Author Archives: thomas hoang

On Sunday, Mar. 24, I had the privilege of attending a concert hosted by the Vancouver Recital Society (VRS). VRS was founded in 1980 by director Leila Getz, and since then, has invited countless musical virtuosi to come performance recitals in Vancouver. Past performs whom have been invited include renowned pianst Evgeny Kisisn, cellist Yo-Yo Ma, and sopranos Jessye Norman and Kiri Te Kanawa. This time, the VRS invited Yevgeny Subdin, a young Russian pianist whom is no doubt a rising star in the musical world. Subdin was born in St. Petersburg in 1980 and has studied at the Purcell School in London, as well as the Royal Academy of Music. On YouTube, he is well-known for his interpretations of pieces by Domenico Scarlatti and Alexander Scriabin.

The concert began with two Sonatas, in B minor and G major respectively, both by Scarlatti. Scarlatti has been categorized as a late-Baroque, early-Classical composer, and his sonatas certainly reflected this. Unlike the Classical sonata, Scarlatti’s sonatas were single-movement pieces not written in sonata form. However, repetition of some themes could have indicated the early signs of Classical era sonata form. Subdin next played Beethoven’s Bagatelles, Op. 126. This consisted of 6 short character pieces for piano, and according to Wikipedia, Beethoven is reported to have said they are the “best [he’s] ever written.” The individual pieces were absolutely charming, and it was hard to resist not clapping between each one! The pieces varied in tonality, as well as fast/slow tempos and major/minor modes. The Bagatelles were followed by a beautiful yet very technically challenging piece by Chopin, the Ballade No. 3 in A flat major Op. 47, which closed the 1^stact. Interestingly, Subdin’s repertoire began in the Baroque, moved through the classical, and ended in the Romantic.

After the intermission, Subdin picked off from where he left off with 3 pieces by Alexander Scriabin, a Russian composer of the late-Romantic, Early-20^thcentury. While all three pieces were incredibly technically challenging, the most impressive by far was the Nocture for the Left Hand, Op. 9. Remarkably, the entire piece was performed only with the left hand, with the right hand remaining at rest on Subdin’s lap. Despite only one hand, the piece sounded incredibly rich, harmonious, and full of sound. By default, this required the left hand jump massive distances across the keyboard to provide both the homophonic melodic line and the accompaniment.

For his encore, Subdin performed a piano adaption of the famous Danse Macabre by Camille Saint-Saens, a contemporary of Scriabin. Originally a piece for orchestra, Danse Macabre represents Death himself arriving on Halloween and inviting skeletons to awaken from the grave and dance throughout the night until dawn. While the music is beautiful, much of it written in triple meter to represent a waltz-like quality, one cannot help but be reminded that it is the dead, rather than the living, who are dancing. Of note is the presentation of the Dies irae melody borrowed from the Gregorian chant, similar to what we heard in class in the final movement of the Symphonie Fantastique.

Overall, Subdin put on an absolutely remarkable performance. From where I was sitting, I was fortunate enough to have a view of his fingers as the flew up and down the keyboard throughout the concert. What an incredible concert experience! (5/5)

One of my close friends was a cast member in the UBC Musical Theatre Troupe’s production of Legally Blonde – The Musical. Not only did I get to go and support her Mar. 24 performance, I was also able to document it in my MUSC 326a concert journal! Having attended two operas and a VSO concert for my previous entries, Legally Blonde would definitely be a striking change in musical genres! Originally a novel by Amanda Brown, it was famously adapted into a 2001 film starring Reese Witherspoon. In 2007, the movie was then turned into a contemporary music that opened on Broadway. The story focuses on Elle Woods, a sorority president and fashion merchandising student at UCLA who decides to pursue a law degree at Harvard after being rejected by her boyfriend for not being “serious enough.” We follow her difficulties fitting in with the Harvard crowd, constantly being ostracized for her love of fashion, beauty, and the colour pink. Ultimately, she learns to apply her talents to her legal education, proving to herself and others her formidable legal capabilities.

In many ways, Legally Blonde retains musical features that are reminiscent of both Italian Opera Buffa and Wagnerian Opera. Opera buffa originated from comedic intermezzi performed between acts of dramatic opera seria. These performances represented the natural stories of contemporary life, a vast contrast to the mythical features of opera seria, and thus gained popularity due to their relatability. This is representative of how contemporary musicals like Legally Blonde have gained popularity in the 21th century, for they depict stories directly relatable to a general audience. The story of Elle Woods reverberates with any would-be theatre-goer who ever felt as though they did not fit in or had their accomplishments and inner qualities overshadowed by a physical attribute. Through the uplifting, lighthearted lyrics and a charming score Laurence O’Keefe and Nell Benjamin, the modern audience becomes captivated the same way early-Classical audiences fell in love with opera buffa.

Though composed nearly 125 years after the death of Richard Wagner, elements of Wagnerian leitmotifs are still prevalent in the score. Much like the Prelude to Tristan and Isolde, the very brief overture to Legally Blonde provides us a brief look at some recurring themes that will be heard later. One prevalent theme is present in the first number “Ohmigod you guys.” The melodic that accompanies the lyric “Oh mi god, oh mi god you guys!” can be heard throughout the musical, often playing in times Elle Woods experiences success or victory. The theme from “Serious” can also be heard throughout the musical, indicating moments where Elle experiences self-doubt.

One final comment can be made on the structure of the musical performance. Unlike other popular musicals, such as Les Miserables, or Phantom of the Operawhich employs constituent “recitative,” Legally Blonde does not have constant musical instrumentation. Rather, the plot is moved forward mainly be dialogue, with individual numbers, much like the structure of a singspiel. As a result, ever number can be isolated as an individual performance, and allow for applause breaks between piece.

It is interesting to see how features of opera from the 18^thand 19^thcentury, as well as the factors that draw audiences to the theatre, are still very relevant in 2019! (4/5)

On Mar. 22, 2019, I attended the Vancouver Symphony Orchestra’s performance of Mozart’s three final symphonies at the Chan Centre for the Performing Arts. The orchestra was under the baton of Otto Tausk, the new conductor of the VSO. In his opening remarks, Tausk shared with the audience that Mozart’s Symphonies 39-41 were all conducted over the span of one summer in 1788. He mentioned that, in many ways, the three symphonies acted as the 1^st, 2^nd, and 3^rdmovement of a larger unified composition, thus they should be performed back-to-back in order to appreciate this phenomenon. Most interestingly, Tausk directed the audience’s attention to two instruments situated behind the orchestra: a harpsichord and a fortepiano. During the Classical Era, it was very common for a composer to direct their own work sitting at a keyboard in front of an orchestra and play along. Since it is not known which instrument Mozart played while conducting these symphonies, both were included in the performance. Unfortunately, Tausk himself admitted his inability to play the instruments, and thus a separate musician was behind each keyboard. Remarkably, the keyboardist improvised the whole performance, building off many of the bass notes and chords, as this keyboard role is not written into the score. She did such a fantastic job that Tausk actually gave her the bouquet of flowers he received at the end of the performance!

The concert began with Symphony No. 39 in E flat major, a four movement piece. The movement opens with a slow fanfare, as if to indicate the grand beginnings of a unified musical masterpiece spanning his three symphonies. Interestingly, the begin is quite slow, and a fast theme is not heard until later until the exposition, signifying the beginning of sonata form. A Wikipedia search also revealed sonata form is used in 3 out of the 4 movements in this symphony! As expected, the second movement was of slower tempo, while the third appears to be in triple meter, forming a minuet and trio. The piece closes with another fast section written in sonata form, composed of rapid scales played by the strings and light carefree melodies from the woodwinds.

Next was the famous Symphony No. 40 in G minor, which we studied in class. It was a treat to listen to a piece we discussed at length be performed by a live orchestra! Unlike No. 39, and 41, No. 40 is the only symphony written in a minor mode. If the 3 symphonies are to act as one unified piece, it is as if Mozart intended to begin in a major key, flip to a minor key, and resolve this tension by ending once again on a major key. The iconic first movement began with the breathless melody we know so well that captures the essence of Sturm und Drang. Like No. 39, No. 40 also has its first movement written in sonata form. Again, movement 2 is expectedly slow, movement 3 a minuet and trio, and movement 4 a fast tempo. I particular enjoyed movement 4, which included fast-paced, “breathless” melodies similar to what we heard in the first movement.

Finally came Symphony No. 41 in C major, also known as the Jupiter Symphony. While it parallels the first three symphonies in movement structure, something about the melodies and instrumentation made it seem “grander” than the previous two. The first movement opens with a vibrant, dramatic melody played by the stringers and bolstered by bass and timpani. However, the final movement of the Jupiter was definitely the highlight. Here, we can hear numerous themes played together in what almost sounds like polyphony. We can also hear what sounds like a fugue, with multiple entries of an exposition. The end of the 4^thmovement is by far the most grandiose of the 3 pieces, a fitting close to note only the concert, but also to the last symphony ever written by Mozart. (3/5)

On Feb. 19, 2019, I attended an incredible performance of Giacomo Puccini’s La Boheme, staged by the Vancouver Opera (VO). I had attended two other Puccini operas performed by VO in the past, Madame Butterfly and Turandot, so naturally, I was very excited to see La Boheme for the first time! Puccini was an Italian opera composer of the late 19^thcentury. No doubt influence by Giuseppi Verdi, his operas typically focused on love stories and tragedies, set to beautifully lyrical melodies. La Boheme is no exception. After an initial debut at Teatro Regio in Turin in 1896, it has captivated audience for over 100 years.

As the opera begins, there is the lack of an overture, as one would expect from a baroque or classical era opera. Instead the orchestra gives only a brief musical introduction that leads directly into singing. This captures the sentiment of Romantic era operas, where the voice seems to lead and is the main source of passion and emotion; the orchestra existing mainly as an accompaniment to the voice. As we enter 1830’s Paris, we are introduced to the artist Marcello and his friend Rodolfo, a poet. Despite near-destitution, the pair live happy and humble lives, frolicking with their other friends, a musician and a philosopher. While the four sing as an opera ensemble, much of their singing seems to consist entirely of what sounds like continuous recitative, perhaps a representation of how Romantic opera had evolved to consist of uninterrupted music rather than fragmented numbers. While arias are still used, this musical structure seemed to comprise most of the opera.

Just as the group is about to leave for dinner, they are interrupted by their neighbour Mimi who is overcome with illness. Rodolfo decides to stay behind to tend to Mimi, and in the dark, they fall in love. This love story becomes the central focus of the rest of the opera. Rodolfo introduces Mimi to his friends as they eat dinner in the Latin Quarter of Paris. The music from the orchestra is lively as to mirror the bustling crowds. It is here that Marcello runs into his former lover, Musetta, who tries to spark jealousy by performer the risqué “Quando m’en vo’,” more famously known as Musetta’s Waltz. It is a through-composed aria in triple meter, and the theme we hear becomes a recurring motif throughout the opera. However, the aria is swept away by the lively ongoings of the Latin Quarter. An energetic marching band appears onstage, accompanied by a parade of fanciful costumes and giant dolls to close the 2^ndact.

However, the flourishing romance between Rodolfo and Mimi begins to diminish as the two get into a fight at the beginning of the 3^rdact. She, upset by his jealously, and him, by his helplessness in curing her from her worsening illness, later lead the couple to end their relationship. The 3^rdact is filled with incredibly moving, lyrical music that symbolizes the main essence of the Romantic era: music so passionate it can move the audience to tears. With Marcello and Musetta’s relationship also on the rocks, together with Mimi and Rodolfo, the quartet sings “Addio dolce svegliare alla mattina” symbolizing the end of their respective romances as they pray for brighter outcomes in the future. No such outcome arrives, as Mimi arrives at Rodolfo’s home in act 4 sicker than ever. While the Rodolfo’s friends rush to seek medicine and a muff for Mimi’s ice-cold hands, Rodolfo and Mimi sing the emotional duet “Sono andati,” where she professes her undying love for Rodolfo. Unfortunately, the medicine and garment arrive too late, and Mimi succumbs to her disease, thereby ending the opera. VO certainly uses some theatrical magic to represent the immortalization of Mimi as some eternal spirit. After the ensemble crowds around Mimi’s body, they disperse, revealing to a stunned audience that Mimi had disappeared.

Overall, VO’s La Boheme was an incredible musical experience. The use of continuous recitatives such by soloists and ensembles, coupled with powerful arias and a moving storyline in many ways summarized the essence of Romantic era Italian Opera. It is no wonder that La Boheme continues to be one of the most performed operas over 100 years following its debut. (2/5)

On Feb. 1, 2019, I was delighted to have been able to attend a fantastic performance of The Magic Flute, an opera by Wolfgang Amadeus Mozart that we explored in class. Since I had taken piano lessons as a child, I had a small music background and thus had been familiar with more well-known excerpts from the opera, such as the overture, 2^ndaria of the Queen of the Night, and the duet between Papageno and Papagena. However, I had only ever listened to these pieces on YouTube, and thus was extremely excited to be able to witness, for the first time, the opera being performed live in its entirety!

The opera began with the iconic overture, written in sonata form. With its grand, fanfare-like entrance of 3 chords, followed by both fast-paced and slower, lyrical themes, the piece seemed to foreshadow what was to come. The first theme presented in the exposition is quick and on-edge, as if someone/thing is being chased. Played rapidly by the strings, the theme seemed to hint we would be embarking on a journey filled with action, adventure, and excitement. The second theme of the exposition, a more lyrical melody played the woodwinds, seemed to represent the fantastical realm the characters of the opera exist in, filled with magical sorcerers, evil queens, and enchanted instruments.

At the end of the overture, Prince Tamino enters while being chased by a serpent. After he faints in fear, three ladies appear who manage to take down the beast and rescue Tamino. Together, they comprised an opera ensemble as they sang about who should guard Tamino whilst the other two depart. I must say, the UBC opera students playing the three ladies did an excellent job adding humour into their roles, putting a more sassy and flirtatious spin on these iconic characters. This almost humanized the three ladies, making them more relatable and playing into the more opera buffa aspect of the Magic Flute.

While I do not have space to discuss the entire opera, there are a few other moments I would like to point out. First, I must commend whoever played the Queen of the Night for doing an outstanding job. It is no secret that both of her arias, with the stratospheric coloratura and impossibly high staccatos, are some of the most technically challenging pieces ever written for sopranos. This actress not only hit every single note clearly but sang them with the sustained dramatic power expected of the Queen of the Night. Incredibly, she even held the high F at the end of the coloratura run of “O zittre nicht mein lieber Sohn.” Her superb performance was evidenced by the loud cheers and standing ovations she received at the final bow.

Another highlight of the show was when Pamina and Papageno were cornered by Monostatos and his minions. When all seemed lost, Papageno remembers the magic bells gifted to him by the Three Ladies. As he begins to play, the music is so delightfully captivating that it manages to put the would-be captors into a trance! They start singing and dancing along to the bells, along Pamina and Papageno to escape. This was definitely a moment of levity that had the audience in giggles. I can only imagine the pressure on the glockenspiel player in the orchestra responsible for generating the music of the bells!

Overall, I had a wonderful time attending UBC Opera’s The Magic Flute. For such a dynamic opera that (as we discussed in class) includes elements on opera seria, opera buffa, singspiel, and sacred music, the UBC Opera students did a phenomenal job! This was a much-needed break leading up to midterms at the time. (1/5)