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    <title>Dirk Luiten - South China Morning Post</title>
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      <title>Dirk Luiten - South China Morning Post</title>
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      <author>Dirk Luiten</author>
      <dc:creator>Dirk Luiten</dc:creator>
      <description>Three days after the devastating fire in Tai Po broke out, the Hong Kong Philharmonic Orchestra prefaced its concert with a moment of silence, followed by a subdued rendering of Elgar’s Nimrod.
From this sombre stillness, 27-year-old pianist Mao Fujita emerged on stage to confront Rachmaninov’s monumental Piano Concerto No 3.
His diminutive frame and gentle disposition made him seem an unlikely vessel for the concerto’s formidable physical and emotional demands.
He introduced the primary theme...</description>
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      <pubDate>Tue, 02 Dec 2025 03:35:05 +0000</pubDate>
      <title>Pianist Mao Fujita delivers a technical masterclass alongside HK Phil in poignant concert</title>
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      <author>Dirk Luiten</author>
      <dc:creator>Dirk Luiten</dc:creator>
      <description>Artists find inspiration in places both profound and pedestrian, a creative spectrum vividly illustrated by the Hong Kong Philharmonic Orchestra’s latest concert.
The featured composers drew from sources as diverse as quantum physics, Beethoven’s explosive contrasts, Ukrainian folk melodies and the humble street cry of a sausage vendor. But it was the sound of water that set the evening in motion.
The world premiere of Charles Kwong Chin-wai’s Festina lente opened not with a grand statement, but...</description>
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      <pubDate>Tue, 14 Oct 2025 07:15:08 +0000</pubDate>
      <title>Hong Kong Philharmonic and pianist Kyohei Sorita put on lively concert</title>
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      <author>Dirk Luiten</author>
      <dc:creator>Dirk Luiten</dc:creator>
      <description>In the rarefied world of orchestral performance, few debates are as enduring or as divisive as the question of leadership. Does transcendent artistry emerge from the iron will of a single visionary, or through the alchemy of collective insight?
This question has resurfaced with fresh urgency in light of a recent documentary examining the methods of Jaap van Zweden, a Dutch conductor and former music director of the Hong Kong Philharmonic Orchestra whose exacting, often fiery rehearsals defined...</description>
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      <pubDate>Mon, 07 Jul 2025 09:15:09 +0000</pubDate>
      <title>Jaap van Zweden returns for Hong Kong Philharmonic concert featuring Augustin Hadelich</title>
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      <description>Strict, conservative definitions of Western classical music would not be sufficient to encapsulate the repertoire in harmonica player Cy Leo’s concert with the Hong Kong Sinfonietta. Each of the pieces they performed relies heavily on influences from other musical styles.
French composer Ravel draws upon Spanish folk traditions, the American Gershwin infuses jazz elements in his compositions, and Canadian Robert Farnon references music of a lighter vein in his work for harmonica.
Hearing their...</description>
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      <pubDate>Mon, 12 Aug 2024 09:15:09 +0000</pubDate>
      <title>Harmonica player Cy Leo and Hong Kong Sinfonietta’s eclectic concert a mixed bag</title>
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      <description>By the time Giacomo Puccini’s opera Tosca was premiered in 1900, approaches to singing in Europe were varied.
The old Italian operatic style of bel canto had had a mini resurgence, which contrasted with the Wagnerian sprechgesang. The verismo (realist) style of Puccini and his contemporaries, which offered greater fluidity, accessible characters, and great vocal strength given the frequently dense orchestral scores, further contributed to a diverging vocal landscape.
Opera Hong Kong’s new...</description>
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      <pubDate>Fri, 13 Oct 2023 05:45:14 +0000</pubDate>
      <title>In Opera Hong Kong’s new Tosca, Claudio Sgura steals the show as Scarpia, the staging is clever and Oksana Dyka strikes right balance in title role</title>
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      <description>It is not uncommon for composers to re-orchestrate earlier works to be featured in larger multi-movement pieces, or extract highlights from lengthier pieces to form symphonic suites.
Both adapted forms were on display in the Hong Kong Philharmonic Orchestra’s sold-out Joe Hisaishi concerts, with the Japanese composer, best known for writing soundtracks for Studio Ghibli movies, leading a triptych of Hong Kong premieres from the podium himself.
In the opening Symphony No. 2, each of the three...</description>
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      <pubDate>Tue, 27 Jun 2023 09:15:09 +0000</pubDate>
      <title>Studio Ghibli composer Joe Hisaishi’s Hong Kong Philharmonic Orchestra concerts a delightful combination of flair and fantasy</title>
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      <description>Before the fifth wave of the Covid-19 outbreak in Hong Kong forced the cancellation of all live performances for the 50th Hong Kong Arts Festival, Shanghai Opera House was scheduled to present a production of 19th century French composer Gounod’s opera Roméo et Juliette to close it out.
Instead, the opera house ended up streaming a pre-recorded double bill of Mascagni’s Cavalleria Rusticana and Leoncavallo’s Pagliacci as the festival’s grand finale.
The performances were recorded in September...</description>
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      <pubDate>Tue, 05 Apr 2022 09:15:13 +0000</pubDate>
      <title>Shanghai Opera House’s Cavalleria Rusticana and Pagliacci for Hong Kong Arts Festival offer hits and misses</title>
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      <description>In Scott Hick’s 1996 film Shine, the late Sir John Gielgud’s character posits that “no one’s ever been mad enough to attempt the Rach 3”, to which Noah Taylor, as the pianist David Helfgott, replies: “Am I mad enough professor? Am I?”
The film popularised anew Sergei Rachmaninoff’s third piano concerto while highlighting the work’s profound technical challenges and overwhelming emotional drive.
The 30-year-old British pianist Alexander Ullman is among the latest to be “mad enough” to take it on....</description>
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      <pubDate>Mon, 22 Nov 2021 09:15:22 +0000</pubDate>
      <title>Pianist Alexander Ullman’s Rach 3 with the Hong Kong Sinfonietta skilfully brings out the concerto’s emotional depth</title>
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      <description>Place two objects side by side, invite comparison, and connections will invariably arise. Such was the exercise of Israeli pianist David Greilsammer who, by alternating between the sonatas by Domenico Scarlatti and John Cage without pausing, challenged his Hong Kong City Hall Concert Hall audience to explore the relationship between these two rather different, yet exceptionally innovative composers.
Greilsammer has this to say about the 70-minute programme: “It was just a juxtaposition between...</description>
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      <pubDate>Tue, 07 Sep 2021 03:15:18 +0000</pubDate>
      <title>Recital of Scarlatti and John Cage piano sonatas by David Greilsammer throws up intriguing questions</title>
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      <description>Live concerts last year to celebrate the 250th anniversary of Ludwig van Beethoven’s birth were disrupted by the coronavirus pandemic. And so the Hong Kong Philharmonic continues to acknowledge the German composer’s legacy, albeit belatedly – opening its 2012/22 season with a Beethoven programme that also saw music director Jaap van Zweden’s long-awaited return to the rostrum.
The concert began with Old Bei (an affectionate name for Beethoven in China), a new commission by composer Raymond Yiu...</description>
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      <pubDate>Mon, 06 Sep 2021 07:41:23 +0000</pubDate>
      <title>Hong Kong Philharmonic’s uplifting Beethoven 7th Symphony under Jaap van Zweden’s baton gets 2021/22 season under way</title>
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      <description>Treacherous and malevolent at times, poignant and reflective at others, Norma is a role that requires a gamut of human emotions unparalleled in the operatic canon. It calls for a voice with remarkable vocal agility and fluctuation in tone quality, and any attempt nowadays invites comparison with the great Normas that came before: Montserrat Caballé, Joan Sutherland and, of course, Maria Callas.
As such, Meryl Dominguez – the Cuban-American soprano who replaced Laura Alonso Padín on opening night...</description>
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      <pubDate>Mon, 05 Jul 2021 07:15:04 +0000</pubDate>
      <title>Musica Viva’s compelling Norma on opening night in Hong Kong needed greater balance between the opera leads</title>
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