THE FLYING DUTCHMAN / Thoughts on the Asian Cast evening on 27 October 2016

RICHARD WAGNER'S

THE FLYING DUTCHMAN

Richard Wagner Society (Singapore)

Asian Cast  performance (27 October 2016)

I had the fortune of attending the production of The Flying Dutchman by the Richard Wagner Society (Singapore) for a second time, on this occasion a performance by an all-Asian cast. How did it compare with than the Singapore premiere performed by the International cast. Were there major differences?

I am happy to report that the opera scene in Singapore has progressed to such a point that the differences were not at all about standards of performances, and the mostly local cast could stand tall alongside the internationals. Physical stature alone was the main disparity, as the internationals were mammoths or amazons both in size and voice, but the locals made up in different ways.

Only two characters were common in both casts, Jonathan Tay's Steersman and Candice de Rosario's Mary. Tay was a bright and youthful presence in the opening aria while Rosario was ever-dependable in her smallish role.  

As Daland, baritone Julian Lo appeared almost puny, but his acting and characterisation of the role was superb. One could tell his intentions by just looking into his eyes and facial expressions. His voice, although not as towering as Andreas Horl's, was still well projected. Our Dutchman, bass-baritone Martin Ng is a six-footer but still small by Oleksandr Pushniak standards. He commanded a presence with his voice, which got better as the evening progressed. The main issue is a ramrod and strait-jacketed demeanour in his red suit, as if he were directed to portray a character of perpetual “stoic stiffness”.

Soprano Nancy Yuen in her Wagnerian debut as Senta was a pleasant surprise. She did not let her petite size (she is really tiny compared with Kathleen Parker) get in her way. The smitten youth she portrayed was as real as it gets, and her Second Act Ballad was convincing, even if one knew she was close to the upper limits of her abilities. She was made to work hard, and the credit was just in her giving it all, something we know to expect whenever she takes on a role. Tenor Kee Loi Seng as Erik, Senta's hunter boyfriend, was in ways preferable to Jakub Pustina. Playing the forsaken lover, his clear voice never strained and his intonation was never an issue.

The issues that dogged the choirs remained despite the earlier experience, and offstage choral amplification. 11 men were just too small for the sailors to make a real impact. Doubling the number on stage would have helped, as well as getting more powerful voices, and both. The women were better overall, with the intonation issues on the first night were more or less ironed out, and their acting was also more natural.

The direction by Glen Goei and Chong Tze Chien of the Finger Players was unique, putting an Southeast Asian twist to the story-telling with the use wayang kulit and shadow puppet-play. These came to play in the Overture and many scenes, where shadows and silhouettes skilfully took the place of expensive and bulky sets. That alone was worth the ticket of entry.

Attending a second evening of The Flying Dutchman was a rare pleasure, and I would urge others to do the same as there are two more performances, on Friday (28 October) and Sunday (30 October). Do note that this was the Asian cast’s only evening out, as the production returns to the international cast for the final two evenings.      

WAGNER'S THE FLYING DUTCHMAN / Richard Wagner Society (Singapore) et al / Review

RICHARD WAGNER'S 

THE FLYING DUTCHMAN

Richard Wagner Society (Singapore)

& OperaViva Limited / Finger Players

Victoria Theatre

Sunday (23 October 2016)

This review was published in The Straits Times on 25 October 2016 with the title "Opera passes with flying colours".

A piece of history was made when Singapore's first-ever complete production of a Wagner opera was staged at Victoria Theatre on Sunday evening. The Flying Dutchman was Richard Wagner's fourth opera and his first hit. Running just over two hours and without too complicated a plot, it made an ideal choice for a maiden attempt.

Despite the lack of experience, this newcomer had much to recommend. First-time opera directors Chong Tze Chien and Glen Goei gave the production a Southeast Asian slant, with the introduction of wayang kulit and shadow puppetry to great advantage. As the Singapore International Festival of Music Orchestra conducted by Darrell Ang played the Overture, the back-story of the Dutchman, doomed to wander the Seven Seas for all eternity, was retold by puppetry alone. In the foreground, the maiden Senta (portrayed by Australian soprano Kathleen Parker) was seen obsessing with a Dutchman puppet dug out from a tok dalang's box. Their later meeting would prove pivotal.

To open, Singaporean tenor Jonathan Tay's Steersman set the right atmosphere for the drama to unfold. Act 1 saw the Dutchman (Ukrainian bass-baritone Oleksandr Pushniak) and ship-captain Daland (German bass Andreas Hörl, as Senta's father) strike a deal for Senta's hand in marriage. Both were well matched, the world-wearied and vulnerable Dutchman a foil for the greedy and manipulative Daland.

The star was Parker's Senta, whose dramatic Ballad in Act 2 showed all the qualities of an ideal Wagner soprano. Opposite her, hunter Erik and some-time love interest (Czech tenor Jakub Pustina) was a weaker presence with his straining at higher tones. Mezzo-soprano Candice de Rozario fulfilled her part of Senta's sidekick Mary well. The men's choir from Schola Cantorum, with just eleven singers, was just too small for the sailors' choruses while the women's choir was not always pitch perfect in the Spinning Chorus. 

The stage design could never match those of Bayreuth or major opera houses, so Wong Chee Wai's sets relied effectively on the use of shadows and silhouettes, with a skeletal ship's hull with steps and runway being the mainstay. A kampong on stilts, spinning wheels and the simulation of waves, projected as shadows under Lim Woan Wen's evocative lighting, were also atmospheric touches.

Max Tan and Yuan Zhiying's costumes vacillated between Western and Asian, so the extravagant outfits of the Dutchman (bright red) and Daland (black and white) appeared like something out of a sci-fi pirate movie. For a production predominantly cloaked in dark hues, the contrasts were still eye-catching enough.

The final scene when Senta abandons the safety of terra firma to unite with the Dutchman, thus providing his redemption, was a poignant one. There was no mention of death, only sacrifice and the course of true love. Ultimately, it was the musical, dramatic values and story-telling that made this production stand out.

There are four more shows on 25, 27, 28 (with an all-local main cast) and 30 October. A brush with Wagner's first outing in Singapore is guaranteed to be a memorable one. 

John Sharpley's KANNAGI, The Story of the Jewelled Anklet / Review

KANNAGI, THE STORY 

OF THE JEWELLED ANKLET
A joint-production by OperaViva Ltd.
& Singapore Indian Fine Arts Society
Sri Mariammam Temple
Sunday (25 October 2009, 7.30 pm)

The epic Singapore-centred opera Fences by John Sharpley and Robert Yeo is still under wraps, but opera lovers had a good view of a smaller production (of an epic story nonetheless) in Kannagi, The Story of The Jewelled Anklet – a chamber opera in 6 scenes - based on the Indian legend of Silappadikaram by Prince Illango Adigal.

To cut the story short: Kannagi, whose unfaithful husband Kovalan is unjustly executed for theft after selling off one of her jewelled anklets, reaps a harvest of death and destruction on the city of Madurai. Her subsequent deification unites all the facets of womanhood, restoring peace and balance in the universe.

The setting for this World Premiere was unique; the Wedding Hall of Sri Mariammam Temple with its elaborately decorated bridal platform, clothed with a proscenium of veils, and overlooking the temple courtyard was both apt and atmospheric. The carefully arranged petals on the stage, symbolising the broken band or anklet added an authentic touch.

The cast was small, comprising soprano Amanda Colliver (Kannagi), Kathak dancer Anjum Bharti (in a non-singing role as temptress Madhavi) and John Sharpley (pianist). The Overture – The Burning of Madurai – performed on the piano provided a stirring and dramatic opening, as well as the recurrent theme of destruction. The musical idiom was typical Sharpley – original music in his accessible tonal style, using Asian / Oriental scales without quoting actual ethnic melodies. Sharpley’s evocative playing in the Interludes separated each of the scenes in this hour-long melodrama.

The cast of Kannagi (from L):

Bharti, Colliver, Sharpley and Robert Yeo

Colliver delivered a one-woman tour de force in her performance, alternating between keen storyteller, the protagonist Kannagi (In the Flush of First Love), her antithesis Madhavi (What are my Arts for if not to Snare?), and the devastating force of Kali. Her arias also included aspects of coloratura and Sprechstimme, in short the full gamut of vocal and narrative devices. That injection of much-needed variation was necessary, in the absence of a truly memorable melody, excepting the final apotheosis. Here one would have appreciated the presence of a male voice in solo or duet, either Kovalan or the King of Madurai, even in a cameo role. Colliver’s task was also greatly aided by Bharti’s seductive movements, which made this diminutive and totally graceful dancer stand like a Colossus on stage.

Restored, Returned, Regained provided for a big bang of an ending, with all cosmic forces in alignment. Here a taped female chorus (in effect Colliver’s voice overdubbed many times) with piano and glockenspiel accompaniment and Colliver herself delivered the refrain of Shantih, Shantih, Shantih. As petals rained from the heavens, this was the one big moment that rang in the ears long after the opera had ended.

Kannagi is a truly worthy effort, one befitting the complementary and alternative role that OperaViva (headed by ultimate operaphile Leow Siak Fah) plays in the small Singapore opera scene. The long-awaited Fences should be a spectacle to behold.

Lots of lovely decorative touches

distinguished this production of Kannagi.