Skip to main content

Blomstedt conducts the San Francisco Symphony in Tchaikovsky and Sibelius 

The soloist Yundi was an up and coming star in the piano world until Lang Lang came along and stole the limelight. So it was a delight to get a chance to listen to Yundi play Tchaikovsky piano concerto no 1. The opening movement had a certain briskness to it. Yundi's long phrases were punctuated by percussive interjections from the brass section of the orchestra. Apart from a few slips, this movement was well played. The second movement had an unsteady start - with Yundi pushing for a brisker tempo than what the orchestra was prepared to give - so the first few phrases rocked a little. But everyone was soon back in "concert". The last movement was probably the best - the orchestra kept pace with the soloist. The fiendishly difficult cadenza gave Yundi the opportunity to show off his virtuosity - fingers flying cross the keyboard.

The second half of the concert was Sibelius second symphony. This gave me the real opportunity to hear the San Francisco Symphony Orchestra at its home the Davies Symphony Hall. The brass section was fabulous - they had this wonderful sonorous sound that was warm yet punchy. The strings were pretty good too - a very tight section. Blomstedt took the work at a brisk pace and maintained momentum throughout. While there was little wallowing in the big moments, I felt there wasn't quite enough introspection and passion. It was too 'cool' for my liking. Would love to have the opportunity to hear the band under MTM - one day.

Comments

Popular posts from this blog

Dialogues des Carmélites at the Royal Opera

Michael Levine's set design for Dialogues des Carmélites was minimalist. Actually, was there any set design? I suppose the director Robert Carsen was clever at introducing formation of human figures in many different ways to suggest the context of the opera. It kind of worked. Blanche, sung by Sally Matthews, was pretty good. Though I did find the whole work quite tedious - I think the intimate nature of the dialogues needed a small and intimate performing space i.e. not the Royal Opera House. The ending was worth waiting for. Dramatic. Poignant.

Der fliegende Holländer at the Royal Opera

I have managed to avoid all the reviews as I didn't want them to taint my experience of the new production of Der fliegende Holländer at the Royal Opera. The long overture was accompanied by a seascape - essentially water running down a curtain across the stage forming the sea. The set was clever without cluttering the stage. A moving shadow represented the ghost ship - which had to be one of the most economical and convincing effects I have ever seen on the Royal Opera stage. Bryn Terfel was magnificent as the Flying Dutchman singing with lyricism and drama. Senta, sung by Anja Kampe, had a Wagnerian voice with her top note ringing through the auditorium. Even the supporting cast of Hans-Peter König (Daland), Torsten Kerl (Erik) and John Tessier (Steersman) was strong. The chorus was fantastic - with enough singers carrying the drama. Marc Albrecht at the helm in the pit got the orchestra to play dynamically without losing the details. I am hoping this Dutchman will return to the...

Xuan Spa, Park Hyatt Saigon

After a long day on my feet travelling from frantic Bangkok to Saigon, I very much looked forward to a relaxing massage before going to bed. The Xuan Spa was a very pleasant surprise. The staff was very friendly and the atmosphere of the spa was tranquil - a world away from the screaming mopeds on the streets outside. The therapy room was big, with an en suite shower and lovely foot bath. The massage was good - classical Swedish - and at a leisurely pace. Subsequently I had a very good night's sleep.