user-select: text; vertical-align: baseline;"><span class="TextRun SCXW226550395 BCX0" color="windowtext" data-contrast="auto" face="Calibri, Calibri_EmbeddedFont, Calibri_MSFontService, sans-serif" lang="EN-US" style="-webkit-tap-highlight-color: transparent; -webkit-user-drag: none; background-color: transparent; font-size: 11pt; font-variant-ligatures: none; line-height: 19.425px; margin: 0px; padding: 0px; user-select: text;" xml:lang="EN-US"><span class="NormalTextRun SCXW226550395 BCX0" style="-webkit-tap-highlight-color: transparent; -webkit-user-drag: none; margin: 0px; padding: 0px; user-select: text;">What a welcome treat to see an opera performed live onstage! During pre-Covid-19 times, I would have complained, “Carmen, again?!?” As for Opera Hong Kong and Carmen, I am still traumatized by its 2012 production directed by French director Philippe </span><span class="NormalTextRun SpellingErrorV2 SCXW226550395 BCX0" style="-webkit-tap-highlight-color: transparent; -webkit-user-drag: none; background-image: url("data:image/svg+xml;base64,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"); background-position: 0% 100%; background-repeat: repeat-x; border-bottom: 1px solid transparent; margin: 0px; padding: 0px; user-select: text;">Arlaud</span><span class="NormalTextRun SCXW226550395 BCX0" style="-webkit-tap-highlight-color: transparent; -webkit-user-drag: none; margin: 0px; padding: 0px; user-select: text;">. (</span></span><a class="Hyperlink SCXW226550395 BCX0" href="http://payingpatronperspective.blogspot.com/2012/05/review-carmen-by-opera-hong-kong.html?q=carmen" rel="noreferrer noopener" style="-webkit-tap-highlight-color: transparent; -webkit-user-drag: none; background-color: transparent; margin: 0px; padding: 0px; text-decoration-line: none; user-select: text;" target="_blank"><span class="TextRun Underlined SCXW226550395 BCX0" data-contrast="none" face="Calibri, Calibri_EmbeddedFont, Calibri_MSFontService, sans-serif" lang="EN-US" style="-webkit-tap-highlight-color: transparent; -webkit-user-drag: none; color: #0563c1; font-size: 11pt; font-variant-ligatures: none; line-height: 19.425px; margin: 0px; padding: 0px; text-decoration-line: underline; user-select: text;" xml:lang="EN-US"><span class="NormalTextRun SCXW226550395 BCX0" data-ccp-charstyle="Hyperlink" style="-webkit-tap-highlight-color: transparent; -webkit-user-drag: none; margin: 0px; padding: 0px; user-select: text;">click here to see my review of the 2012 production</span></span></a><span class="TextRun SCXW226550395 BCX0" color="windowtext" data-contrast="auto" face="Calibri, Calibri_EmbeddedFont, Calibri_MSFontService, sans-serif" lang="EN-US" style="-webkit-tap-highlight-color: transparent; -webkit-user-drag: none; background-color: transparent; font-size: 11pt; font-variant-ligatures: none; line-height: 19.425px; margin: 0px; padding: 0px; user-select: text;" xml:lang="EN-US">). However, the city is currently so thirsty for any quality cultural activity that not only did Carmen was a gift, it satisfied my thirst.</span><span class="EOP SCXW226550395 BCX0" color="windowtext" data-ccp-props="{"201341983":0,"335559739":160,"335559740":259}" face="Calibri, Calibri_EmbeddedFont, Calibri_MSFontService, sans-serif" style="-webkit-tap-highlight-color: transparent; -webkit-user-drag: none; background-color: transparent; font-size: 11pt; line-height: 19.425px; margin: 0px; padding: 0px; user-select: text;"> </span></p><p class="Paragraph SCXW226550395 BCX0" paraeid="{8b284e3a-3a21-4c13-aea2-b123f122e59c}{165}" paraid="2050463916" style="-webkit-tap-highlight-color: transparent; -webkit-user-drag: none; background-color: transparent; color: windowtext; font-kerning: none; margin: 0px; overflow-wrap: break-word; padding: 0px; text-align: justify; user-select: text; vertical-align: baseline;"><span class="EOP SCXW226550395 BCX0" color="windowtext" data-ccp-props="{"201341983":0,"335559739":160,"335559740":259}" face="Calibri, Calibri_EmbeddedFont, Calibri_MSFontService, sans-serif" style="-webkit-tap-highlight-color: transparent; -webkit-user-drag: none; background-color: transparent; font-size: 11pt; line-height: 19.425px; margin: 0px; padding: 0px; user-select: text;"><br /></span></p><p class="Paragraph SCXW226550395 BCX0" paraeid="{8b284e3a-3a21-4c13-aea2-b123f122e59c}{165}" paraid="2050463916" style="-webkit-tap-highlight-color: transparent; -webkit-user-drag: none; background-color: transparent; color: windowtext; font-kerning: none; margin: 0px; overflow-wrap: break-word; padding: 0px; text-align: justify; user-select: text; vertical-align: baseline;"></p><div class="separator" style="clear: both; text-align: center;"><a href="https://1.bp.blogspot.com/-0prNwV81N50/YKEi-Sls1CI/AAAAAAAAEUc/80i5rSnTVuMEpHmgYwMQD9eEpwHFi24egCLcBGAsYHQ/s839/Carmen%2B3.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="839" data-original-width="606" height="400" src="https://1.bp.blogspot.com/-0prNwV81N50/YKEi-Sls1CI/AAAAAAAAEUc/80i5rSnTVuMEpHmgYwMQD9eEpwHFi24egCLcBGAsYHQ/w289-h400/Carmen%2B3.jpg" width="289" /></a></div><span class="EOP SCXW226550395 BCX0" color="windowtext" data-ccp-props="{"201341983":0,"335559739":160,"335559740":259}" face="Calibri, Calibri_EmbeddedFont, Calibri_MSFontService, sans-serif" style="-webkit-tap-highlight-color: transparent; -webkit-user-drag: none; background-color: transparent; font-size: 11pt; line-height: 19.425px; margin: 0px; padding: 0px; user-select: text;"><br /></span><p></p></div><div class="OutlineElement Ltr BCX0 SCXW226550395" style="-webkit-tap-highlight-color: transparent; -webkit-user-drag: none; background-color: white; clear: both; cursor: text; direction: ltr; font-family: "Segoe UI", "Segoe UI Web", Arial, Verdana, sans-serif; font-size: 12px; margin: 0px; overflow: visible; padding: 0px; position: relative; user-select: text;"><p class="Paragraph SCXW226550395 BCX0" paraeid="{8b284e3a-3a21-4c13-aea2-b123f122e59c}{180}" paraid="1142102974" style="-webkit-tap-highlight-color: transparent; -webkit-user-drag: none; background-color: transparent; color: windowtext; font-kerning: none; margin: 0px; overflow-wrap: break-word; padding: 0px; text-align: justify; user-select: text; vertical-align: baseline;"><span class="TextRun SCXW226550395 BCX0" data-contrast="auto" face="Calibri, Calibri_EmbeddedFont, Calibri_MSFontService, sans-serif" lang="EN-US" style="-webkit-tap-highlight-color: transparent; -webkit-user-drag: none; font-size: 11pt; font-variant-ligatures: none; line-height: 19.425px; margin: 0px; padding: 0px; user-select: text;" xml:lang="EN-US"><span class="NormalTextRun SCXW226550395 BCX0" style="-webkit-tap-highlight-color: transparent; -webkit-user-drag: none; margin: 0px; padding: 0px; user-select: text;">This time, Carmen was directed by Enrico Castiglione and the set design was by Bruno de </span><span class="NormalTextRun SpellingErrorV2 SCXW226550395 BCX0" style="-webkit-tap-highlight-color: transparent; -webkit-user-drag: none; background-image: url("data:image/svg+xml;base64,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"); background-position: 0% 100%; background-repeat: repeat-x; border-bottom: 1px solid transparent; margin: 0px; padding: 0px; user-select: text;">Lavenere</span><span class="NormalTextRun SCXW226550395 BCX0" style="-webkit-tap-highlight-color: transparent; -webkit-user-drag: none; margin: 0px; padding: 0px; user-select: text;">. The set involved two semi-circular staircases of </span><span class="NormalTextRun SCXW226550395 BCX0" style="-webkit-tap-highlight-color: transparent; -webkit-user-drag: none; margin: 0px; padding: 0px; user-select: text;">different sizes, and</span><span class="NormalTextRun SCXW226550395 BCX0" style="-webkit-tap-highlight-color: transparent; -webkit-user-drag: none; margin: 0px; padding: 0px; user-select: text;"> with one within the other in two independent revolving stages. The visual was very sculptural. Together with the stage directions, the design worked extremely well. Conductor Gianna Fratta elicited wonderful playing from the Opera Hong Kong Orchestra and with a very well-balanced cast, the evening proved to be very entertaining.</span></span><span class="EOP SCXW226550395 BCX0" data-ccp-props="{"201341983":0,"335559739":160,"335559740":259}" face="Calibri, Calibri_EmbeddedFont, Calibri_MSFontService, sans-serif" style="-webkit-tap-highlight-color: transparent; -webkit-user-drag: none; font-size: 11pt; line-height: 19.425px; margin: 0px; padding: 0px; user-select: text;"> </span></p><p class="Paragraph SCXW226550395 BCX0" paraeid="{8b284e3a-3a21-4c13-aea2-b123f122e59c}{180}" paraid="1142102974" style="-webkit-tap-highlight-color: transparent; -webkit-user-drag: none; background-color: transparent; color: windowtext; font-kerning: none; margin: 0px; overflow-wrap: break-word; padding: 0px; user-select: text; vertical-align: baseline;"><span class="EOP SCXW226550395 BCX0" data-ccp-props="{"201341983":0,"335559739":160,"335559740":259}" face="Calibri, Calibri_EmbeddedFont, Calibri_MSFontService, sans-serif" style="-webkit-tap-highlight-color: transparent; -webkit-user-drag: none; font-size: 11pt; line-height: 19.425px; margin: 0px; padding: 0px; user-select: text;"><br /></span></p></div><div class="OutlineElement Ltr BCX0 SCXW226550395" style="-webkit-tap-highlight-color: transparent; -webkit-user-drag: none; background-color: white; clear: both; cursor: text; direction: ltr; font-family: "Segoe UI", "Segoe UI Web", Arial, Verdana, sans-serif; font-size: 12px; margin: 0px; overflow: visible; padding: 0px; position: relative; user-select: text;"><p class="Paragraph SCXW226550395 BCX0" paraeid="{8b284e3a-3a21-4c13-aea2-b123f122e59c}{188}" paraid="392864487" style="-webkit-tap-highlight-color: transparent; -webkit-user-drag: none; background-color: transparent; color: windowtext; font-kerning: none; margin: 0px; overflow-wrap: break-word; padding: 0px; user-select: text; vertical-align: baseline;"><span class="TextRun SCXW226550395 BCX0" data-contrast="auto" face="Calibri, Calibri_EmbeddedFont, Calibri_MSFontService, sans-serif" lang="EN-US" style="-webkit-tap-highlight-color: transparent; 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padding: 0px; user-select: text;" xml:lang="EN-US"></span></p><div class="separator" style="clear: both; text-align: center;"><a href="https://1.bp.blogspot.com/-oK29tvgPjh8/YKEjdY1yWUI/AAAAAAAAEUo/HcVLk0-A8AgR4TPhM931vmmwCO59e7hEQCLcBGAsYHQ/s1438/Carmen%2B2.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1075" data-original-width="1438" height="299" src="https://1.bp.blogspot.com/-oK29tvgPjh8/YKEjdY1yWUI/AAAAAAAAEUo/HcVLk0-A8AgR4TPhM931vmmwCO59e7hEQCLcBGAsYHQ/w400-h299/Carmen%2B2.jpg" width="400" /></a></div><span class="TextRun SCXW226550395 BCX0" color="windowtext" data-contrast="auto" lang="EN-US" style="-webkit-tap-highlight-color: transparent; -webkit-user-drag: none; background-color: transparent; font-size: 11pt; line-height: 19.425px; margin: 0px; padding: 0px; user-select: text;" xml:lang="EN-US"><span class="NormalTextRun SCXW226550395 BCX0" style="-webkit-tap-highlight-color: transparent; -webkit-user-drag: none; margin: 0px; padding: 0px; user-select: text;"><p class="Paragraph SCXW226550395 BCX0" paraeid="{8b284e3a-3a21-4c13-aea2-b123f122e59c}{188}" paraid="392864487" style="-webkit-tap-highlight-color: transparent; -webkit-user-drag: none; background-color: transparent; color: windowtext; font-kerning: none; margin: 0px; overflow-wrap: break-word; padding: 0px; user-select: text; vertical-align: baseline;"><span class="TextRun SCXW226550395 BCX0" data-contrast="auto" face="Calibri, Calibri_EmbeddedFont, Calibri_MSFontService, sans-serif" lang="EN-US" style="-webkit-tap-highlight-color: transparent; -webkit-user-drag: none; font-size: 11pt; font-variant-ligatures: none; line-height: 19.425px; margin: 0px; padding: 0px; user-select: text;" xml:lang="EN-US"><span class="TextRun SCXW226550395 BCX0" color="windowtext" data-contrast="auto" lang="EN-US" style="-webkit-tap-highlight-color: transparent; -webkit-user-drag: none; background-color: transparent; font-size: 11pt; line-height: 19.425px; margin: 0px; padding: 0px; user-select: text;" xml:lang="EN-US"><span class="NormalTextRun SCXW226550395 BCX0" style="-webkit-tap-highlight-color: transparent; -webkit-user-drag: none; margin: 0px; padding: 0px; user-select: text;"><br /></span></span></span></p><div style="text-align: justify;"><span class="TextRun SCXW226550395 BCX0" color="windowtext" data-contrast="auto" lang="EN-US" style="-webkit-tap-highlight-color: transparent; -webkit-user-drag: none; background-color: transparent; font-size: 11pt; line-height: 19.425px; margin: 0px; padding: 0px; user-select: text;" xml:lang="EN-US"><span class="NormalTextRun SCXW226550395 BCX0" style="-webkit-tap-highlight-color: transparent; -webkit-user-drag: none; margin: 0px; padding: 0px; user-select: text;">Carolyn Sproule’s Carmen was confident and direct. This was a </span><span class="NormalTextRun SpellingErrorV2 SCXW226550395 BCX0" style="-webkit-tap-highlight-color: transparent; -webkit-user-drag: none; background-image: url("data:image/svg+xml;base64,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"); background-position: 0% 100%; background-repeat: repeat-x; border-bottom: 1px solid transparent; margin: 0px; padding: 0px; user-select: text;">brazen</span><span class="NormalTextRun SCXW226550395 BCX0" style="-webkit-tap-highlight-color: transparent; -webkit-user-drag: none; margin: 0px; padding: 0px; user-select: text;"> Carmen gifted with a mezzo voice that has a warm and generous tone. The best in class however was Louise Kwong’s Micaela. Kwong’s honey-hued voice was agile and controlled. Her per</span><span class="NormalTextRun SCXW226550395 BCX0" style="-webkit-tap-highlight-color: transparent; -webkit-user-drag: none; margin: 0px; padding: 0px; user-select: text;">formance was</span><span class="NormalTextRun SCXW226550395 BCX0" style="-webkit-tap-highlight-color: transparent; -webkit-user-drag: none; margin: 0px; padding: 0px; user-select: text;"> infused with femin</span><span class="NormalTextRun SCXW226550395 BCX0" style="-webkit-tap-highlight-color: transparent; -webkit-user-drag: none; margin: 0px; padding: 0px; user-select: text;">ine bravery </span><span class="NormalTextRun SCXW226550395 BCX0" style="-webkit-tap-highlight-color: transparent; -webkit-user-drag: none; margin: 0px; padding: 0px; user-select: text;">not f</span><span class="NormalTextRun SCXW226550395 BCX0" style="-webkit-tap-highlight-color: transparent; -webkit-user-drag: none; margin: 0px; padding: 0px; user-select: text;">ar from</span><span class="NormalTextRun SCXW226550395 BCX0" style="-webkit-tap-highlight-color: transparent; -webkit-user-drag: none; margin: 0px; padding: 0px; user-select: text;"> Car</span><span class="NormalTextRun SCXW226550395 BCX0" style="-webkit-tap-highlight-color: transparent; -webkit-user-drag: none; margin: 0px; padding: 0px; user-select: text;">men</span><span class="NormalTextRun SCXW226550395 BCX0" style="-webkit-tap-highlight-color: transparent; -webkit-user-drag: none; margin: 0px; padding: 0px; user-select: text;"> but with a </span><span class="NormalTextRun SCXW226550395 BCX0" style="-webkit-tap-highlight-color: transparent; -webkit-user-drag: none; margin: 0px; padding: 0px; user-select: text;">totally different</span><span class="NormalTextRun SCXW226550395 BCX0" style="-webkit-tap-highlight-color: transparent; -webkit-user-drag: none; margin: 0px; padding: 0px; user-select: text;"> core value</span><span class="NormalTextRun SCXW226550395 BCX0" style="-webkit-tap-highlight-color: transparent; -webkit-user-drag: none; margin: 0px; padding: 0px; user-select: text;">. </span><span class="NormalTextRun SCXW226550395 BCX0" style="-webkit-tap-highlight-color: transparent; -webkit-user-drag: none; margin: 0px; padding: 0px; user-select: text;">Mikheil </span><span class="NormalTextRun SpellingErrorV2 SCXW226550395 BCX0" style="-webkit-tap-highlight-color: transparent; -webkit-user-drag: none; background-image: url("data:image/svg+xml;base64,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"); background-position: 0% 100%; background-repeat: repeat-x; border-bottom: 1px solid transparent; margin: 0px; padding: 0px; user-select: text;">Sheshaberidze’s</span><span class="NormalTextRun SCXW226550395 BCX0" style="-webkit-tap-highlight-color: transparent; -webkit-user-drag: none; margin: 0px; padding: 0px; user-select: text;"> Don Jose was a mommy’s boy. He does not have the traditional powerful bright clarion sound I expect and like of a Don Jose. Instead, his was a tad dark and rough. Nevertheless, his top notes were expansive and impressive. Pierre Doyen’s </span><span class="NormalTextRun SpellingErrorV2 SCXW226550395 BCX0" style="-webkit-tap-highlight-color: transparent; -webkit-user-drag: none; background-image: url("data:image/svg+xml;base64,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"); background-position: 0% 100%; background-repeat: repeat-x; border-bottom: 1px solid transparent; margin: 0px; padding: 0px; user-select: text;">Escamillo</span><span class="NormalTextRun SCXW226550395 BCX0" style="-webkit-tap-highlight-color: transparent; -webkit-user-drag: none; margin: 0px; padding: 0px; user-select: text;"> was a rockstar... read whatever you like into that :-) </span></span><span class="EOP SCXW226550395 BCX0" color="windowtext" data-ccp-props="{"201341983":0,"335559739":160,"335559740":259}" style="-webkit-tap-highlight-color: transparent; -webkit-user-drag: none; background-color: transparent; font-size: 11pt; line-height: 19.425px; margin: 0px; padding: 0px; user-select: text;"> </span></div></span></span><p></p><p></p><p class="Paragraph SCXW226550395 BCX0" paraeid="{8b284e3a-3a21-4c13-aea2-b123f122e59c}{188}" paraid="392864487" style="-webkit-tap-highlight-color: transparent; -webkit-user-drag: none; background-color: transparent; color: windowtext; font-kerning: none; margin: 0px; overflow-wrap: break-word; padding: 0px; user-select: text; vertical-align: baseline;"><span class="EOP SCXW226550395 BCX0" data-ccp-props="{"201341983":0,"335559739":160,"335559740":259}" face="Calibri, Calibri_EmbeddedFont, Calibri_MSFontService, sans-serif" style="-webkit-tap-highlight-color: transparent; -webkit-user-drag: none; font-size: 11pt; line-height: 19.425px; margin: 0px; padding: 0px; user-select: text;"><br /></span></p></div><div class="OutlineElement Ltr BCX0 SCXW226550395" style="-webkit-tap-highlight-color: transparent; -webkit-user-drag: none; background-color: white; clear: both; cursor: text; direction: ltr; margin: 0px; overflow: visible; padding: 0px; position: relative; user-select: text;"><p class="Paragraph SCXW226550395 BCX0" lang="EN-US" paraeid="{2ebdf97d-32f6-49ab-a082-265f757f4020}{155}" paraid="575778799" style="-webkit-tap-highlight-color: transparent; -webkit-user-drag: none; background-color: transparent; color: windowtext; font-family: "Segoe UI", "Segoe UI Web", Arial, Verdana, sans-serif; font-kerning: none; font-size: 12px; margin: 0px; overflow-wrap: break-word; padding: 0px; user-select: text; vertical-align: baseline;" xml:lang="EN-US"><span class="TextRun SCXW226550395 BCX0" data-contrast="auto" face="Calibri, Calibri_EmbeddedFont, Calibri_MSFontService, sans-serif" lang="EN-US" style="-webkit-tap-highlight-color: transparent; -webkit-user-drag: none; font-size: 11pt; font-variant-ligatures: none; line-height: 19.425px; margin: 0px; padding: 0px; user-select: text;" xml:lang="EN-US">Overall, a huge congratulations to Opera Hong Kong!!!</span><span class="EOP SCXW226550395 BCX0" data-ccp-props="{"201341983":0,"335551550":1,"335551620":1,"335559739":160,"335559740":259}" face="Calibri, Calibri_EmbeddedFont, Calibri_MSFontService, sans-serif" style="-webkit-tap-highlight-color: transparent; -webkit-user-drag: none; font-size: 11pt; line-height: 19.425px; margin: 0px; padding: 0px; user-select: text;"> </span></p><p class="Paragraph SCXW226550395 BCX0" lang="EN-US" paraeid="{2ebdf97d-32f6-49ab-a082-265f757f4020}{155}" paraid="575778799" style="-webkit-tap-highlight-color: transparent; -webkit-user-drag: none; background-color: transparent; color: windowtext; font-family: "Segoe UI", "Segoe UI Web", Arial, Verdana, sans-serif; font-kerning: none; font-size: 12px; margin: 0px; overflow-wrap: break-word; padding: 0px; user-select: text; vertical-align: baseline;" xml:lang="EN-US"><span class="EOP SCXW226550395 BCX0" data-ccp-props="{"201341983":0,"335551550":1,"335551620":1,"335559739":160,"335559740":259}" face="Calibri, Calibri_EmbeddedFont, Calibri_MSFontService, sans-serif" style="-webkit-tap-highlight-color: transparent; -webkit-user-drag: none; font-size: 11pt; line-height: 19.425px; margin: 0px; padding: 0px; user-select: text;"><br /></span></p><p class="Paragraph SCXW226550395 BCX0" lang="EN-US" paraeid="{2ebdf97d-32f6-49ab-a082-265f757f4020}{155}" paraid="575778799" style="-webkit-tap-highlight-color: transparent; -webkit-user-drag: none; background-color: transparent; color: windowtext; font-family: "Segoe UI", "Segoe UI Web", Arial, Verdana, sans-serif; font-kerning: none; font-size: 12px; margin: 0px; overflow-wrap: break-word; padding: 0px; user-select: text; vertical-align: baseline;" xml:lang="EN-US"><span class="EOP SCXW226550395 BCX0" data-ccp-props="{"201341983":0,"335551550":1,"335551620":1,"335559739":160,"335559740":259}" face="Calibri, Calibri_EmbeddedFont, Calibri_MSFontService, sans-serif" style="-webkit-tap-highlight-color: transparent; -webkit-user-drag: none; font-size: 11pt; line-height: 19.425px; margin: 0px; padding: 0px; user-select: text;">__________</span></p><p class="Paragraph SCXW226550395 BCX0" lang="EN-US" paraeid="{2ebdf97d-32f6-49ab-a082-265f757f4020}{155}" paraid="575778799" style="-webkit-tap-highlight-color: transparent; -webkit-user-drag: none; background-color: transparent; color: windowtext; font-family: "Segoe UI", "Segoe UI Web", Arial, Verdana, sans-serif; font-kerning: none; font-size: 12px; margin: 0px; overflow-wrap: break-word; padding: 0px; user-select: text; vertical-align: baseline;" xml:lang="EN-US"><span class="EOP SCXW226550395 BCX0" data-ccp-props="{"201341983":0,"335551550":1,"335551620":1,"335559739":160,"335559740":259}" face="Calibri, Calibri_EmbeddedFont, Calibri_MSFontService, sans-serif" style="-webkit-tap-highlight-color: transparent; -webkit-user-drag: none; font-size: 11pt; line-height: 19.425px; margin: 0px; padding: 0px; user-select: text;"><br /></span></p><p class="Paragraph SCXW226550395 BCX0" lang="EN-US" paraeid="{2ebdf97d-32f6-49ab-a082-265f757f4020}{155}" paraid="575778799" style="-webkit-tap-highlight-color: transparent; -webkit-user-drag: none; background-color: transparent; font-kerning: none; margin: 0px; overflow-wrap: break-word; padding: 0px; user-select: text; vertical-align: baseline;" xml:lang="EN-US"><span style="font-family: Segoe UI, Segoe UI Web, Arial, Verdana, sans-serif;"><span style="font-size: 14.6667px;">Producer: Warren Mok</span></span></p><p class="Paragraph SCXW226550395 BCX0" lang="EN-US" paraeid="{2ebdf97d-32f6-49ab-a082-265f757f4020}{155}" paraid="575778799" style="-webkit-tap-highlight-color: transparent; -webkit-user-drag: none; background-color: transparent; font-kerning: none; margin: 0px; overflow-wrap: break-word; padding: 0px; user-select: text; vertical-align: baseline;" xml:lang="EN-US"><span style="font-family: Segoe UI, Segoe UI Web, Arial, Verdana, sans-serif;"><span style="font-size: 14.6667px;">Conductor: Gianna Fratta</span></span></p><p class="Paragraph SCXW226550395 BCX0" lang="EN-US" paraeid="{2ebdf97d-32f6-49ab-a082-265f757f4020}{155}" paraid="575778799" style="-webkit-tap-highlight-color: transparent; -webkit-user-drag: none; background-color: transparent; font-kerning: none; margin: 0px; overflow-wrap: break-word; padding: 0px; user-select: text; vertical-align: baseline;" xml:lang="EN-US"><span style="font-family: Segoe UI, Segoe UI Web, Arial, Verdana, sans-serif;"><span style="font-size: 14.6667px;">Stage Director: Enrico Castiglione</span></span></p><p class="Paragraph SCXW226550395 BCX0" lang="EN-US" paraeid="{2ebdf97d-32f6-49ab-a082-265f757f4020}{155}" paraid="575778799" style="-webkit-tap-highlight-color: transparent; -webkit-user-drag: none; background-color: transparent; font-kerning: none; margin: 0px; overflow-wrap: break-word; padding: 0px; user-select: text; vertical-align: baseline;" xml:lang="EN-US"><span style="font-family: Segoe UI, Segoe UI Web, Arial, Verdana, sans-serif;"><span style="font-size: 14.6667px;">Set Designer: Bruno de Lavenère</span></span></p><p class="Paragraph SCXW226550395 BCX0" lang="EN-US" paraeid="{2ebdf97d-32f6-49ab-a082-265f757f4020}{155}" paraid="575778799" style="-webkit-tap-highlight-color: transparent; -webkit-user-drag: none; background-color: transparent; font-kerning: none; margin: 0px; overflow-wrap: break-word; padding: 0px; user-select: text; vertical-align: baseline;" xml:lang="EN-US"><span style="font-family: Segoe UI, Segoe UI Web, Arial, Verdana, sans-serif;"><span style="font-size: 14.6667px;">Costume Designer: Thibaut Welchlin ── With the special support of Vannina Vesperini for the costume design of Carmen, Frasquita and Mercédès.</span></span></p><p class="Paragraph SCXW226550395 BCX0" lang="EN-US" paraeid="{2ebdf97d-32f6-49ab-a082-265f757f4020}{155}" paraid="575778799" style="-webkit-tap-highlight-color: transparent; -webkit-user-drag: none; background-color: transparent; font-kerning: none; margin: 0px; overflow-wrap: break-word; padding: 0px; user-select: text; vertical-align: baseline;" xml:lang="EN-US"><span style="font-family: Segoe UI, Segoe UI Web, Arial, Verdana, sans-serif;"><span style="font-size: 14.6667px;">Lighting Designer: Christophe Chaupin</span></span></p><p class="Paragraph SCXW226550395 BCX0" lang="EN-US" paraeid="{2ebdf97d-32f6-49ab-a082-265f757f4020}{155}" paraid="575778799" style="-webkit-tap-highlight-color: transparent; -webkit-user-drag: none; background-color: transparent; font-kerning: none; margin: 0px; overflow-wrap: break-word; padding: 0px; user-select: text; vertical-align: baseline;" xml:lang="EN-US"><span style="font-family: Segoe UI, Segoe UI Web, Arial, Verdana, sans-serif;"><span style="font-size: 14.6667px;">Video Designer: Etienne Guiol</span></span></p><p class="Paragraph SCXW226550395 BCX0" lang="EN-US" paraeid="{2ebdf97d-32f6-49ab-a082-265f757f4020}{155}" paraid="575778799" style="-webkit-tap-highlight-color: transparent; -webkit-user-drag: none; background-color: transparent; font-kerning: none; margin: 0px; overflow-wrap: break-word; padding: 0px; user-select: text; vertical-align: baseline;" xml:lang="EN-US"><span style="font-family: Segoe UI, Segoe UI Web, Arial, Verdana, sans-serif;"><span style="font-size: 14.6667px;">Chorus Director: Alex Tam</span></span></p><p class="Paragraph SCXW226550395 BCX0" lang="EN-US" paraeid="{2ebdf97d-32f6-49ab-a082-265f757f4020}{155}" paraid="575778799" style="-webkit-tap-highlight-color: transparent; -webkit-user-drag: none; background-color: transparent; font-kerning: none; margin: 0px; overflow-wrap: break-word; padding: 0px; user-select: text; vertical-align: baseline;" xml:lang="EN-US"><span style="font-family: Segoe UI, Segoe UI Web, Arial, Verdana, sans-serif;"><span style="font-size: 14.6667px;">Orchestra Executive: Anders Hui</span></span></p><p class="Paragraph SCXW226550395 BCX0" lang="EN-US" paraeid="{2ebdf97d-32f6-49ab-a082-265f757f4020}{155}" paraid="575778799" style="-webkit-tap-highlight-color: transparent; -webkit-user-drag: none; background-color: transparent; font-kerning: none; margin: 0px; overflow-wrap: break-word; padding: 0px; user-select: text; vertical-align: baseline;" xml:lang="EN-US"><span style="font-family: Segoe UI, Segoe UI Web, Arial, Verdana, sans-serif;"><span style="font-size: 14.6667px;">Assistant Rehearsal Conductor & Principal Répétiteur: Nina Yip</span></span></p><p class="Paragraph SCXW226550395 BCX0" lang="EN-US" paraeid="{2ebdf97d-32f6-49ab-a082-265f757f4020}{155}" paraid="575778799" style="-webkit-tap-highlight-color: transparent; -webkit-user-drag: none; background-color: transparent; font-kerning: none; margin: 0px; overflow-wrap: break-word; padding: 0px; user-select: text; vertical-align: baseline;" xml:lang="EN-US"><span style="font-family: Segoe UI, Segoe UI Web, Arial, Verdana, sans-serif;"><span style="font-size: 14.6667px;"><br /></span></span></p><p class="Paragraph SCXW226550395 BCX0" lang="EN-US" paraeid="{2ebdf97d-32f6-49ab-a082-265f757f4020}{155}" paraid="575778799" style="-webkit-tap-highlight-color: transparent; -webkit-user-drag: none; background-color: transparent; font-kerning: none; margin: 0px; overflow-wrap: break-word; padding: 0px; user-select: text; vertical-align: baseline;" xml:lang="EN-US"><span style="font-family: Segoe UI, Segoe UI Web, Arial, Verdana, sans-serif;"><span style="font-size: 14.6667px;">Opera Hong Kong Orchestra</span></span></p><p class="Paragraph SCXW226550395 BCX0" lang="EN-US" paraeid="{2ebdf97d-32f6-49ab-a082-265f757f4020}{155}" paraid="575778799" style="-webkit-tap-highlight-color: transparent; -webkit-user-drag: none; background-color: transparent; font-kerning: none; margin: 0px; overflow-wrap: break-word; padding: 0px; user-select: text; vertical-align: baseline;" xml:lang="EN-US"><span style="font-family: Segoe UI, Segoe UI Web, Arial, Verdana, sans-serif;"><span style="font-size: 14.6667px;">── With the kind support of the Hong Kong Philharmonic Orchestra</span></span></p><p class="Paragraph SCXW226550395 BCX0" lang="EN-US" paraeid="{2ebdf97d-32f6-49ab-a082-265f757f4020}{155}" paraid="575778799" style="-webkit-tap-highlight-color: transparent; -webkit-user-drag: none; background-color: transparent; font-kerning: none; margin: 0px; overflow-wrap: break-word; padding: 0px; user-select: text; vertical-align: baseline;" xml:lang="EN-US"><span style="font-family: Segoe UI, Segoe UI Web, Arial, Verdana, sans-serif;"><span style="font-size: 14.6667px;">Opera Hong Kong Chorus</span></span></p><p class="Paragraph SCXW226550395 BCX0" lang="EN-US" paraeid="{2ebdf97d-32f6-49ab-a082-265f757f4020}{155}" paraid="575778799" style="-webkit-tap-highlight-color: transparent; -webkit-user-drag: none; background-color: transparent; font-kerning: none; margin: 0px; overflow-wrap: break-word; padding: 0px; user-select: text; vertical-align: baseline;" xml:lang="EN-US"><span style="font-family: Segoe UI, Segoe UI Web, Arial, Verdana, sans-serif;"><span style="font-size: 14.6667px;">Opera Hong Kong Children Chorus</span></span></p><p class="Paragraph SCXW226550395 BCX0" lang="EN-US" paraeid="{2ebdf97d-32f6-49ab-a082-265f757f4020}{155}" paraid="575778799" style="-webkit-tap-highlight-color: transparent; -webkit-user-drag: none; background-color: transparent; font-kerning: none; margin: 0px; overflow-wrap: break-word; padding: 0px; user-select: text; vertical-align: baseline;" xml:lang="EN-US"><span style="font-family: Segoe UI, Segoe UI Web, Arial, Verdana, sans-serif;"><span style="font-size: 14.6667px;">Edge ‘n Pointe Dance Centre</span></span></p><p class="Paragraph SCXW226550395 BCX0" lang="EN-US" paraeid="{2ebdf97d-32f6-49ab-a082-265f757f4020}{155}" paraid="575778799" style="-webkit-tap-highlight-color: transparent; -webkit-user-drag: none; background-color: transparent; font-kerning: none; margin: 0px; overflow-wrap: break-word; padding: 0px; user-select: text; vertical-align: baseline;" xml:lang="EN-US"><span style="font-family: Segoe UI, Segoe UI Web, Arial, Verdana, sans-serif;"><span style="font-size: 14.6667px;"><br /></span></span></p><p class="Paragraph SCXW226550395 BCX0" lang="EN-US" paraeid="{2ebdf97d-32f6-49ab-a082-265f757f4020}{155}" paraid="575778799" style="-webkit-tap-highlight-color: transparent; -webkit-user-drag: none; background-color: transparent; font-kerning: none; margin: 0px; overflow-wrap: break-word; padding: 0px; user-select: text; vertical-align: baseline;" xml:lang="EN-US"><span style="font-family: Segoe UI, Segoe UI Web, Arial, Verdana, sans-serif;"><span style="font-size: 14.6667px;">CAST</span></span></p><p class="Paragraph SCXW226550395 BCX0" lang="EN-US" paraeid="{2ebdf97d-32f6-49ab-a082-265f757f4020}{155}" paraid="575778799" style="-webkit-tap-highlight-color: transparent; -webkit-user-drag: none; background-color: transparent; font-kerning: none; margin: 0px; overflow-wrap: break-word; padding: 0px; user-select: text; vertical-align: baseline;" xml:lang="EN-US"><span style="font-family: Segoe UI, Segoe UI Web, Arial, Verdana, sans-serif;"><span style="font-size: 14.6667px;">Carmen</span></span></p><p class="Paragraph SCXW226550395 BCX0" lang="EN-US" paraeid="{2ebdf97d-32f6-49ab-a082-265f757f4020}{155}" paraid="575778799" style="-webkit-tap-highlight-color: transparent; -webkit-user-drag: none; background-color: transparent; font-kerning: none; margin: 0px; overflow-wrap: break-word; padding: 0px; user-select: text; vertical-align: baseline;" xml:lang="EN-US"><span style="font-family: Segoe UI, Segoe UI Web, Arial, Verdana, sans-serif;"><span style="font-size: 14.6667px;">Carolyn Sproule (13/5, 15/5, 16/5 7:30pm)</span></span></p><p class="Paragraph SCXW226550395 BCX0" lang="EN-US" paraeid="{2ebdf97d-32f6-49ab-a082-265f757f4020}{155}" paraid="575778799" style="-webkit-tap-highlight-color: transparent; -webkit-user-drag: none; background-color: transparent; font-kerning: none; margin: 0px; overflow-wrap: break-word; padding: 0px; user-select: text; vertical-align: baseline;" xml:lang="EN-US"><span style="font-family: Segoe UI, Segoe UI Web, Arial, Verdana, sans-serif;"><span style="font-size: 14.6667px;">Gosha Kowalinska (14/5 7:30pm, 16/5 2:45pm)</span></span></p><p class="Paragraph SCXW226550395 BCX0" lang="EN-US" paraeid="{2ebdf97d-32f6-49ab-a082-265f757f4020}{155}" paraid="575778799" style="-webkit-tap-highlight-color: transparent; -webkit-user-drag: none; background-color: transparent; font-kerning: none; margin: 0px; overflow-wrap: break-word; padding: 0px; user-select: text; vertical-align: baseline;" xml:lang="EN-US"><span style="font-family: Segoe UI, Segoe UI Web, Arial, Verdana, sans-serif;"><span style="font-size: 14.6667px;"><br /></span></span></p><p class="Paragraph SCXW226550395 BCX0" lang="EN-US" paraeid="{2ebdf97d-32f6-49ab-a082-265f757f4020}{155}" paraid="575778799" style="-webkit-tap-highlight-color: transparent; -webkit-user-drag: none; background-color: transparent; font-kerning: none; margin: 0px; overflow-wrap: break-word; padding: 0px; user-select: text; vertical-align: baseline;" xml:lang="EN-US"><span style="font-family: Segoe UI, Segoe UI Web, Arial, Verdana, sans-serif;"><span style="font-size: 14.6667px;">Don José</span></span></p><p class="Paragraph SCXW226550395 BCX0" lang="EN-US" paraeid="{2ebdf97d-32f6-49ab-a082-265f757f4020}{155}" paraid="575778799" style="-webkit-tap-highlight-color: transparent; -webkit-user-drag: none; background-color: transparent; font-kerning: none; margin: 0px; overflow-wrap: break-word; padding: 0px; user-select: text; vertical-align: baseline;" xml:lang="EN-US"><span style="font-family: Segoe UI, Segoe UI Web, Arial, Verdana, sans-serif;"><span style="font-size: 14.6667px;">Mikheil Sheshaberidze (13/5, 15/5, 16/5 7:30pm)</span></span></p><p class="Paragraph SCXW226550395 BCX0" lang="EN-US" paraeid="{2ebdf97d-32f6-49ab-a082-265f757f4020}{155}" paraid="575778799" style="-webkit-tap-highlight-color: transparent; -webkit-user-drag: none; background-color: transparent; font-kerning: none; margin: 0px; overflow-wrap: break-word; padding: 0px; user-select: text; vertical-align: baseline;" xml:lang="EN-US"><span style="font-family: Segoe UI, Segoe UI Web, Arial, Verdana, sans-serif;"><span style="font-size: 14.6667px;">Irakli Kakhidze (14/5 7:30pm, 16/5 2:45pm)</span></span></p><p class="Paragraph SCXW226550395 BCX0" lang="EN-US" paraeid="{2ebdf97d-32f6-49ab-a082-265f757f4020}{155}" paraid="575778799" style="-webkit-tap-highlight-color: transparent; -webkit-user-drag: none; background-color: transparent; font-kerning: none; margin: 0px; overflow-wrap: break-word; padding: 0px; user-select: text; vertical-align: baseline;" xml:lang="EN-US"><span style="font-family: Segoe UI, Segoe UI Web, Arial, Verdana, sans-serif;"><span style="font-size: 14.6667px;"><br /></span></span></p><p class="Paragraph SCXW226550395 BCX0" lang="EN-US" paraeid="{2ebdf97d-32f6-49ab-a082-265f757f4020}{155}" paraid="575778799" style="-webkit-tap-highlight-color: transparent; -webkit-user-drag: none; background-color: transparent; font-kerning: none; margin: 0px; overflow-wrap: break-word; padding: 0px; user-select: text; vertical-align: baseline;" xml:lang="EN-US"><span style="font-family: Segoe UI, Segoe UI Web, Arial, Verdana, sans-serif;"><span style="font-size: 14.6667px;">Micaëla</span></span></p><p class="Paragraph SCXW226550395 BCX0" lang="EN-US" paraeid="{2ebdf97d-32f6-49ab-a082-265f757f4020}{155}" paraid="575778799" style="-webkit-tap-highlight-color: transparent; -webkit-user-drag: none; background-color: transparent; font-kerning: none; margin: 0px; overflow-wrap: break-word; padding: 0px; user-select: text; vertical-align: baseline;" xml:lang="EN-US"><span style="font-family: Segoe UI, Segoe UI Web, Arial, Verdana, sans-serif;"><span style="font-size: 14.6667px;">Louise Kwong (13/5, 15/5, 16/5 7:30pm)</span></span></p><p class="Paragraph SCXW226550395 BCX0" lang="EN-US" paraeid="{2ebdf97d-32f6-49ab-a082-265f757f4020}{155}" paraid="575778799" style="-webkit-tap-highlight-color: transparent; -webkit-user-drag: none; background-color: transparent; font-kerning: none; margin: 0px; overflow-wrap: break-word; padding: 0px; user-select: text; vertical-align: baseline;" xml:lang="EN-US"><span style="font-family: Segoe UI, Segoe UI Web, Arial, Verdana, sans-serif;"><span style="font-size: 14.6667px;">Li Yang (14/5 7:30pm, 16/5 2:45pm)</span></span></p><p class="Paragraph SCXW226550395 BCX0" lang="EN-US" paraeid="{2ebdf97d-32f6-49ab-a082-265f757f4020}{155}" paraid="575778799" style="-webkit-tap-highlight-color: transparent; -webkit-user-drag: none; background-color: transparent; font-kerning: none; margin: 0px; overflow-wrap: break-word; padding: 0px; user-select: text; vertical-align: baseline;" xml:lang="EN-US"><span style="font-family: Segoe UI, Segoe UI Web, Arial, Verdana, sans-serif;"><span style="font-size: 14.6667px;"><br /></span></span></p><p class="Paragraph SCXW226550395 BCX0" lang="EN-US" paraeid="{2ebdf97d-32f6-49ab-a082-265f757f4020}{155}" paraid="575778799" style="-webkit-tap-highlight-color: transparent; -webkit-user-drag: none; background-color: transparent; font-kerning: none; margin: 0px; overflow-wrap: break-word; padding: 0px; user-select: text; vertical-align: baseline;" xml:lang="EN-US"><span style="font-family: Segoe UI, Segoe UI Web, Arial, Verdana, sans-serif;"><span style="font-size: 14.6667px;">Escamillo</span></span></p><p class="Paragraph SCXW226550395 BCX0" lang="EN-US" paraeid="{2ebdf97d-32f6-49ab-a082-265f757f4020}{155}" paraid="575778799" style="-webkit-tap-highlight-color: transparent; -webkit-user-drag: none; background-color: transparent; font-kerning: none; margin: 0px; overflow-wrap: break-word; padding: 0px; user-select: text; vertical-align: baseline;" xml:lang="EN-US"><span style="font-family: Segoe UI, Segoe UI Web, Arial, Verdana, sans-serif;"><span style="font-size: 14.6667px;">Pierre Doyen</span></span></p><p class="Paragraph SCXW226550395 BCX0" lang="EN-US" paraeid="{2ebdf97d-32f6-49ab-a082-265f757f4020}{155}" paraid="575778799" style="-webkit-tap-highlight-color: transparent; -webkit-user-drag: none; background-color: transparent; font-kerning: none; margin: 0px; overflow-wrap: break-word; padding: 0px; user-select: text; vertical-align: baseline;" xml:lang="EN-US"><span style="font-family: Segoe UI, Segoe UI Web, Arial, Verdana, sans-serif;"><span style="font-size: 14.6667px;"><br /></span></span></p><p class="Paragraph SCXW226550395 BCX0" lang="EN-US" paraeid="{2ebdf97d-32f6-49ab-a082-265f757f4020}{155}" paraid="575778799" style="-webkit-tap-highlight-color: transparent; -webkit-user-drag: none; background-color: transparent; font-kerning: none; margin: 0px; overflow-wrap: break-word; padding: 0px; user-select: text; vertical-align: baseline;" xml:lang="EN-US"><span style="font-family: Segoe UI, Segoe UI Web, Arial, Verdana, sans-serif;"><span style="font-size: 14.6667px;">Zuniga</span></span></p><p class="Paragraph SCXW226550395 BCX0" lang="EN-US" paraeid="{2ebdf97d-32f6-49ab-a082-265f757f4020}{155}" paraid="575778799" style="-webkit-tap-highlight-color: transparent; -webkit-user-drag: none; background-color: transparent; font-kerning: none; margin: 0px; overflow-wrap: break-word; padding: 0px; user-select: text; vertical-align: baseline;" xml:lang="EN-US"><span style="font-family: Segoe UI, Segoe UI Web, Arial, Verdana, sans-serif;"><span style="font-size: 14.6667px;">Apollo Wong</span></span></p><p class="Paragraph SCXW226550395 BCX0" lang="EN-US" paraeid="{2ebdf97d-32f6-49ab-a082-265f757f4020}{155}" paraid="575778799" style="-webkit-tap-highlight-color: transparent; -webkit-user-drag: none; background-color: transparent; font-kerning: none; margin: 0px; overflow-wrap: break-word; padding: 0px; user-select: text; vertical-align: baseline;" xml:lang="EN-US"><span style="font-family: Segoe UI, Segoe UI Web, Arial, Verdana, sans-serif;"><span style="font-size: 14.6667px;"><br /></span></span></p><p class="Paragraph SCXW226550395 BCX0" lang="EN-US" paraeid="{2ebdf97d-32f6-49ab-a082-265f757f4020}{155}" paraid="575778799" style="-webkit-tap-highlight-color: transparent; -webkit-user-drag: none; background-color: transparent; font-kerning: none; margin: 0px; overflow-wrap: break-word; padding: 0px; user-select: text; vertical-align: baseline;" xml:lang="EN-US"><span style="font-family: Segoe UI, Segoe UI Web, Arial, Verdana, sans-serif;"><span style="font-size: 14.6667px;">Frasquita</span></span></p><p class="Paragraph SCXW226550395 BCX0" lang="EN-US" paraeid="{2ebdf97d-32f6-49ab-a082-265f757f4020}{155}" paraid="575778799" style="-webkit-tap-highlight-color: transparent; -webkit-user-drag: none; background-color: transparent; font-kerning: none; margin: 0px; overflow-wrap: break-word; padding: 0px; user-select: text; vertical-align: baseline;" xml:lang="EN-US"><span style="font-family: Segoe UI, Segoe UI Web, Arial, Verdana, sans-serif;"><span style="font-size: 14.6667px;">Yanna Chen (13/5, 15/5, 16/5 7:30pm)</span></span></p><p class="Paragraph SCXW226550395 BCX0" lang="EN-US" paraeid="{2ebdf97d-32f6-49ab-a082-265f757f4020}{155}" paraid="575778799" style="-webkit-tap-highlight-color: transparent; -webkit-user-drag: none; background-color: transparent; font-kerning: none; margin: 0px; overflow-wrap: break-word; padding: 0px; user-select: text; vertical-align: baseline;" xml:lang="EN-US"><span style="font-family: Segoe UI, Segoe UI Web, Arial, Verdana, sans-serif;"><span style="font-size: 14.6667px;">Gladys Ho (14/5 7:30pm, 16/5 2:45pm)</span></span></p><p class="Paragraph SCXW226550395 BCX0" lang="EN-US" paraeid="{2ebdf97d-32f6-49ab-a082-265f757f4020}{155}" paraid="575778799" style="-webkit-tap-highlight-color: transparent; -webkit-user-drag: none; background-color: transparent; font-kerning: none; margin: 0px; overflow-wrap: break-word; padding: 0px; user-select: text; vertical-align: baseline;" xml:lang="EN-US"><span style="font-family: Segoe UI, Segoe UI Web, Arial, Verdana, sans-serif;"><span style="font-size: 14.6667px;"><br /></span></span></p><p class="Paragraph SCXW226550395 BCX0" lang="EN-US" paraeid="{2ebdf97d-32f6-49ab-a082-265f757f4020}{155}" paraid="575778799" style="-webkit-tap-highlight-color: transparent; -webkit-user-drag: none; background-color: transparent; font-kerning: none; margin: 0px; overflow-wrap: break-word; padding: 0px; user-select: text; vertical-align: baseline;" xml:lang="EN-US"><span style="font-family: Segoe UI, Segoe UI Web, Arial, Verdana, sans-serif;"><span style="font-size: 14.6667px;">Mercédès</span></span></p><p class="Paragraph SCXW226550395 BCX0" lang="EN-US" paraeid="{2ebdf97d-32f6-49ab-a082-265f757f4020}{155}" paraid="575778799" style="-webkit-tap-highlight-color: transparent; -webkit-user-drag: none; background-color: transparent; font-kerning: none; margin: 0px; overflow-wrap: break-word; padding: 0px; user-select: text; vertical-align: baseline;" xml:lang="EN-US"><span style="font-family: Segoe UI, Segoe UI Web, Arial, Verdana, sans-serif;"><span style="font-size: 14.6667px;">Dominique Chan (13/5, 15/5, 16/5 7:30pm)</span></span></p><p class="Paragraph SCXW226550395 BCX0" lang="EN-US" paraeid="{2ebdf97d-32f6-49ab-a082-265f757f4020}{155}" paraid="575778799" style="-webkit-tap-highlight-color: transparent; -webkit-user-drag: none; background-color: transparent; font-kerning: none; margin: 0px; overflow-wrap: break-word; padding: 0px; user-select: text; vertical-align: baseline;" xml:lang="EN-US"><span style="font-family: Segoe UI, Segoe UI Web, Arial, Verdana, sans-serif;"><span style="font-size: 14.6667px;">Ashley Chui (14/5 7:30pm, 16/5 2:45pm)</span></span></p><p class="Paragraph SCXW226550395 BCX0" lang="EN-US" paraeid="{2ebdf97d-32f6-49ab-a082-265f757f4020}{155}" paraid="575778799" style="-webkit-tap-highlight-color: transparent; -webkit-user-drag: none; background-color: transparent; font-kerning: none; margin: 0px; overflow-wrap: break-word; padding: 0px; user-select: text; vertical-align: baseline;" xml:lang="EN-US"><span style="font-family: Segoe UI, Segoe UI Web, Arial, Verdana, sans-serif;"><span style="font-size: 14.6667px;"><br /></span></span></p><p class="Paragraph SCXW226550395 BCX0" lang="EN-US" paraeid="{2ebdf97d-32f6-49ab-a082-265f757f4020}{155}" paraid="575778799" style="-webkit-tap-highlight-color: transparent; -webkit-user-drag: none; background-color: transparent; font-kerning: none; margin: 0px; overflow-wrap: break-word; padding: 0px; user-select: text; vertical-align: baseline;" xml:lang="EN-US"><span style="font-family: Segoe UI, Segoe UI Web, Arial, Verdana, sans-serif;"><span style="font-size: 14.6667px;">Dancairo</span></span></p><p class="Paragraph SCXW226550395 BCX0" lang="EN-US" paraeid="{2ebdf97d-32f6-49ab-a082-265f757f4020}{155}" paraid="575778799" style="-webkit-tap-highlight-color: transparent; -webkit-user-drag: none; background-color: transparent; font-kerning: none; margin: 0px; overflow-wrap: break-word; padding: 0px; user-select: text; vertical-align: baseline;" xml:lang="EN-US"><span style="font-family: Segoe UI, Segoe UI Web, Arial, Verdana, sans-serif;"><span style="font-size: 14.6667px;">Sammy Chien</span></span></p><p class="Paragraph SCXW226550395 BCX0" lang="EN-US" paraeid="{2ebdf97d-32f6-49ab-a082-265f757f4020}{155}" paraid="575778799" style="-webkit-tap-highlight-color: transparent; -webkit-user-drag: none; background-color: transparent; font-kerning: none; margin: 0px; overflow-wrap: break-word; padding: 0px; user-select: text; vertical-align: baseline;" xml:lang="EN-US"><span style="font-family: Segoe UI, Segoe UI Web, Arial, Verdana, sans-serif;"><span style="font-size: 14.6667px;"><br /></span></span></p><p class="Paragraph SCXW226550395 BCX0" lang="EN-US" paraeid="{2ebdf97d-32f6-49ab-a082-265f757f4020}{155}" paraid="575778799" style="-webkit-tap-highlight-color: transparent; -webkit-user-drag: none; background-color: transparent; font-kerning: none; margin: 0px; overflow-wrap: break-word; padding: 0px; user-select: text; vertical-align: baseline;" xml:lang="EN-US"><span style="font-family: Segoe UI, Segoe UI Web, Arial, Verdana, sans-serif;"><span style="font-size: 14.6667px;">Remendado</span></span></p><p class="Paragraph SCXW226550395 BCX0" lang="EN-US" paraeid="{2ebdf97d-32f6-49ab-a082-265f757f4020}{155}" paraid="575778799" style="-webkit-tap-highlight-color: transparent; -webkit-user-drag: none; background-color: transparent; font-kerning: none; margin: 0px; overflow-wrap: break-word; padding: 0px; user-select: text; vertical-align: baseline;" xml:lang="EN-US"><span style="font-family: Segoe UI, Segoe UI Web, Arial, Verdana, sans-serif;"><span style="font-size: 14.6667px;">Henry Ngan (13/5, 15/5, 16/5 7:30pm)</span></span></p><p class="Paragraph SCXW226550395 BCX0" lang="EN-US" paraeid="{2ebdf97d-32f6-49ab-a082-265f757f4020}{155}" paraid="575778799" style="-webkit-tap-highlight-color: transparent; -webkit-user-drag: none; background-color: transparent; font-kerning: none; margin: 0px; overflow-wrap: break-word; padding: 0px; user-select: text; vertical-align: baseline;" xml:lang="EN-US"><span style="font-family: Segoe UI, Segoe UI Web, Arial, Verdana, sans-serif;"><span style="font-size: 14.6667px;">Wesley Lam (14/5 7:30pm, 16/5 2:45pm)</span></span></p><p class="Paragraph SCXW226550395 BCX0" lang="EN-US" paraeid="{2ebdf97d-32f6-49ab-a082-265f757f4020}{155}" paraid="575778799" style="-webkit-tap-highlight-color: transparent; -webkit-user-drag: none; background-color: transparent; font-kerning: none; margin: 0px; overflow-wrap: break-word; padding: 0px; user-select: text; vertical-align: baseline;" xml:lang="EN-US"><span style="font-family: Segoe UI, Segoe UI Web, Arial, Verdana, sans-serif;"><span style="font-size: 14.6667px;"><br /></span></span></p><p class="Paragraph SCXW226550395 BCX0" lang="EN-US" paraeid="{2ebdf97d-32f6-49ab-a082-265f757f4020}{155}" paraid="575778799" style="-webkit-tap-highlight-color: transparent; -webkit-user-drag: none; background-color: transparent; font-kerning: none; margin: 0px; overflow-wrap: break-word; padding: 0px; user-select: text; vertical-align: baseline;" xml:lang="EN-US"><span style="font-family: Segoe UI, Segoe UI Web, Arial, Verdana, sans-serif;"><span style="font-size: 14.6667px;">Moralès</span></span></p><p class="Paragraph SCXW226550395 BCX0" lang="EN-US" paraeid="{2ebdf97d-32f6-49ab-a082-265f757f4020}{155}" paraid="575778799" style="-webkit-tap-highlight-color: transparent; -webkit-user-drag: none; background-color: transparent; font-kerning: none; margin: 0px; overflow-wrap: break-word; padding: 0px; user-select: text; vertical-align: baseline;" xml:lang="EN-US"><span style="font-family: Segoe UI, Segoe UI Web, Arial, Verdana, sans-serif;"><span style="font-size: 14.6667px;">Lam Kwok Ho (13/5, 15/5, 16/5 7:30pm)</span></span></p><p class="Paragraph SCXW226550395 BCX0" lang="EN-US" paraeid="{2ebdf97d-32f6-49ab-a082-265f757f4020}{155}" paraid="575778799" style="-webkit-tap-highlight-color: transparent; -webkit-user-drag: none; background-color: transparent; font-kerning: none; margin: 0px; overflow-wrap: break-word; padding: 0px; user-select: text; vertical-align: baseline;" xml:lang="EN-US"><span style="font-size: 14.6667px;"><span class="EOP SCXW226550395 BCX0" data-ccp-props="{"201341983":0,"335551550":1,"335551620":1,"335559739":160,"335559740":259}" face="Calibri, Calibri_EmbeddedFont, Calibri_MSFontService, sans-serif" style="-webkit-tap-highlight-color: transparent; -webkit-user-drag: none; font-family: Segoe UI, Segoe UI Web, Arial, Verdana, sans-serif; line-height: 19.425px; margin: 0px; padding: 0px; user-select: text;"></span></span></p><p class="Paragraph SCXW226550395 BCX0" lang="EN-US" paraeid="{2ebdf97d-32f6-49ab-a082-265f757f4020}{155}" paraid="575778799" style="-webkit-tap-highlight-color: transparent; -webkit-user-drag: none; background-color: transparent; font-kerning: none; margin: 0px; overflow-wrap: break-word; padding: 0px; user-select: text; vertical-align: baseline;" xml:lang="EN-US"><span style="font-family: Segoe UI, Segoe UI Web, Arial, Verdana, sans-serif;"><span style="font-size: 14.6667px;">Alex Kwok (14/5 7:30pm, 16/5 2:45pm)</span></span></p></div>SATOSHIhttp://www.blogger.com/profile/14734387267429261897noreply@blogger.com0tag:blogger.com,1999:blog-1051753065839395549.post-29718168145975199772019-12-14T11:11:00.000+08:002022-10-10T16:05:49.606+08:00REVIEW: Thunderstorm 《舞·雷雨》HKICC Lee Shau Kew School of Creativity Multi-Media Theatre, Friday December 13 2019<br />
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It was more than 20 years ago when I saw Cao Yu 曹禺’s play at the Beijing Capital Theatre. With no Google to prepare me, I came out of the theatre surprised that it was about incest! Not that incest the topic was a big deal, but perhaps it was incest in a Chinese play. When I saw that there is a dance interpretation of this play, the immediate concern I had was on how it will manage the multitude of characters and how it will distill the play down to its essence.<br />
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<a href="https://1.bp.blogspot.com/-5U-AHz5eGAM/XfRUaPnM7NI/AAAAAAAAECE/bMZ1O9eqnaYWP_jvJgTglPUj0LZkVM1zACEwYBhgL/s1600/895B6468-1C3D-4616-9E58-50DC05938252.jpeg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="427" data-original-width="640" height="266" src="https://1.bp.blogspot.com/-5U-AHz5eGAM/XfRUaPnM7NI/AAAAAAAAECE/bMZ1O9eqnaYWP_jvJgTglPUj0LZkVM1zACEwYBhgL/s400/895B6468-1C3D-4616-9E58-50DC05938252.jpeg" width="400" /></a></div>
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<span style="-webkit-text-size-adjust: 100%; font-size: 12pt;">As part of Jockey Club New Arts Power, Thunderstorm, the dance, adapted and directed by Tang Shu-wing 鄧樹榮 was able to focus on what’s important by getting rid of characters. In the end, he perfectly balanced this inter-generational play by having 3 characters in each generation. This brought attention on how problems repeat themselves to a disastrous end. I can’t emphasize any more the brilliance of this story adaptation to the success of the work.</span><br />
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Then came the choreography. Xing Liang 邢亮 and Mui Cheuk-yin 梅卓燕’s choreography provided distinctive voice to each of the characters with clarity of thought and intent. It was a fluid blend of Chinese classical dance, modern dance and pantomime that infused the work with rich choreographic language.</div>
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The cast of dancers, Hau Chiyu 華琪鈺, Li Long-hin 李朗軒, Huang Lei 黃磊, Li Xiaomeng 李曉勐, Li De 李德 and Iris Sun 孫鳯枝 was a dream team. Each dancer occupied their character with such intensity that brought them together in a story that brought them apart.</div>
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Overall, it was a UTTERLY beautiful work and performance. I would highly recommend it!</div>
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SATOSHIhttp://www.blogger.com/profile/14734387267429261897noreply@blogger.com0tag:blogger.com,1999:blog-1051753065839395549.post-29574166166344517962019-10-14T12:23:00.001+08:002022-10-10T16:05:58.079+08:00REVIEW: Sweeney Todd: The Demon Barber of Fleet Street<span style="font-family: Verdana, sans-serif;">The Theatre at Solaire (Manila), Saturday October 12 2019</span><br />
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<span style="font-family: Verdana, sans-serif;">I’ll go right to it, the only good thing about this Sweeney Todd by the Atlantis Theatrical was the singing.</span><br />
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<span style="font-family: Verdana, sans-serif;">The whole production design (set, costume and sound) added absolutely nothing to the story. In fact, it took so much away from the narrative. Sweeney Todd wearing a perfectly tailored jacket with more blings (what’s with three rings and half a dozen of silver chains?) than Judge Turpin? Almost all the action took place on top of a pick-up truck! Bloodless victims climbed down the pick-up truck (barbershop) to walk half the length of the stage into an oven to only come out holding a canister (pretending to be a pie) and walking back into the oven. Direction-wise, it was distracting to see the ensemble staring at Mr. Todd, when he was about to murder Judge Turpin. There was no sense of plotting or secrecy. Everything was happening and witnessed by the ensemble, even in the most intimate moments.</span><br />
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<span style="font-family: Verdana, sans-serif;">This vegan show started most promising. I love that it was not set in Victorian London. The apocalyptic setting with crashed cars hanging precariously on concrete was visually stunning. When Mrs. Lovett and Mr. Todd went onstage using a pick-up truck, I was over the moon! Then, any creativity flatlined even before the end of the first number.</span><br />
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<a href="https://1.bp.blogspot.com/-Jrp-h5H1QDw/XaP3xZmTbkI/AAAAAAAAD_w/9ejz4IN7umgHSTUFMw87040FDqquPcExACEwYBhgL/s1600/todd-2.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="633" data-original-width="950" height="266" src="https://1.bp.blogspot.com/-Jrp-h5H1QDw/XaP3xZmTbkI/AAAAAAAAD_w/9ejz4IN7umgHSTUFMw87040FDqquPcExACEwYBhgL/s400/todd-2.jpg" width="400" /></a></div>
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<span style="font-family: Verdana, sans-serif;">Going into the theatre, my biggest worry was the casting of Lea Salonga in the role of Mrs. Lovett. How can she be the cunning evil love-starved pie maker with her sweet Disney voice? Yet, she managed beautifully and successfully. She was a different type of Mrs. Lovett, but the portrayal worked.</span><br />
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<a href="https://1.bp.blogspot.com/-L2-r_hujHd0/XaP3ydsYqrI/AAAAAAAAEAI/JVttVmnaRRod-qx98Kw2zL2lJCkXX3JUQCEwYBhgL/s1600/todd-3.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="633" data-original-width="950" height="266" src="https://1.bp.blogspot.com/-L2-r_hujHd0/XaP3ydsYqrI/AAAAAAAAEAI/JVttVmnaRRod-qx98Kw2zL2lJCkXX3JUQCEwYBhgL/s400/todd-3.jpg" width="400" /></a></div>
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<span style="font-family: Verdana, sans-serif;">Jeff Pangan as Sweeney Todd lacked the deranged desperate gravity of the role. His performance may work in films but definitely not on stage. While he sang well, his singing didn’t occupy the role.</span><br />
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<a href="https://1.bp.blogspot.com/-01PnLycNrKk/XaP3yoNJ6TI/AAAAAAAAEAM/D2lmwxYV1Mg37ggSSJzm-Sl0hTYuBKogACEwYBhgL/s1600/todd-4.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="633" data-original-width="950" height="266" src="https://1.bp.blogspot.com/-01PnLycNrKk/XaP3yoNJ6TI/AAAAAAAAEAM/D2lmwxYV1Mg37ggSSJzm-Sl0hTYuBKogACEwYBhgL/s400/todd-4.jpg" width="400" /></a></div>
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<span style="font-family: Verdana, sans-serif;">This supposedly fully-staged production was no better than the semi-staged concerts of the New York Philharmonic Orchestra (easily found on YouTube). Everybody just mimed through the musical.</span><br />
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<span style="font-family: Verdana, sans-serif;">_______</span><br />
<span style="font-family: Verdana, sans-serif;">Creative Team</span><br />
<span style="font-family: Verdana, sans-serif;">Music and Lyrics: Stephen Sondheim</span><br />
<span style="font-family: Verdana, sans-serif;">Book: Hugh Wheeler</span><br />
<span style="font-family: Verdana, sans-serif;">Director: Bobby Garcia</span><br />
<span style="font-family: Verdana, sans-serif;">Musical Director: Gerard Salonga</span><br />
<span style="font-family: Verdana, sans-serif;">Musical Staging: Cecile Martinez</span><br />
<span style="font-family: Verdana, sans-serif;">Set Design: David Gallo</span><br />
<span style="font-family: Verdana, sans-serif;">Lighting Design, Aaron Porter</span><br />
<span style="font-family: Verdana, sans-serif;">Sound Design Justin Stasiw</span><br />
<span style="font-family: Verdana, sans-serif;">Costume Design: Rajo Laurel</span><br />
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<span style="font-family: Verdana, sans-serif;">Cast</span><br />
<span style="font-family: Verdana, sans-serif;">Sweeney Todd: Jeff Pangan</span><br />
<span style="font-family: Verdana, sans-serif;">Mrs. Lovett: Lea Salonga</span><br />
<span style="font-family: Verdana, sans-serif;">Adolfo Pirelli: Nyoy Volante</span><br />
<span style="font-family: Verdana, sans-serif;">Anthony Hope: Gerald Santos</span><br />
<span style="font-family: Verdana, sans-serif;">Johanna Barker: Mikkie Bradshaw-Volante</span><br />
<span style="font-family: Verdana, sans-serif;">Judge Turpin: Andrew Fernando</span><br />
<span style="font-family: Verdana, sans-serif;">Tobia Ragg: Luigi Quesada</span><br />
<span style="font-family: Verdana, sans-serif;">Beggar Woman: Ima Castro</span>SATOSHIhttp://www.blogger.com/profile/14734387267429261897noreply@blogger.com2tag:blogger.com,1999:blog-1051753065839395549.post-89622985202236687952019-09-18T14:58:00.000+08:002022-10-10T16:07:10.365+08:00REVIEW: L’Orphelin 孤兒<br />
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Shatin Town Hall Cultural Activities Hall, Tuesday September
17 2019<o:p></o:p></div>
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As part of the Jockey Club New Arts Power festival, L’Orphelin
was performed by Theatre de la Feuille 綠葉劇團.<o:p></o:p></div>
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<a href="https://1.bp.blogspot.com/-BGo7ZQkqsNY/XYHVLKfQqeI/AAAAAAAAD-w/pLlKitfTDxgd_EUlTNpAU5hEWWePkUn4QCLcBGAsYHQ/s1600/L%25E2%2580%2599Orphelin%2B%25E5%25AD%25A4%25E5%2585%2592%2B3.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1600" data-original-width="1351" height="400" src="https://1.bp.blogspot.com/-BGo7ZQkqsNY/XYHVLKfQqeI/AAAAAAAAD-w/pLlKitfTDxgd_EUlTNpAU5hEWWePkUn4QCLcBGAsYHQ/s400/L%25E2%2580%2599Orphelin%2B%25E5%25AD%25A4%25E5%2585%2592%2B3.jpg" width="337" /></a></div>
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First of all, this is the first time I am made aware of the
Jockey Club New Arts Power, even though it was launched since 2017. The
festival, taking place from September to January, focuses in presenting local
artists who are making a name in the global art scene. If L’Orphelin is of any
indication, I would say that the festival is on the right track.<o:p></o:p></div>
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<a href="https://1.bp.blogspot.com/-lm8x-9rhfHU/XYHVJj172LI/AAAAAAAAD-k/O_rlMbLFCDMoNhpHaz-R2gjCCaC1mdGVACEwYBhgL/s1600/L%2527Orphelin2.0_2of5_Photo%2BCredit%2BCarmen%2BSo%2B%25281%2529.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1065" data-original-width="1600" height="266" src="https://1.bp.blogspot.com/-lm8x-9rhfHU/XYHVJj172LI/AAAAAAAAD-k/O_rlMbLFCDMoNhpHaz-R2gjCCaC1mdGVACEwYBhgL/s400/L%2527Orphelin2.0_2of5_Photo%2BCredit%2BCarmen%2BSo%2B%25281%2529.jpg" width="400" /></a></div>
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L’Orphelin premiered in 2014. Since then, it was performed
58 times in 27 overseas tours. L’Orphelin is an adaptation of the historical
event, “The Orphan of Zhao” (documented as the “disaster of lower palace”), one
of China’s oldest plays and apparently, the first to be translated into an
European language. As with any historical account, numerous variations and interpretations
exist. In the end, it begs the questions, “what is the truth?”, “will we ever
know the truth?” and “is there such a thing as TRUTH?” <o:p></o:p></div>
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<a href="https://1.bp.blogspot.com/-s5snp5AkmRc/XYHVJrNpohI/AAAAAAAAD-g/f_RDBnKosyETldGpL9PqDMAxvhS1N0Z9wCEwYBhgL/s1600/L%2527Orphelin2.0_1of5_Photo%2BCredit%2BCarmen%2BSo%2B%25281%2529.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1065" data-original-width="1600" height="266" src="https://1.bp.blogspot.com/-s5snp5AkmRc/XYHVJrNpohI/AAAAAAAAD-g/f_RDBnKosyETldGpL9PqDMAxvhS1N0Z9wCEwYBhgL/s400/L%2527Orphelin2.0_1of5_Photo%2BCredit%2BCarmen%2BSo%2B%25281%2529.jpg" width="400" /></a></div>
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Without stage props or sets or costumes to color the audience's perceptions, the work retells a piece of history using words, tones
and body movement of 4 male and 1 female performer in dark clothing. Despite
its simplicity, there was clarity in the story-telling, but whether narration
was the objective would depend on the audience. It was interesting to see how the performance slowly evolved in its format and intent. In the end, as if to emphasize that what was being told was indeed the "naked" truth, the performers stripped and "came clean"... yet, really? What was felt however was an unease sense of distrust.</div>
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<a href="https://1.bp.blogspot.com/-kkKDvNbADLQ/XYHVJh-qgqI/AAAAAAAAD-o/IglmHA7OTToiCg5a8Mr847aQIMcE5gNqACEwYBhgL/s1600/L%2527Orphelin2.0_4of5_Photo%2BCredit%2BCarmen%2BSo%2B%25281%2529.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1065" data-original-width="1600" height="266" src="https://1.bp.blogspot.com/-kkKDvNbADLQ/XYHVJh-qgqI/AAAAAAAAD-o/IglmHA7OTToiCg5a8Mr847aQIMcE5gNqACEwYBhgL/s400/L%2527Orphelin2.0_4of5_Photo%2BCredit%2BCarmen%2BSo%2B%25281%2529.jpg" width="400" /></a></div>
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Like any good art, there was
depth and relevance in L’Orphelin. It posed the powerful and timely concerns of
“fake news”, “trust” and finally, “truth”.<o:p></o:p></div>
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I would recommend you to go and see it. Expect to ponder.<o:p></o:p></div>
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________________________<br />
Creative and Director: Ata Wong Chun Tat<br />
Assistant Director: Suen Chi Hung<br />
Touring Lighting Designer: Wang Han<br />
Live Music: Heidi Law<br />
Creative performers: Suen Chi Hung, Li Tengfei, Liao Shuyi, Wang Yao, Benjamin Tsang<br />
Producer: Lei Yuen Hung<br />
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創作及導演: 黃俊達<br />
助理導演: 孫志鴻<br />
巡演燈光設計: 王寒<br />
現場音樂: 羅鎧欣<br />
創作演員: 孫志鴻, 李騰飛, 廖書藝, 王堯, 曾向鎮<br />
監製: 李宛虹SATOSHIhttp://www.blogger.com/profile/14734387267429261897noreply@blogger.com0tag:blogger.com,1999:blog-1051753065839395549.post-31688971221198926082019-05-22T14:30:00.000+08:002022-10-10T16:07:29.003+08:00LI BAI 李白's Gazing at a Waterfall on Mount Lu 望庐山瀑布A long long time ago, I bought a pair of scroll thinking that it was Japanese. Recently, I took it out from storage considering whether to hang them.<br />
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<a href="https://2.bp.blogspot.com/-TO027KHUgV4/XOS5giHZ1YI/AAAAAAAAD6c/qCxEOkwQEeInSLIedw8Vg-jSg9tv5TB7gCLcBGAs/s1600/60563985_817235318652149_34833898462511104_n.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="720" data-original-width="252" height="640" src="https://2.bp.blogspot.com/-TO027KHUgV4/XOS5giHZ1YI/AAAAAAAAD6c/qCxEOkwQEeInSLIedw8Vg-jSg9tv5TB7gCLcBGAs/s640/60563985_817235318652149_34833898462511104_n.jpg" width="224" /></a></div>
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I showed the writings to a Japanese friend to help me identify the artist and he asked me whether the work is Chinese or Japanese. I never thought of that... I have always assumed that its Japanese. In a lot of times, Japanese arts are easily appreciated by Chinese because Japanese uses Kanji 漢字 (which literally means Han characters). But then, this work could easily be Chinese!</div>
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My knowledge of classical Chinese poetry is non-existent. When I presented the writings to my sister-in-law however, she immediately identified it as the Chinese Tang dynasty poet Li Bai's work Gazing at a Waterfall on Mount Lu.</div>
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<span style="background-color: white; color: #1b1c2a; font-family: "open sans"; font-size: 15px; text-align: center;">日照香爐生紫煙</span><br />
<span style="background-color: white; color: #1b1c2a; font-family: "open sans"; font-size: 15px; text-align: center;">遥看瀑布挂前川</span><br />
<span style="background-color: white; color: #1b1c2a; font-family: "open sans"; font-size: 15px; text-align: center;">飛流直下三千尺</span><br />
<span style="background-color: white; color: #1b1c2a; font-family: "open sans"; font-size: 15px; text-align: center;">疑是銀河落九天 </span><br />
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<span style="background-color: white; color: #1b1c2a; font-family: "open sans"; font-size: 15px; text-align: center;">The problem is that there were some "mistakes" in the poem written on the painting. It read instead:</span></div>
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<span style="background-color: white; color: #1b1c2a; font-family: "open sans"; font-size: 15px; text-align: center;">日照香</span><span style="background-color: white; color: red; font-family: "open sans"; font-size: 15px; text-align: center;">炉</span><span style="background-color: white; color: #1b1c2a; font-family: "open sans"; font-size: 15px; text-align: center;">生紫煙</span><br />
<span style="background-color: white; color: #1b1c2a; font-family: "open sans"; font-size: 15px; text-align: center;">遥看瀑布挂</span><span style="background-color: white; color: red; font-family: "open sans"; font-size: 15px; text-align: center;">長</span><span style="background-color: white; color: #1b1c2a; font-family: "open sans"; font-size: 15px; text-align: center;">川</span><br />
<span style="background-color: white; color: #1b1c2a; font-family: "open sans"; font-size: 15px; text-align: center;">飛流直下三千尺</span><br />
<span style="background-color: white; color: #1b1c2a; font-family: "open sans"; font-size: 15px; text-align: center;">疑是銀河落九天 </span><br />
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<span style="background-color: white; color: #1b1c2a; font-family: "open sans"; font-size: 15px; text-align: center;">It is these "mistakes" however that makes me believe that the work is Japanese. </span><span style="background-color: white; color: #1b1c2a; font-family: "open sans"; font-size: 15px; text-align: center;">香</span><span style="color: #1b1c2a; font-family: "open sans";"><span style="font-size: 15px;"><span style="color: red;">炉</span><span style="color: #1b1c2a;"> are simplified Chinese characters, but is also how Japanese writes "incense burner". As for </span></span></span><span style="font-family: "open sans";"><span style="font-size: 15px;">長川 instead of 前川, I noted that this is actually a well-known variation especially in the Japanese version.</span></span><br />
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<span style="font-family: "open sans";"><span style="font-size: 15px;">Li Bai's fame is far and wide. In Japan, Katsushika Hokusai (Japanese, Tokyo (Edo) 1760–1849) in fact made a few works about it: </span></span><br />
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<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://4.bp.blogspot.com/-WEccoZ0lnSY/XOTxKhuGQkI/AAAAAAAAD7M/waCTAa2DnXkdPd8HlkbBn0WKQ72fgA7ugCLcBGAs/s1600/sc204040.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="1500" data-original-width="713" height="640" src="https://4.bp.blogspot.com/-WEccoZ0lnSY/XOTxKhuGQkI/AAAAAAAAD7M/waCTAa2DnXkdPd8HlkbBn0WKQ72fgA7ugCLcBGAs/s640/sc204040.jpg" width="304" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Ri Haku from the series Mirrors of Japanese and Chinese Poems (Shiika shashin kyō), Polychrome woodblock print; ink and color on paper, 20 3/8 x 9 in. (51.8 x 22.9 cm)</td></tr>
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<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://3.bp.blogspot.com/-nBlEiAp84Z0/XOTxKsONH0I/AAAAAAAAD7I/G2UevAE9cJwerIduco-dy6dWX1O-yQcnwCLcBGAs/s1600/SC316200.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="1024" data-original-width="295" height="640" src="https://3.bp.blogspot.com/-nBlEiAp84Z0/XOTxKsONH0I/AAAAAAAAD7I/G2UevAE9cJwerIduco-dy6dWX1O-yQcnwCLcBGAs/s640/SC316200.jpg" width="184" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Li Bai Admiring a Waterfall (Rihaku kankei zu), Hanging scroll; ink and color on silk, Image: 93.4 x 30 cm (36 3/4 x 11 13/16 in.) Overall: 172 x 48 cm (67 11/16 x 18 7/8 in.)</td></tr>
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<span style="font-family: "open sans";"><span style="font-size: 15px;">Needless to say, I think both works by Hokusai are absolutely gorgeous and between the two, the hanging scroll at the Museum of Fine Arts in Boston is hands down better. It manages to capture the awe and wonder of Li Bai's poem. To better appreciate the beauty of Li Bai's poem, here are three translations in the order of okay to very good:</span></span></div>
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<span style="font-family: "open sans";"><span style="font-size: 15px;">Sunlight streaming on Incense Stone kindles violet smoke; </span></span></div>
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<span style="font-family: "open sans";"><span style="font-size: 15px;">Far off I watch the waterfall plunge to the long river, </span></span></div>
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<span style="font-family: "open sans";"><span style="font-size: 15px;">Flying waters descending straight three thousand feet, </span></span></div>
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<span style="font-family: "open sans";"><span style="font-size: 15px;">Till I think the Milky Way has tumbled from the ninth height of Heaven. </span></span></div>
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<span style="font-family: "open sans";"><span style="font-size: 15px;">(trans. Burton Watson) </span></span></div>
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<span style="font-family: "open sans";">The sunlit Censer peak exhales a wreath of cloud;</span><br />
<span style="font-family: "open sans";">Like an upended stream the cataract sounds loud. </span><br />
<span style="font-family: "open sans";">Its torrent dashes down three thousand feet from high;</span><br />
<span style="font-family: "open sans";">As if the Silver River fell from azure sky.</span></div>
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<span style="font-family: "open sans";">(trans. Xu Yuanchong)</span></div>
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<span style="font-family: "open sans";"><span style="font-size: 15px;">Sunlight illuminates Incense Burner Peak, kindling violet smoke;</span></span></div>
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<span style="font-family: "open sans";"><span style="font-size: 15px;">from afar, a waterfall hangs before the river.</span></span></div>
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<span style="font-family: "open sans";"><span style="font-size: 15px;">Water flies straight down three thousand feet—</span></span></div>
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<span style="font-family: "open sans";"><span style="font-size: 15px;">Has the silver stream of our galaxy plunged from highest heaven?</span></span></div>
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<span style="font-family: "open sans";"><span style="font-size: 15px;">Burton Watson's translation was in a lot of ways off the mark. Just the mere presence of "Milky Way" is plain silly. Xu's translation tried very hard to please the Western sensibility, it reads well, but lacks the nuances of the original texts. Wang's translation is so far the better one as it tries to mimic the figures of speech used in the original texts. I love how she used "hangs" as that is exactly what one thinks of when they hear the word </span></span><span style="background-color: white; color: #1b1c2a; font-family: "open sans"; font-size: 15px; text-align: center;">挂, like a piece of cloth hanging over a table or even a painting hanging on the wall. </span></div>
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<span style="font-family: "open sans"; font-size: 15px;">In Hokusai's scroll painting, he put the human figure at the bottom and that truly reflects the emotional amazement of Li Bai's poem. In Hokusai's woodblock print, however, it didn't manage to do that. As for my diptych of scrolls, it is exactly its composition and dimension that I truly love. First, the scroll is more than two meters; and second, because the artist separated the fall from the human in two scrolls and by doing so, it makes the fall farther (by placing the scrolls apart) and taller, indeed making the "w</span><span style="font-family: "open sans";"><span style="font-size: 15px;">ater flies straight down three thousand feet"!</span></span></div>
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<span style="font-family: "open sans";"><span style="font-size: 15px;">Another reason why I think the artist is not Chinese is that the artist put down his seal on both scrolls; and this rarely happens in Chinese paintings, while more rampant in Japanese. As for the identity of the artist, my best guess based on the seal is 而津一笆. Likewise, that name doesn't look Chinese, but could it possibly be Histoshi AWAZU?</span></span></div>
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<span style="font-family: "open sans";"><span style="font-size: 15px;">If you know who is the artist or have any input on my impression and theory, please do communicate :-)</span></span></div>
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SATOSHIhttp://www.blogger.com/profile/14734387267429261897noreply@blogger.com1tag:blogger.com,1999:blog-1051753065839395549.post-74932894162260646562019-05-15T11:22:00.004+08:002022-10-10T16:07:40.623+08:00REVIEW: War HorseHong Kong Academy for Performing Arts Lyric Theatre, Tuesday May 14 2019<br />
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I have seen the Spielberg movie and thought that it was not bad at all. I was confused as to why people didn’t like it until I saw the stage version back in 2015 at the Gillian Lynne Theatre (formerly New London Theatre). Indeed the play was better!<br />
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One of the wonders of the stage version is the use of the puppetry. It has been done before and done very well in Lion King. It has also been followed after by an even more ambitious use of puppetry in King Kong (musical). Of all the three, War Horse demands the least suspension of disbelief. It was not on steroid and didn’t burst into a song and dance number.<br />
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When I found out that War Horse was coming to Hong Kong, I was so glad but at the same time curious on how it would translate a thrust stage (where the stage project into the audience) production into the proscenium stage (stage with architectural frame) of the Lyric Theatre. The result was not as good. The thrust stage of the Gillian Lynne Theatre didn’t only increase intimacy, but it also provided cinematic aspect ratio experience to match the cinematic pace of the play.<br />
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The proscenium stage had its moments though. The meeting of the battle tank and war horse Joey in the battlefield was a picture perfect juxtaposition that fully imprinted the essence of the play in my mind. Now, this is one image that didn’t even register when I first saw it in London, yet so powerful in Hong Kong.<br />
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Seeing the big horse puppets and how effective and convincing they were will always be the reason for going to and recommending this play. It was truly an amazing experience. More importantly, though, the play was very well written, developed and performed. Personally, I think that this should be required attendance for school children! Please go and see it.<br />
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Author - Michael Morpurgo<br />
Playwright - Nick Stafford<br />
Director - Marianne Elliott<br />
Director - Tom Morris<br />
Designer/Drawings - Rae Smith<br />
Puppet Fabrication & Direction - Basil Jones & Adrian Kohler<br />
Lighting Designer - Paule Constable<br />
Director of Movement & Horse Choreography - Toby Sedgwick<br />
Video Design - Leo Warner<br />
Video Design - Mark Grimmer<br />
Music - Adrian Sutton<br />
Songmaker - John Tams<br />
Sound Designer - Christopher Shutt<br />
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Billy Narracott – Danny Hendrix<br />
Arthur Narracott – William Ilkley<br />
Rose Narracott – Jo Castleton<br />
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SATOSHIhttp://www.blogger.com/profile/14734387267429261897noreply@blogger.com0tag:blogger.com,1999:blog-1051753065839395549.post-51199738546309794062019-01-18T12:11:00.000+08:002022-10-10T16:07:47.867+08:00REVIEW: MAMMA MIA!Hong Kong Academy for Performing Arts, Thursday January 17 2019<br />
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Mamma Mia! Here I go again! My my, how can I resist you? Indeed! This is my fourth time to see Mamma Mia (not to mention the movie and its sequel) and I can't stop being amazed at how joyful this musical is. </div>
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<span style="text-align: justify;">Mamma Mia! has to be one of the better jukebox musicals so far. When it opened in 1999 and it got good reviews, I was not particularly keen on seeing it. But then in 2001, when I have pretty much seen all the worthy musicals in </span>West<span style="text-align: justify;"> End, I finally gave in, but then I can't get any ticket! It was one of the hottest show in town. But after a lot of flirting at the box office, I managed to get one and gosh! I enjoyed it immensely.</span><br />
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There's a lot of good things going for it. Needless to say, the all too familiar ABBA songs is a good start. However, this musical actually packs an interesting story with equally interesting characters. The biggest fun and brilliance was seeing when and how the songs are going to appear.<br />
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The cast for this touring production boasts a good balance between acting and singing (read they are better in the acting part), and I am not trying to throw shade. A significant emotional encore of the show lies on the role of Donna (played by Shona White). While her singing was fragile, she packed it with huge portions of pathos that for a few moments gave this sunny musical some gravity.<br />
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Great and believable as Sophie (Donna's daughter) is Lucy May Barker. Donna's long-time friends, Rosie and Tanya, played by Nicky Swift and Helen Anker respectively were absolutely endearing and funny. All the three father-suspects played by Tamlyn Henderson, Daniel Crowder and Matthew Rutherford were also amazing.<br />
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Sometimes with touring companies, one feels that it is never as good as the original. This one, apart from the missing hydraulic pier when Sophie and Sky wall off into the moon, I certainly feel that the entertainment value remains intact. Thank you for the music!SATOSHIhttp://www.blogger.com/profile/14734387267429261897noreply@blogger.com0tag:blogger.com,1999:blog-1051753065839395549.post-37295240005992979872018-10-31T00:38:00.000+08:002022-10-10T16:08:01.646+08:00REVIEW: The Kiss of ToscaThe Annex, Tuesday October 30 2018<br />
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A 90-MINUTE ADAPTATION OF PUCCINI'S EXPLOSIVE OPERA, was how this abridged version of Tosca was marketed by More Than Musical. The immediate question when I told people about this was, “what’s the point?” Somehow true. First of all, the original opera runs only for 120 minutes. Shaving 30 minutes off is hardly worth the effort. Secondly, there is nothing to cut, everything in the opera is glorious! But wait… there is more. Gone is the orchestra and replaced with a piano, a cello and percussion.<br />
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But you see, I don’t mind it. When I was growing up, I can’t wait to hear the hit arias and always thought that wouldn’t it be great to distill and pack an opera into a shorter version and get those hit songs going? Now that I am significantly more mature, my question to myself is, “how many Tosca’s do you need to see?” The point is, however, is the challenge. How does one edit a perfect opera down to a cast of four and still maintain the essence of the work? That is for me why I am sincerely interested in this proposition and went to see it.<br />
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The result was way more than I expected. Director Nicholas Muni created a thoughtful and respectful option. He made up an omnipresent Monk, that basically played various roles from Angelotti to Sacristan, from police agent to jailer. Then the aria “Vissi d’arte” came in really early when Tosca visited Cavaradossi in the church. At this point, I was screaming inside, “No!!! You can’t do that! The placing of the aria was perfect in the original setting - right before Tosca stab Scarpia!!!” But then, the pace picked up and the brilliance of the re-visioning started to come through. “Vissi d’arte” was reprised with a new intensity and suddenly the juxtaposition of the same aria in two scenes made sense. And there’s more! How will this production solve the problem of having a minimal set in an intimate theatre when the original version calls for Tosca to fling herself over the parapet of Castel Sant’Angelo? Well, you just have to go and see it.<br />
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At the core of this art form however, is the singing; and this production boast a formidable trio - Karen Chia-Ling Ho as Tosca, Jung Soo Yun as Cavaradossi and Carlo Kang as Scarpia. Ho’s Tosca was confident and conflicted with beautiful and secure high notes. Yun gave us a youthful and effective Cavaradossi with a beautiful instrument that is rich in timbre. Kang’s Scarpia was every bit sly and menacing with vocal competence to match. Overall, the singing itself is worth the time and effort.<br />
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There are a lot of good surprises in this version. The challenge was met creatively and with artistic integrity. Go and support it.<br />
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<br />SATOSHIhttp://www.blogger.com/profile/14734387267429261897noreply@blogger.com0