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.

SLO ADULT CHORUS IN CONCERT / Singapore Lyric Opera / Review

SLO ADULT CHORUS IN CONCERT

Singapore Lyric Opera Chorus

Esplanade Recital Studio

Sunday (14 May 2023)

This review was published in The Straits Times on 17 May 2023 with the title "SLO Chorus concert offers mixed bag of operatic treats".

 

One underrated aspect of opera performance is the role of the chorus. Much of the atmosphere and spirit of an opera production is missing if the chorus is absent. Serving to comment on onstage happenings and to stir up audience engagement, what would Bizet’s Carmen, Verdi’s Aida or Puccini’s Turandot be without the chorus?

 

The Singapore Lyric Opera Chorus has had a storied history since the company’s earliest days, and is still peopled by talented amateur singers, whose love for music (and acting) surpasses all other considerations. Led by conductor Terrence Toh and accompanied by pianist Dale Huang, the 30-strong SLO Adult Chorus performed excerpts from three operas featured in its 2022-2023 seasons.

Photo: Lee Zhi Yu

 

Its members sauntered in with an air of informality. Waving at the audience, one knew this was not going to be too serious an affair. Champagne was uncorked with choruses from Johann Strauss The Younger’s popular operetta Die Fledermaus, including Ein Souper Heut Uns Winkt (A Supper Beckons Us Today) and Im Feuerstrom Der Reben (In The Firestorm From The Vines), which were delightful. Bruderlein Und Schwesterlein (Little Brothers And Sisters) and the intoxicating finale, O Fledermaus, were included later, and it would have been nicer had the chorus sung these from memory.

Photo: Lee Zhi Yu

 

The audience also had a foretaste of Pietro Mascagni’s verismo opera Cavalleria Rusticana, set for November, with Gli Aranci Ollezano (The Scent Of Oranges) and A Casa, A Casa (Let Us Go Homewards), a carefree evocation of peasant life during Easter. Despite its relatively small size, the chorus projected well, and captured much of the music’s spirit.      

 

Opportunities were afforded to no less than 19 singers in a series of arias, duets and ensembles, distending the concert to about 140 minutes. The solos were wildly variable, from bathroom singers to those more than competent, but from these, one exceptional voice stood out.

Photo: Lee Zhi Yu

 

However, one wondered what possessed a soprano to attempt Puccini’s Nessun Dorma (Turandot), which usually taxes the best of tenors. Another bravely scaled the heights of Bellini’s Casta Diva (Norma), wobbled perilously and blotted fond memories of Diana Damrau’s fine account just a week before.      

 

Some singers were born to act. Zoey Li’s account of Purcell’s When I Am Laid In Earth (Dido And Aeneas) was so believable one knew she was going to hang herself, while bass Hugo Van Bever’s over-the-top role in Rossini’s La Calumnia (The Barber Of Seville) was pure theatrical buffo.

 

Tenor Dennis Lin in Jules Massenet’s Pourquoi Me Reveiller (Werther) was the portrait of angst and vulnerability. Stealing the show by a country mile, however, was Fumiko Ogasawara in Bizet’s Micaela’s Air (Carmen), with singing and acting that were exemplary on both counts. She could easily walk into the main casts of any of company’s productions.

 

Closing the show was the rousing Bell Chorus from Leoncavallo’s I Pagliacci, also scheduled for November. As a showcase and campaign to recruit new members, the revitalised SLO Chorus could not have done a better job.