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SCMP Reporter

A Gala Evening with  Kiri Te Kanawa
Hong Kong Philharmonic Orchestra
Cultural Centre Concert Hall
Reviewed: Dec 21
Dame Kiri Te Kanawa is renowned for a powerful  voice that touches. When she sang the title role in Richard Strauss'   Arabella at the Lyric Opera Centre for American Artists in 1983,  she did so with grace, beauty, and power in  her voice. We were amazed at how, when she was singing out, we could  feel the sound waves  washing over us.
Last Friday, the dame (below) was in town to perform with the Hong Kong Philharmonic Orchestra.  As Te Kanawa arrived on stage she received  the prolonged applause worthy of her position  as one of the great divas in operatic history.
The programme - which included Mozart, Bellini and Strauss - was  carefully planned:  at her age, there  are some things she can no longer accomplish vocally.
To make a round, bell-like tone she had to keep her voice at a piano or mezzo piano. Most of her lower notes were spoken or parlato. Her weaknesses were especially evident in the two Mozart arias, Porgi amor (The Marriage of Figaro)  and   Ach, ich fuhl's (The Magic Flute): there  was not enough sound or true legato line presented.   Her encore of   Oh mio babbino caro was simply crooned in a piano to pianissimo voice, certainly not in a youthful, vibrant and open style required either by the character of Lauretta or the Puccinian orchestration.
The orchestra was superb in accompanying her, led by conductor  Julian Reynolds. He was clear, firm and  never permitted the orchestra to overpower  Te Kanawa.
One bright spot was her rendition of Strauss' Morgen, which was one of the most touching I have ever heard.



A Gala Evening with  Kiri Te Kanawa