VERDI
GALA:
A
BICENTENARY CELEBRATION
Esplanade
Concert Hall
Friday (24 October 2013 )
This review was published in The Straits Times on 26 October 2013 with the title "Concert of Verdi highlights a success".
Following hot on the heels of a successful La Traviata, the Singapore Lyric Opera
celebrated Giuseppe Verdi’s birth bicentenary with a two-hour long concert of operatic
highlights. Given that just five of the great Italian’s operas have ever been
performed in Singapore , the eleven represented
this evening seemed impressive, but this was just the uppermost tip of a gigantic
undiscovered iceberg.
There was a goodly mix of the familiar and the
less familiar, but all the qualities that made Verdi great – lyricism,
dramatics and expert settings of words - were delved upon. Conductor Darrell
Ang gave a brief introduction on the legacy, and then let the music sing for
itself. It was a pity that the usual brief synopses of the arias and characters
were not included in the programme booklet. That would have given the audience
a better understanding of the contexts of each item presented.
The quartet of two locally-based and two
Australian singers was generally well cast. Of the latter, tenor Jason Wasley
exuded an easy and laid-back charm in the well-known De miei bollenti spiriti (La
Traviata) and Quando le sere al placido
(Luisa Miller) without fully
extending himself. Baritone Christopher Hillier struggled somewhat to overcome
the orchestra in an aria from Attila,
but exhibited both emotion and fine control in Giorgio Germont’s ballad Di provenza il mar from La Traviata. Together, both voices
blended very idiomatically in the duet Solenne
in quest’ora from La Forza del
Destino.
Mezzo-soprano Anna Koor, usually a coquettish
presence, was given pitifully small parts. She made most of the bel canto melody, however brief, in Oh, dichiuso e il firmamento (Nabucco), but the onomatopoeic and
drumming beat in Rataplan (La Forza) with the chorus was
underwhelming.
That leaves soprano Jessica Chen (above, with conductor Darrell Ang), head of voice
at the Nanyang Academy of Fine Arts, who completely stole the show. Remembered
for her chilling portrayal of Turandot
in 2008, she brought a wondrous range and intensity to
the recitative and aria of Ecco l’orrido campo
(Un Ballo in Maschera), her perfect
intonation and emotional heft carried into Pace,
pace, mio Dio (La Forza). She
garnered the loudest cheers, and deservedly so. And if one wondered if claques
existed in Singapore , they most certainly do.
The Singapore Lyric Opera Orchestra has improved
vastly over the years in terms of sensitivity and instrumental prowess, which
showed in purely orchestral numbers from La
Forza, I Vespri Siciliani and Aida.
The small choir of 25 women’s voices (men are a particularly rare
resource here) coped well in the Witches
Chorus from Macbeth.
The four solo voices came together mellifluously
for the marvellous Quartet from Rigoletto and that indestructible Brindisi (Drinking Song) from La
Traviata which closed the concert. Taken at an all-too-leisurely pace, that
built-in encore was itself encored, the second time at a slightly more champagne-infused
mood which brought on a standing ovation.
All photographs courtesy of Singapore Lyric Opera.
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