SAMUEL TAN Violin Recital / Review

SAMUEL TAN Violin Recital

Esplanade Recital Studio

Saturday (2 April 2016)

This review was published in The Straits Times on 4 April 2016 with the title "Violin gem is only 10".

A little known fact: Singaporeans have had a good track record in the Yehudi Menuhin International Violin Competition. Way back in the 1990s, a first prize was awarded to Kam Ning, who went on to win 2^nd prize at the even more prestigious Queen Elisabeth Violin Competition in 2001.

This year, Samuel Tan Yek Hee, a former Goh Soon Tioe Excellence Award laureate and youngest winner of Italy's Postacchini Competition, has the distinction of representing the nation at the Menuhin Competition to be held in England later this month.

His debut recital revealed a mastery of different styles and genres required in a competitor's repertoire. Beginning with the 1^st movement of J.S.Bach's Violin Concerto in E major (BWV.1042), he displayed a sure-fingered assuredness that immediately asserted an unnerving control on his listeners. It was not just an uncanny technical achievement that astounded, but his deft ability to acutely alter his dynamics to suit the music, as with the contrasting subjects in the 1^st movement of Grieg's Violin Sonata No.1.

His mature restraint in the slow and noble music of Enesco's Ballade was also admirable, and when the time came to let it rip, he did so with the most enviable of ease. The unaccompanied Wieniawski Etude-Caprice in A minor, which just about tops any of Paganini's Caprices, was a case in point. 

In Sarasate's popular Gypsy Airs, the freedom in which he ornamented the first air suggested he could improvise at will, an art more often associated with concert veterans. All sweetness in the lyrical second air, this turned into instant fireworks on a snap in the riproaring final air.

Graduating to more hallowed territory, his limpid singing tone in the 1^st movement of Beethoven's “Spring” Sonata (Op.24) reconfirmed that this was not some faceless play-by-numbers technician. Through all this, he was ably partnered by pianist Albert Lin, who did not allow himself to be overawed by the occasion.

Two string players, violinist Lee Huei Min and violist Marietta Ku, joined the party in two movements of Dvorak's folksy Terzetto (Op.74), where Tan showed he was able to take the lead and listen to his partners as well. Former child prodigy Lee, who is Tan's teacher, was all eyes on him and responding to all his non-verbal cues.  

The final piece in the jigsaw was the entire Summer concerto from Vivaldi's The Four Seasons, arguably the most tempestuous segment, and one exhibiting the greatest dynamic range. Tan was now accompanied by eight string players of the Wolfgang Ensemble, whose combined volume did little to faze him. Instead, his instinctual and elemental approach to the music easily rose above the throng with a jaw-dropping aplomb.

In the centenary year of Lord Menuhin's birth, Singapore can be proud to have contributed a worthy successor to his illustrious musical legacy. All the above suggests this experienced pair of ears was hailing and raving about some special teenage conservatory-trained talent. Wrong. Samuel Tan is just ten years old. Go figure that one out.

SG50 CONCERT / Hua Xing Choir Society / Review

SG50 CONCERT

Hua Xing Choir Society

Wang Ya-Hui (Conductor)

Victoria Concert Hall

Friday (31 July 2015)

This review was published in The Straits Times on 3 August 2015 with the title "Treats from Taiwan".

Tis the season to be patriotic, and SG50 tribute concerts have come thick and fast, all leading to the great climax of the 50^th National Day on 9 August. This concert organised under the auspices of Hua Xing Choir Society and Boon Lay Choir however had a difference: the leaders and soloists were of Taiwanese extraction or lineage, all of whom have significantly contributed to the music scene of Singapore. 

The four participating choirs, which also included the Sing Sheng Choir and Ngee Ann Polytechnic Voices Club, were trained by Taiwan-born singer and vocal teacher Lin Liying. The concert conducted by Wang Ya-Hui opened with the Taiwanese song Yu Ye Hua, sung in the Minnan dialect and Phoon Yew Tien's colourful arrangement of the very popular Ye Lai Xiang (Evening Primrose). The young and mature voices blended pleasingly in this mostly unison number.

The orchestral segment was supported by the young musicians of  Kids'Philharmonic, which gave a stirring account of the Furiant from Dvorak's Czech Suite, and then ably supported pianist Albert Lin in Mendelssohn's Rondo Brillant Op.29 by not being distracted by all the virtuosic note-spinning. Both conductor Wang and pianist Lin are Singaporeans whose parents came from Taiwan.

The only concession to pop songs was offered by the Ngee Ann Polytechnic Voices Club, which sang choral versions of Alan Menken's Go The Distance from the Disney animated movie Hercules and Grammy Winner Adele's Skyfall from the James Bond movie of the same title. The youths were led by young conductor Umar Sirhan and accompanied by pianist Noella Lim.

The artsong, operetta and opera selections by Taiwanese tenor Fernando Wang and soprano Jessica Chen were most warmly received. Accompanied by pianist Aloysius Foong, both sang artsongs by Singaporean composer Lee Yuk Chuan and Leong Yoon Pin to begin, warming up for the treats that followed. Wang's hitting the nine high Cs in Donizetti's Ah! Mes Amies (from Daughter Of The Regiment) was remniscent of Pavarotti's heroics, while Chen emoted ever so ardently in Lehar's Meine Lippen, Sie Kussen So Heiss (Giuditta). Both did the waltz together in Lippen Schweigen (The Merry Widow), also by Lehar.

The Kids'Philharmonic played for the whole second half beginning with Phoon Yew Tien's arrangement of a popular Taiwanese song and the rousing Prelude from Bizet's Carmen, which came off with aplomb. Accompanying singers in opera arias was a lot trickier, especially in Puccini's Signore Ascolta (Turandot) with its short pauses, sung beautifully by soprano Lin Liying. To complete the popular trio of Turandot arias, soprano Chen polished off In Questa Reggia with steely and ice-cold resolve, while tenor Wang's effort with Nessun Dorma brought down the house.

With the serious part over, all the choirs congregated to sing the familiar Jiangsu folksong Molihua, which also happens to appear in Turandot. Two senior citizens then joined the throng as amplified soloists for Wong Kah Chun's glitzy arrangement of the Dick Lee's Home, now sung in Mandarin. Finally as an encore, all the soloists returned for a communal clap-along to the infectious tune of the Taiwanese song Maidens Of Alishan. 

If there were a dollar saved for every time Home is being heard this month, the problem of poverty would be instantly eradicated. 

PASSION & POETRY: Review of CLARENCE LEE PIANO RECITAL by Albert Lin

Below is the preview of the concert by Tan Jia Hui published in The Straits Times on 30 April 2015.

Albert Lin's Review of AZARIAH TAN'S PIANO RECITAL

(Click on image to enlarge)

Some background information:

The Young Virtuoso Recital Series is now part of The Asian Pianist Recital Series, organised by Singapore Conference Hall. The Young Virtuoso Recital was created in 2005 to highlight talented young Singaporean pianists who otherwise did not have a chance to showcase their musical abilities due to the lack of opportunities. It was first parked in the Singapore International Piano Festival from 2005 to 2009, until it was unceremoniously dropped by the Singapore Symphonia Co. Ltd. (which has since featured zero Singaporeans).   

There was just one stipulation for each performer: they were to include an original piano work by a Singaporean or Singapore-based composer in their recital.  

Young Singaporeans who have played in this series (and composers featured) were:

2005: Lim Yan 

2006: Lee Pei Ming (Dick Lee)

2007: Albert Lin (Zechariah Goh, Joyce Koh & PM.Lindborg)

2008: Sandi Koh (Tan Chan Boon)

2009: Nicholas Loh (John Sharpley)

2009: Yao Xiao Yun (Leong Yoon Pin)

2013: Abigail Sin (Emily Koh)

2013: Azariah Tan (Kawai Shiu)

Review of MARY WU'S PIANO RECITAL by The Straits Times reviewer Albert Lin

Published in Life! on 27 August 2013.

Review and Photographs from ABIGAIL SIN'S PIANO RECITAL

Albert Lin's review of Abigail Sin's Piano Recital,
published in The Straits Times on 7 May 2013,

Abigail performed two encores, Chopin's Préludes Op.28 No.4 (E minor) and No.3 (G major). 

All photos courtesy of Singapore Conference Hall.

Albert Lin's Review of ROMANTIC MASTERPIECES, Piano Recital by KENNETH HAMILTON

Here is Albert Lin's review in The Straits Times of KENNETH HAMILTON'S piano recital ROMANTIC MASTERPIECES held at the Esplanade Recital Studio on Sunday 7 April 2013. Normally I would be writing these reviews, which I have been doing so since Ken's first recital here in 2007. Having written the foreword and editing his interviews for his past concerts, I thought it best to have someone else write the review this time. Anyway it was already time to pass the baton to someone younger and fresher, and also a concert pianist to boot!

The big poster at the Esplanade foyer.
The organisers did a smart thing by
placing the Chopin and Liszt works
before the Alkan! That more or less helped
ensure a sold-out house.

Good to know that more artists are quoting
The Straits Times in their write-ups,
which in effect is yours truly's words.
The only other pianist which I referred to as a
"formidable virtuoso" was the late Ong Lip Tat,
whom on a fine day would give any pianist
in the world a run for their money.

OPERA COMIQUE: AT THE AIRPORT / New Opera Singapore / Review

OPERA COMIQUE AT THE AIRPORT

New Opera Singapore

The Chamber @ The Arts House

Saturday (9 March 2013)

This review was published in The Straits Times on 11 March 2013 with the title "The comedy of arias".

The Opera Comique series by New Opera Singapore is becoming a bit like those Carry On low budget comedies of the Sixties and Seventies, featuring a cast of familiar faces in variations on the theme of farcical plots, double entendres and more than a few good laughs.

Each of these opera capers features popular arias and duets strung together by some flimsy plotline. On this evening, the setting was the airport in Bali, where flirtations, misunderstandings and love matches take place between passengers, cabin crew, ground staff and Duty Free personnel. It was all very silly but the quality of singing was most encouraging.

The sopranos had a field day. Few might have expected the ease and level of projection afforded by Isyana Sarasvati (above) in Je veux vivre (Juliette’s Waltz Song) from Gounod’s Romeo et Juliette. She was scintillating and simply brilliant. Closely matching her were Bethea How, 3^rd Prize winner in the Llangollen Eisteddfod last year, in Arditi’s swirling Parla Walzer, which brought on the loudest cheers.

Rebecca Li’s Mein Herr Marquis (Laughing Song) from Johann Strauss’s Die Fledermaus was infectious, as were her tittering giggles, while Moira Loh (below) had the audience in stitches in Mozart’s Batti batti, o bel Masetto (Don Giovanni), as she went on to batter her love interest. After this, there may be a new meaning to “Could you batti batti me?”

Of the male singers, baritone Jeremy Koh impressed most in Mozart’s Donne le mie fatte (Cosi Fan Tutte) with his clear ringing tone. Tenor Yap Joo How’s Questa o quella (Verdi’s Rigoletto) was convincing in his libertine aspirations, while Shaun Lee and Lim Jingjie were more than earnest in their efforts. Pianist Albert Lin, attired as an ICA immigration official, was unobtrusive while providing premium accompanying support.

It would seem that most the young singers trained by Korean soprano Jeong Ae Ree, founder of New Opera Singapore, were bleeding heart tenors or coloratura sopranos. Where were the altos or basses among the eight singers featured?

Thus this programme was skewed heavily towards soprano and tenor arias, which besides being slightly unbalanced and also on the short side. By the end of the hour, the conflicts had ceased and all on stage was kissing and making up to Lehar’s Lippen Schweigen from The Merry Widow.   

This cavil aside, it was all in good fun. With time and as the cast of New Opera Singapore matures, we might have local singing versions of Sid James, Kenneth Williams and Barbara Windsor someday.

PIANIST ALBERT LIN'S TRIBUTE TO HIS TEACHER ONG LIP TAT

HERE IS PIANIST ALBERT LIN’S TRIBUTE 

TO HIS TEACHER ONG LIP TAT

I first met Mr Ong at age 15 at his apartment in Telok Kurau when I went to audition for him. Although I was full of nerves while waiting due to the many horror stories I had heard, I found him to be extremely warm and personable.

My lessons with him were always filled with tremendous insight into the music I played, and watching him demonstrate on the piano was really inspiring. He never failed to bring the best out of me, even qualities I never knew I had. I always looked forward to my weekly lessons, and would be upset whenever lessons had to be cancelled. I also remember the freezing conditions under which he made us play in his weekly studio classes, which was great training for me as I later studied in sub-zero temperatures at Michigan! After only a year of lessons, I successfully auditioned for a place at Peabody.

Despite his many critics and detractors, I've always found him to be full of joy and warmth and love for his friends and family. Even after I graduated, I would meet up with him regularly for meals with other ex-students of his. He was always supportive and took a great interest in our lives and careers, and always made himself available to us.

His passing is a great loss to the music circle in Singapore, and he will be missed by all.

Rest In Peace, my dear teacher and friend.

SCHUBERT'S DIE SCHÖNE MÜLLERIN / New Opera Singapore / Review

 

 

 

SCHUBERT’S DIE SCHÖNE MÜLLERIN

New Opera Singapore

The Chamber @ The Arts House

Thursday (20 December 2012)

 

This review was published in The Straits Times on 22 December 2012 with the title "Sing, don't dance".

 

Almost everyone knows the prohibitive costs of staging an opera, so New Opera Singapore has exercised the option of appropriating a Schubert song cycle for the basis of a production. Why not, as all good vocal music deserves champions, and it is vanity to split hairs over what talented young singers should or should not sing.

 

The concert began unusually with all the performers loitering on stage, looking on idly as the audience made their way to their seats. A classic case of role reversal but put into practice.

 

Franz Schubert composed no great operas, but his three major song cycles are matchless. Die Schöne Müllerin (The Fair Maid Of The Mill), 20 songs set to poetry by Wilhelm Müller, was composed around 1823. It is not the bleakest of the three but in certain ways is the saddest. The predictable plot of young love cruelly unrequited does not end in aimless wandering, as in the darker Winterreise (Winter Journey), but instead in suicide.

 

Five male singers, three tenors and two baritones, undertook the task of musical story-telling. Tenor David Charles Tay was the very able narrator, guiding listeners to the action and the protagonist’s ever-shifting moods. Transliterations in English were helpfully provided, and there was to be no excuse for not knowing what was going on.

 

Shaun Lee (left) and Lim Jingjie (right) opened the song cycle.

 

The younger and less experienced singers took on the earlier and less gloomy songs. Tenor Shaun Lee opened the cycle with Das Wandern (Wandering) in a hearty spirit, but his brash earnestness could have been served with better intonation for Mit dem Grünen Lautenbande (With The Green Ribbon). Baritone Lim Jingjie, who sang three songs including Wohin? (Whither?)  and Danksagung an den Bach (Thanksgiving to the Brook), has yet to attain the gravitas and experience to be truly convincing.

 

 

Baritone Jeremy Koh (above), armed with superior pronunciation and intonation, made a good case for the contrasting emotions of Ungeduld (Impatience), Tränenregen (Rain of Tears) and Mein (Mine), and the cycle was taking on a definitive direction and shape. It was little surprise that the final five songs, the emotional core, climax and denouement of the cycle, were shared by Tay and his twin brother Jonathan Charles Tay who as relative veterans both stole the show.

 

David Charles Tay was the excellent narrator, as well as sang five of the songs.

 

The paired songs on greenery, Die liebe Farbe (Favourite Colour) and Die böse Farbe (Hateful Colour), were wonderfully delineated as hope rapidly turned into despair. The cycle’s greatest items, Trockne Blumen (Withered Flowers) and Der Müller und der Bach (The Miller and the Brook), from David and Jonathan respectively, were coloured with a shuddering vividness and ultimately beauty beyond mere words.

 

David's twin brother, Jonathan Charles Tay was not to be outdone in his five songs.

 

The final song Des Baches Wiegenlied (The Brook’s Lullaby), gentle but an immovable force, rang like a requiem with ever-steady chords from pianist Albert Lin, who as a collaborator was a tower of strength throughout.

 

Do the dancers - good as they were - add anything more to Schubert's wonderful music? 

Last and least, some of the songs were choreographed, with dancers Kenneth Tan and Koustav Basu Mallick playing the miller and the brook respectively. In this case, the dancing – however artistic - was a needless distraction and more became less. Schubert’s song settings provide endless stimulus on their own and will succeed without extraneous help.    

 

Albert Lin (2nd from left) was the perfect collaborator in the 20 songs sung. All the singers take a final bow.