Review | Excerpts from Haydn performed in costume by City Chamber Orchestra of Hong Kong an entertaining affair with some musical wobbles
- ‘Haydn & The Prince’, a narrated stage show with City Chamber Orchestra of Hong Kong players in replica 18th century dress, was evidently a crowd pleaser
- As an entertaining introduction to Haydn’s music for a mainly young audience it worked, but some undisciplined playing detracted from the show’s effect
Had 360-degree feedback been a thing in the late 18th century, Austrian composer Joseph Haydn’s work appraisals would have topped the charts when he was head of the musical establishment at Esterházy Palace, dubbed the “Hungarian Versailles”.
Left largely to his own devices by a musical prince with abundant resources, it was little wonder that “Papa” Haydn – a fitting nickname for the undisputed father of the classical symphony and inventor of the string quartet – could deliver inspired and creative compositions on a regular basis.
The City Chamber Orchestra of Hong Kong (CCOHK) provided an entertaining take on Haydn’s fertile work environment under the employ of Prince Esterházy and his subsequent rise to stardom in London in “Haydn & The Prince”, its latest stage production written and directed by the orchestra’s founder, Leanne Nicholls.
Nicholls has come up with a tantalising show featuring well chosen excerpts from no fewer than 17 works among the Austrian’s extensive output.
The stage was transformed into an 18th century salon, designed by Ernesto Maurice Corpus, and everyone wore period costumes – designed by Nicholls – that were extravagant and impressive. The musicians were fitted out authentically in royal blue coats with gold-trimmed sleeves and lapels and led by conductor Philip Chu, who delighted in the role of the composer.
Amusing anecdotes about some of the most famous works excerpted were turned into pantomime gags, to the delight of the near-capacity audience who attended the matinee performance on April 30.
When a chandelier backdrop crashed to the ground and rudely interrupted Haydn’s Symphony No 96 “The Miracle” – as happened at its premiere in London in 1795 – there was an audible gasp from the audience; storyteller Matthew Creed gave a lively explanation of how the symphony earned its nickname from the fact no one was injured in the incident.
Likewise, the fortissimo G major chord that appears out of the blue in the quiet opening of Symphony No 94 “The Surprise” was played to maximum effect.
Though discrepancies in the CCOHK’s string intonation plagued the Adagio finale of Symphony No 45 “The Farewell” – a challenging piece of music given its awkward F sharp minor key signature – the clever message Haydn made with the movement, an appeal to the prince on behalf of his musicians for some time off, was well coordinated.
As documented by historians, players began to stand up one by one, snuffed out the candles by their sides and quietly left the stage, leaving two violinists in a duet to end the movement, to the bewilderment of the prince. The message got through, apparently, and the musicians were allowed to return home to their loved ones.
Proof of the success of Sunday’s performance of “Haydn & The Prince” in English – it had previously been presented at schools narrated in Cantonese – was clear in the enthusiasm of the young audience and their delight in discovering Haydn’s music.
But those craving a musical performance of more substance were clearly at the wrong party. Even if Nicholls’ foremost intention was to entertain and educate, instances of undisciplined playing detracted from the show’s effect.
The opening St. Anthony Chorale began raggedly in the horn quartet and took some time to settle, and tempo pickups were untidy on occasion in the strings, notably in the rocky beginning to the third movement of the Symphony No 67.
Fortunately there was ample fine playing as well. Cellist Shelagh Heath charmed with sweet and sonorous lyricism in the second movement of the Symphony No 13, and the playing of the Serenade from Haydn’s String Quartet Op 3 No 5 demonstrated fine sensibility.
A tighter orchestral sound also marked the first movement of the Symphony No 48 “Maria Theresa”, which Haydn possibly composed for a visit to Esterháza by the ruler of the Habsburg dominions herself.
Actress Candice Moore, in fabulously opulent royal dress, portrayed the Empress Maria Theresa bellowing the line: “If I want to hear good music, I have to go to Esterháza!”
Haydn’s music is not a popular choice of orchestras in Hong Kong. The enthusiastic reception for “Haydn & the Prince” would suggest there is appetite for more – especially when played with more consideration.
“Haydn & The Prince”, City Chamber Orchestra of Hong Kong, Hong Kong City Hall Concert Hall. Reviewed April 30 4.30pm.
