This concert performance in the Hong Kong Kong Cultural Centre marks the beginning of an ambitious project: the first official international recording of Wagner’s Ring des Nibelungen made in Asia*. The first concert two days before was actually the Hong Kong première of Rheingold. Dutch conductor Jaap van Zweden, the Hong Kong Philharmonic’s musical director, is confident that this is going to establish the HK Philh’s reputation as a world-class orchestra. The audience, at least, proved to be truly international (and the level of concentration and silence in the hall is certainly exemplary).
In a hall of modest size, Maestro van Zweden decided to out-Karajan Karajan in the chamber-like orchestral sound, emphasis rather in dynamic and colouring rather than articulation and clarity and the choice of some light-toned voiced in key roles. Although the Hong Kong Philharmonic cannot compete with the Berlin Philharmonic in exuberance or richness of sound, it faithfully followed the conductor’s intent of producing different colors to establish an aural “setting” for each scene. The performance lacked the sense of building tension (it worked rather on “terraced” levels of loudness – purely orchestral passages ON in loudness and OFF when the singers were there), but the sense of theatre was furthermore guaranteed by the prominence given to vocal soloists, who felt comfortable to scale down to conversational volume whenever they deemed appropriate. Something van Zweden has not in common with Karajan is his keenness on having woodwind upfront in almost Mozartian interplay with singers. This all could have meant that the performance was particularly exciting, which unfortunately is not the case: most key moments lacked any sense of climax, especially Alberich’s curse, where the conductor proved rather reticent than propelling, or in Donner’s Heda-hedo, which turned out quite polite. Most surprisingly, the six harps on stage sounded a bit off focus in the context of the aural picture and failed to produce the crystalline effect of the rainbow bridge. However, I do not want to sound blasé: this evening was certainly fun, and the contrasted and characterful cast has a big share of responsibility in that.
I have to confess that I was not entirely idea convinced by the idea that Matthias Goerne could do justice to the role of Wotan, even in Das Rheingold. I had seen him only once in a Wagner opera, as Wolfram, and found him lacking volume and projection. In this evening’s ideal circumstances, that was definitely not the case. Although his voice often has a muffled sound in his middle register (which translates as “velvety” in a Hermann Prey-ish way when the repertoire is either Bach or Schubert), he has healthy low notes and could gather his energy to deal with heroic high notes reliably if not truly freely: pressed by the needs of piercing a loud orchestra, his high register lacks roundness and color and often sounds tenor-ish in sound. His interpretation is that of a Lieder singer, working on details rather than on the big-picture. While this could make him sink in the background when dealing with his colleagues’ more flamboyant personalities, it has also given his Wotan a very particular atmosphere, as if he ran on a different rpm than all other characters. That distance was in itself an interesting “theatrical” effect, one that made Wotan some sort of outsider in his own game. In any case, I would be surprised if he accepted to go further in Die Walküre.
The very international cast meant that the accent in some singers were a bit more evident than in others. In any case, with one exception, every member of the cast seemed to be completely in control and able to use the text with craftsmanship. For instance, Egyptian-born baritone Peter Sidhom has exemplary diction and truly crispy enunciation of Wagner’s libretto. He also seemed to be having the time of his life playing a 100% bad-guy Alberich. His voice is a bit soft-centered in its middle register, but he relies on a very bright and forceful edge to produce the necessary ping in this part’s difficult full-intensity, angular phrasing. His sharp sense of humor was a welcome tool to add dimension to a role often made too uncongenial. In that sense, his interaction with Kim Begley’s Loge was in the core of this performance. The English tenor is a veteran only in age: his voice – a Charaktertenor with a nasal sound à la Robert Tear albeit with Spitzentöne to make some Heldentenors envious – proved to be in excellent shape once it warmed after a fluttery start. There is indeed a splash of Gilbert and Sullivan in his Loge, but very aptly so. The two other tenors in the cast proved to be very well cast: Charles Reid (Froh) has a beautiful voice with spontaneous and firm high notes and David Cangelosi is simply the best Rheingold Mime I have ever seen or heard, his approach refreshingly three-dimensional and varied. As always, Kwangchul Youn steals the show as Fasolt, here ideally partnered by Stephen Milling’s dark-toned, perfectly-focused Fafner.
The ladies were also uniformly excellent. Michelle DeYoung is a rich-voiced Fricka who uses her registers provocatively. At some point, she lost a bit concentration, and this is a role that needs constant engagement. In any case, it is always a pleasure to hear a singer with riches of voice and personality in a role often cast “from the ensemble”. Deborah Humble’s Erda is very classy throughout the whole range, and Eri Nakamura, Aurhelia Varak and Hermine Haselböck were perfectly cast as the Rheintöchter.
* I use the word “international”, because Takashi Asahina’s recorded a complete Ring for Fontec with the New Japan Philharmonic and an all Japanese cast in the 1980’s.
Speaking with the Michael McLoud, CE of the HKPhil, after the performance, I was assured that Matthias Goerne would indeed be the Wotan in next year’s “Die Walkure”. Mr. Goerne’ has sung lieder in HK a couple of times so we are familiar with him. I was pleased with his performance. I could see he was battling a respiratory condition which may have helped to keep him in the ‘velvety’ range. Being an outsider in this midst of his own game is an interesting twist on this character and one that doesn’t seem to lessen the drama or the irony of this opera.
It’s a great accomplishment for the HK Phil and they are all to be congratulated for pulling this off some years after it was originally floated as something for Edo de Waart.
Bravo!
Indeed, I noticed that he coughed once or twice and had to clean his nose at other point. I like Matthias Goerne and, although I still believe that the Walküre Wotan is quite a stretch for him, I wish him all the best and that he takes profit of this year to find his way through that very tough role. Thanks for posting!
Oh, what a detailed and ‘fair’ comment on the main reviewer’s part. Certainly Herr Goerne caught the ‘Hong Kong flu’ during both nights of this performance.
The keen observation of his ‘twist’ in the Wotan portrayal. He has the richness of tone to handle this role, though Die Walkure will certainly pose a real challenge (not just to Herr Goerne, but to every singer, though).
Fingers crossed who will be chosen by maestro Van Zweden to sing Siegmund next year. Fingers crossed for the ‘great’ Johan Botha (who will be just fine singing in ‘concert’).
Kwangchoul Youn gave a very interesting performance here. I have never seen him live, but this is certainly one of the foremost basso cantante now singing on stage! Truly first rate artistry. Similar, the dark bass of Milling is very impressive. This pair of contrasting ‘giants’ offer one of the high points of the evening, together with Sidhom’s Alberich and Begley’s Loge. I have seen Peter Schreier’s Loge in the Karajan ‘film’, but must say that Begley is equally outstanding as Schreier in his high sarcasm and cunning aloofness.
Cangelosi and Reid are both gems of tenors.
The men’s side really is the envy of any production of Das Rheingold.
The ladies, well, they are also very competent, but really, not as outstanding as tthe men. De Young is competent as Fricka, but one would think easily of Stephanie Blythe in this role and what Blythe would have done with it. One also misses a real contralto in the brief yet dramatic role of Erda.
I fully agree with the assessment of HK Phil. They have performed the Hollander in 2013 with Opera Hong Kong.
Hello, Cecilia! Thanks for reading and commenting. As you said, the Walküre Wotan is a tough piece of singing, even for Heldenbaritons. When Christa Ludwig, for instance, decided that she would sing Fidelio, she knew it was in the limit of her possibilities and that she would pay a price for that, a price she was willing to pay though … When she described the feeling of not knowing how it would be every evening, the sense of relief once Abscheulicher! was over and that she considered (or finally did, I don’t remember now) taking medicine to deal with the nervousness, I wonder if this kind of venture is truly worth the trouble. But that’s not a decision for us to make.
Kwangchul Youn, on the other hand, is a 100% certified Wagnerian voice. I have seen him in many Wagner roles and in different theatres (Bayreuth included) and he never lets the music and the audience down. He is also a very nice guy – I could talk to him last time I saw him and he was friendly and charming.
As for the ladies, I agree that the male singers were more flashing, but I guess this is also Wagner’s fault: their roles in Rheingold are more interesting. Stephanie Blythe was one of the most impressive Frickas I have ever seen (even if she is far from a bête de scène), because the voice is just irresistible and the musician is faultless. Maybe for a the Rheingold Fricka, it is more advisable to have an immediately impressive voice to give more profile to the role. Although the Erda was a mezzo, she was a mezzo with beautiful low notes and a very noble tone. That made it happen for me…! 🙂
I am so glad to hear the David Cangelosi is still on the rise in his career. He began in Chicago, my city, about 15 years ago and has gone from strength to strength. I haven’t heard him since he sang Augustin Moser in Thielemans’s Meistersinger (his one and only appearance in the windy city) in 1999. Cangelosi is a very strong actor as well as a fine tenor, capable of more major roles, such as this Mime, and the Siegfried Mime as well as David in Meistersinger.
I like van Zweeden’s Parsifal and look forward to this possible recorded Ring in the fullness of time. Though I am not at all convinced Goerne is anything like the kind of Wotan that could be in the top ranks, in my books anyway.
Thanks for this very interesting report.
You’re welcome, Jeffrey.
“I like van Zweeden’s Parsifal and look forward to this possible recorded Ring in the fullness of time.” The programme notes say that “Das Rheingold” was being recorded by Naxos. I doubt they would hold back for the entire Ring before releasing this one nor would I expect them not to continue the whole journey.
And Mr. Cangelosi is already planning on his Siegfried in Hong Kong per his remarks outside the auditorium. Anyone going to the “DIe Walkure” in concert in Tokyo this April?
Hello, Joy! I understand that Mr. Cangelosi is singing Mime in that Siegfried, is that correct?
Yes, I have a ticket for Janowski’s Walküre in Tokyo.
I went around to the stage door and he was the first to come out. I asked him if he was Mime in the Siegfried a few years down the line and he corrected me by saying, “Yes, and its only two years from now.” So that sounds pretty definite to me.
Which will you attend? I will be attending the April 7 concert. Shall we meet up?
Hello, Joy! We could do this. How can I send you a message so that we set the details?
When I post, it shows my e-mail address in the wordpress box. That might mean someone in charge has both yours and mine and could act as the middleman, so to speak, and put us in touch. If so, whoever you are, please do.
I have just checked – I am going on April 4th (April 7th is a working day…). I am sorry, I should have checked this before!
This day is still a public holiday for us HK people which gives us a five day holiday break.
Good for you…! Well, maybe next time… 😦
I am so gratified that you enjoyed David Cangelosi’s performance; you can catch him in Chicago’s Lyric Opera production of Tosca in Feb, and as Mime in Francesca Zambello’s Ring Cycle at the National Opera in Washington DC in 2016.
Thank you, Tracy. The Ring Cycle in Washington is a tempting idea…!