LIEBESLIEDER / New Opera Singapore / Review

LIEBESLIEDER

New Opera Singapore

Esplanade Recital Studio

Thursday (8 January 2015)

A heavily edited version of this review was published in The Straits Times on 10 January 2015 with the title "Lieder in tune with love's ups and downs".

What would the art song scene in Singapore be without groups like New Opera Singapore and the Sing Song Club? Much poorer. Although the listenership for lieder here is relatively small, the quality of performances is very encouraging, which is surely the first step towards audience-building.

This evening's programme by New Opera Singapore centred around German lovesongs performed by multiple voices and small ensembles. English translations were projected on a screen and that greatly enhanced the enjoyment of the songs.

The ten movements of Robert Schumann's Spanish Liebeslieder Op.138, based on Spanish poems translated by Emmanuel Giebel, opened the short but intimate recital with duo pianists Kseniia Vokhmianina and Shane Thio playing the brief Vorspiel (Prelude). The sheer lyricism and sensitivity displayed immediately set the right tone for the evening.

This set comprised solos, duets and one song which involved all four singers. Soprano Jeong Ae Ree portrayed sorrow in Tief im herzen (Deep In My Heart), while tenor Shaun Lee was all ardency in O wie lieblich (O How Lovely), the subject being love at first sight of some maiden. The emotions and pangs of falling in and out of love are the stuff of Romantics, so innocently but passionately captured in these songs.

A Schubertian lightness inhabited Flutenreicher Ebro (Surging Ebro River), which baritone Yun Seong Woo delivered with crispness and fluency. Mezzo-soprano Son Jung A's lovely Hoch, hoch sind die Berg (High, High Is The Mountain) made a departure from G minor to E flat major, altering the colour and complexion of the cycle.

The duet for tenor and baritone Blaue augen hat das Mädchen (The Girl Has Blue Eyes) provided some light-hearted moments if only because “she does not fall for the men”. The gentle tease became a declaration in the closing Dunkler lichtglanz (Dark Light), sung by all four, that Love is the only state where “happiness is paid for with pain”.

Johannes Brahms's Liebeslieder Waltzes Op.52 are far better known, the four vocal parts being often sung by mixed choirs. The four singers, with tenor Jonathan Charles Tay taking the place of Shaun Lee, also appeared more relaxed after the interval, as if spirits had been partaken. The music, taking on the Viennese waltz as the predominant impetus, was lighter and frothier.

The course of true love has its ups and downs, encapsulated in 18 poems from Georg Friedrich Daumer's Polydora, but how the waltz rhythm could be made to express tenderness, longing, angst and rage is down to Brahms's genius. Amid the busy but satisfying ensemble singing, there were only two solos: Jung in the  melancholic Wohl schön bewandt (All Was Well) and Tay wistfully in Nicht wandle (Do Not Wander). The last song Das bebet das gestrauche (The Bushes Tremble) provided a subdued and unsettling end to the set. Infuriating that may be, isn't that what love is all about?    

Photographs by the kind permission of New Opera Singapore.

DONIZETTII'S L'ELISIR D'AMORE / New Opera Singapore / Review

DONIZETTI’S L’ELISIR D’AMORE

New Opera Singapore

SIA Theatre, LaSalle College of the Arts

Friday (20 July 2012)

This review was published in The Straits Times on 23 July 2012 with the title "Startling debut for New Opera".

Opera lovers in Singapore must be pinching themselves. For the first time, there seems to be a semblance of an opera season here. Within the next six weeks, three different operas produced by Singapore’s three opera companies would have run their course. The first, Gaetano Donizetti’s bel canto opera L’elisir d’amore (The Elixir of Love), received its local premiere under the auspices of the newest group, New Opera Singapore founded by Korean soprano and vocal pedagogue Jeong Ae Ree.

Anyone expecting something like a slicked-up high school musical from the year-old outfit will be pleasantly surprised. It was much, much better than that, extending from the professionalism displayed by all involved despite operating on a shoestring budget. Sung entirely in the original Italian, the provincial setting of sophisticated lass falling for Simpleton Sam was updated to a corporate world of mergers and acquisitions in the 20^th century.

The original story from 1832 was silly enough, and its modern equivalent directed by television veteran Goh Ming Siu was to be no less good-humoured. The unforgettable character of charlatan Dulcamara, peddler of potions, received a most outlandish outing from Korean bass Yun Seong Woo (above). He dressed and swanked for the best part like a dope-dealer cum pimp, one so slick that he was actually likeable.

The stage however belonged to soprano Teng Xiang Ting, whose coquettish turned soft-hearted Adina shone radiantly in all her arias, duets and ensemble work. Her pristine voice, powerful yet supple, was one to get totally tipsy with Bordeaux for. Equally comfortable with seamless lines and coloratura turns, it is all the more remarkable that this law graduate in her maiden prima donna role received her vocal schooling completely in Singapore.

Opposite her, Johorean tenor Kee Loi Seng was a hopeful but totally sympathetic janitor Nemorino, his trademark yellow boots had Phua Chu Kang written all over. He too, rose to the occasion and received deserved cheers for his big aria Una furtiva lagrima. Baritone Jeremy Koh and soprano Victoria Lee competently supported as failed suitor Belcore and Adina sidekick Gianetta. All singers including the small but vibrant chorus were amplified to overcome the dry and unflattering acoustics of this venue.

 

Some areas where improvements may be effected: while the absence of backdrops (other than projections) and props was understandable, the threadbare orchestra conducted by Chan Wei Shing could be further boosted for a richer accompaniment. These are however minor quibbles, for as far as musical values went, New Opera Singapore has notched the first of hopefully many further artistic triumphs.

New Opera Singapore director Jeong Ae Ree (extreme left) with patron Mrs Goh Choo Leng (2nd from left) and her entourage of opera lovers.