FIRST PIANO TEACHER TO STAND IN THE GENERAL ELECTIONS 2025

This is not a blog on political matters, but I thought it interesting that a piano teacher has decided to stand for election at this year's General Elections on 3 May 2025. The would-be politician name is Emily Woo Chia Ying, who is on the slate of Red Dot United as it contests the Holland-Bukit Timah Group Representation Constituency. 

I have known Chia Ying since 1982, when she was a music elective student at Raffles Junior College. She was a student of the late Ong Lip Tat, as were many other aspiring professional musicians and pianists. She performed Chopin's Fantaisie-Impromptu at the inaugural RJC Arts Festival at my invitation, and I also remembered her playing Rachmaninov's Prelude in A minor (Op.32 No.8) at an Ong Lip Tat student concert, and she was quite brilliant in the prestidigitation. She later studied and graduated from the Catholic University in Paris. 

She is presently active in music education, including writing several books on piano playing and regularly attending concerts. One supposes that seeking political office is the next step. Interestingly, she is the minority candidate in Red Dot United's four-member group standing for election. Red Dot United has absolutely nothing to do with Red Dot Baroque although Chia Ying could qualify to be one of its keyboardists.

Update: RDU garnered 20.71% of the valid votes on 3 May 2025, and was able to keep its deposit. 

BIZET'S CARMEN / Singapore Lyric Opera / Review

 

BIZET’S CARMEN 

Singapore Lyric Opera 

Victoria Theatre 

Friday (25 April 2025)

This review was published in The Straits Times on 28 April 2025 with the title "Stripped down Carmen buoyed by pleasing leads".

When the Singapore Lyric Opera (SLO) last mounted a production of Georges Bizet’s Carmen in 2011, times were very different. It was then the only opera company in Singapore with a proven track record, but its primacy has diminished with the rise of younger opera companies which have been equally serious in their missions. 

Photo: Singapore Lyric Opera

For its 35th anniversary year, SLO fell back on this old favourite as its only major production. Directed by Nancy Yuen as a semi-staged opera, it was decidedly low budget but had high production values. Accompanied by SLO Chamber Orchestra conducted by Joshua Tan, the music came first before all else, and this was what truly mattered. 

Photo: Singapore Lyric Opera

The Singapore debuts of three French singers, Mathilde Ortscheidt in the titular role, Samy Camps as Don Jose and Edwin Fardini as Escamillo, were instant hits. Ortscheidt’s Carmen, standing out in her bright red outfit, was the real thing – attitudinous and seductive. This was in marked contrast with the brow-beaten Don Jose, whose pathos was well portrayed by the heavily-tattooed Camps. 

Carmen’s famous Habanera, about a bird that refuses to be constrained, and Jose’s Flower Song were the easily recognisable solo arias to which the opera successfully pivoted around. Their chemistry sizzled, pitting Carmen’s contempt opposite Jose’s haplessness. 

Photo: Singapore Lyric Opera

In between them, Escamillo was the coolest dude in flared pants, and one has seldom encountered a more laid-back version of the Toreador’s Song thought possible. In this production set in Singapore of the 1960s, he was a boxer operating in one of those amusement Worlds, rather than a bullfighter. 

Photo: Singapore Lyric Opera

Nostalgia ruled, and one will be tickled by the period costumes, reminiscent of those worn by the cast and extras of local television series Growing Up. Crowd scenes involving the SLO Adult and Children’s Chorus (Terrence Toh, Choirmaster) were good fun, especially spotting the Ah Bengs, Ah Lians, samsengs (hoodlums) and matas (police) among them. 

Photo: Singapore Lyric Opera

The close of the second act, with all the singers heroically proclaiming their independence (a la Les Miserables), seemed a tad puzzling. Who and what were they trying to be independent of? The British, Malaysia or the ruling political party? It was something worth pondering, given the proximity of the looming General Elections. 

While the French threesome shined, they were well-supported by a cast of Southeast Asian and local singers. Filipina soprano Nerissa De Juan was a rare find as the virtuous Micaela, while Cherie Tse (Frasquita) and Priscilla Fong (Mercedes) lit up the stage as Carmen’s sidekicks. 

Photo: Singapore Lyric Opera

The third act’s card-playing scene involving the three ladies was particularly poignant, laying out their divergent fortunes. Two will discover love and lucre, while Carmen will find only death, a premonition for the final act to come. Kee Chun Kiat (Remendado), Edward Kim (Dancaire), Jermyn Leong (Captain Zuniga) and Li Yizhe (Morales) completed a close to perfectly-assembled ensemble. 

There were minimal sets, but that was part and parcel of this production, and all power to the SLO.

STRAITS SERENADE / Singapore Symphony Orchestra Fundraising Gala Dinner

It's been ages since I was last invited to a Singapore Symphony Orchestra fundraising gala dinner. All thanks to musical philanthropist and serial Patron of The Arts award winner Kris Tan, I made a long-awaited appearance on Saturday 26 April 2025 at the grand ballroom of the Ritz Carlton. 

Having had to miss an all-Ravel piano recital which took place at the same time, this had to be something special. And it was. You don't often get to have dinner with celebrities like TwoSet Violin, Brett Yang and Eddie Chen. And they are as amusing in person as they are on YouTube. Over 1.4 million dollars was raised for the SSO this evening. And here are the incriminating photos. 

Cultural diplomacy at work.
TwoSet Violin meet with the Chinese ambassador
to Singapore. China promises not to invade Taiwan.

Lianhe Zaobao journalist Zhang Heyang
has a pic taken with TwoSet Violin.

And here's our table 29.

Main course: Fish or Beef?

Hobnobbing with more celebs:
Cellist Ng Pei-Sian, Ambassador Kishore Mahbubani,
Dr Geh Min, Geoffrey Yu & conductor Dedric Wong.

Kris Tan makes a bid for the expensive booze,
while TwoSet Violin ponder how much of
their budget they can afford to blow.

And the music started, with Associate Conductor
Rodolfo Barraez conducting the SSO.

Lau Wen Rong performed the finale
of Haydn's Trumpet Concerto.

TwoKong Violin:
Concertmaster Kong Zhaohui and his son
Kong Xianlong, who performed Nigel Hess.

The Singapore Symphony Children's Choir
sang Dick Lee's Home.

They also performed Why We Sing.

The dessert, complete with
an edible chocolate Merlion.

Here's a final photo with
Ong Shu Chen (Mrs David Loke), TwoSet Violin,
Kris Tan and Olga Isserlis (Steven's cousin).

COMPOSITIONS EXCHANGE 2025: SOLO & CHORAL / Association of Composers (Singapore) / Review

 

COMPOSITIONS EXCHANGE 2025: 

SOLO & CHORAL 

Association of Composers (Singapore) 

Esplanade Recital Studio 

Wednesday (23 April 2025)

This review was published in The Straits Times on 25 April 2025 with the title "Home-grown composers in the spotlight at Association of Composers concert" (online edition) and "Good music from home-grown composers bringing people together" (print edition).

There are probably more musical composers in Singapore than one suspects. Many do not get commissions from major national arts organisations or get performed by high profile musicians, but they persevere nonetheless. 

Association of Composers (Singapore) is one of several composer collectives that exist here, and regularly showcases its members’ works in annual concerts. This evening’s concert was a showcase of music for choir and solo keyboard, with twelve works being heard. 

The first segment saw 17 singers of EVOKX Choir conducted by Keane Ong in a variety of choral music. Xiao Chunyuan’s Shiva, based on the mantra Om Nama Shivaya with words by local poet Edwin Thumboo, had an a cappella refrain on a D minor bass imbued with a spirit of contemplation. 

Soh Kay Cheng and Mary Soh’s Welcoming Autumn accompanied by pianist Dale Huang offered recitatives in Chinese, and evoked serenity with New Age harmonies. 

Quite different was Daniel Kom’s Burning Flames, a salute to the heroism following the September 11 catastrophe. Part inspired by the drama of Mozart’s Requiem, the narrative of saving lives turned tragedy into something positive. Wang Xin’s I Sing For You, Singapore was an ode to the nation turning 60, and had the feel-good vibes of National Day Parade songs. 

The keyboard solo segment was helmed by organist Emma Jiang Wan and pianist Clarence Lee, exhibiting no little virtuosity. Refreshingly left of field was Jiang playing her original composition Fast Track on a Yamaha Electone. This was a most exuberant and entertaining work with jazzy riffs and ostinatos riding over pre-programmed beats. 

Lee’s first two piano solos relived the violence in contemporary idioms. Cao Ying’s Conspiracy was built up to Sergei Prokofiev levels of dissonance and percussiveness. Zhao Lingyan’s The Loulan City in the Wind, while more descriptive in nature, was an excellent tone poem more aligned with the aggressiveness of Dmitri Shostakovich despite its Debussyan Impressionist title. 

By contrast, Ng Eng Thong’s Awake was lyrical and dreamlike. Calmness was maintained on high registers, its gradual crescendo concluding abruptly with repeated high Cs. 

The 90-minute concert closed with the 25-member One Chamber Choir conducted by Dawn Yin performing four works. Compared with the earlier choral segment, this one had an overall more cheerful feel. 

Quek Yong Siu’s Dandelion and the Tree was clothed with beautiful harmonies, reflecting the love between mother and child. Chiew Keng Hoon’s Moon had wider dynamics while exhibiting the same degree of a cappella warmth. 

Accompanied by Huang’s piano, Liu Bin’s Tao was sung by eleven men, a surprisingly light-hearted look at Laozi’s Tao Te Ching with an emphasis on the words “dao” (the way) and “ming” (clarity and brightness). 

Finally Lee Yuk Chuan’s Star, Friends for mixed choir was both congenial and affable in spirit, a loving tribute directed at the 92-year-old composer-conductor who was seated behind the audience. Good music brings people together, and this concert was a testimony to that indefatigable credo.

Lee Yuk Chuan acknowledges
One Chamber Choir's splendid work.

Pioneering composer and choral conductor
Lee Yuk Chuan, a star meets with his friends.

EARTH: UNHEARD / Ding Yi Music Company / Review

 

EARTH: UNHEARD 

Ding Yi Music Company 

Esplanade Recital Studio 

Sunday (20 April 2025)

This review was published in The Straits Times on 22 April 2025 with the title "Returning to the basics and celebrating earth".

The secret of appreciating chamber music is to look beyond the big sound of massed instruments, paying attention instead to details found in individual instruments. In this same spirit, Ding Yi Music Company’s invitation was to put aside worries of life and listen to the song of the earth, which has far more to offer than meets the eye. 

Photo: Moonrise Studio

This varied two-hour long concert was loving look at folk and ethnic traditions, encapsulated in five varied works curated by Ding Yi concertmaster Fred Chan Hong Wei and artistic advisor, banhu specialist Hu Yu from Beijing’s Central Conservatory of Music. 

The evening opened with Hu’s Echoes of the Mountain which featured just nine players. The songs and dances (shan ge) of highland peoples were relived in this contemporary but tonal work, with melodic interest provided by Chan and Chin Yen Choong’s huqins and Ng Hsien Han’s dizi. Alternating between contemplative and animated sections, the music was a celebration of a way of life that risks being lost forever. 

In Yang Yong’s Three Folk Sentiments, musical scenes of village life were accompanied by projections of Chinese art. In Rising Sun, a finely-balanced heterophony was honed by Hu’s banhu joining the ranks. 

His solo in the central Lament, supported by the plaintive xiao and guan, was a moving portrait of sadness and deep thought. Comic Interlude, which closed the suite, was not so much a playful scherzo but a bantering conversation between close friends. 

The most modern and abstract work on show was Taiwanese composer Tsai Cheng-che’s Mahakala, which was ritualistic and drew from various Asian spiritual movements including Hinduism, Tibetan Buddhism and their Chinese derivatives. 

With the hall in semi-darkness, Yvonne Tay’s guzheng was joined by Ng Hsien Han’s dizi and Wong Wai Kit’s zhongruan, trooping from the wings. They had different chants to intone in addition to the drones and groans with the bold bowing of guzheng strings. Calming and hypnotic, the audience was witness to some religious ceremony taking place. 

Receiving the loudest cheers were two concertante works with full ensemble conducted by Dedric Wong De Li. Young Artist Award recipient Wang Chenwei’s Barong Dance is destined to be a popular favourite. Like his other Nanyang music, it used gamelan scales, in this case representing the lion-like Barong (benign guardian of the forest) and Rangda (malevolent witch-queen), both pitched in an eternal battle between good and evil. 

This well-known Balinese dance could not have had a better orchestral representation. The bigger issue is whether the imposing sheng solo by Soh Swee Kiat, with wind power substituting for percussion prowess, could ever be surpassed. 

The final work was Zhou Juan’s Polyphonic Returns, an impressive show with Hu as banhu soloist which traversed from gentle serenade to rapturous dance rhapsody. Much like the first work, this was a clarion call for a return to the basics, where the simpler things in life really matter.