the mad scene

Magic Flute review at new site. Please visit http://the-mad-scene.blogspot.com for future updates.

After a year being a music student in a foreign country. So many thoughts to share, but only after my first char kwey teow and te tarik of course!

From next week on, The Mad Scene will move to a new site hosted on Google’s Blogger system. Our review of the SLO’s Magic Flute will be published on it. Meanwhile, do log on and take a look at the new design, and let me know how you feel about it:

http://the-mad-scene.blogspot.com/

 Sir Charles Mackerras, with Bryn Terfel in the background

It is with deep regrets that I learned of the recent passing of Sir Charles Mackerras. While this blog rarely heaps on the superlatives to conductors, reserving them mostly for singers, Sir Mackerras’s many recordings have made up quite a sizeable portion of my record collection; I was fortunately enough to be introduced to the Beethoven Symphonies from his collection with the Royal Liverpool Orchestra. Meticulous, clean, spritely in his classical apporach but not holding back on Romantic fireworks, they draw a fine balance between old-fashioned heavy romantism and period-style clarity.

And so this was in a way what my impression of Mackerras was about, probably just one side of his many talents which I make no claims to being fully-informed. Still, nowhere was this talent more apparent than his contributions to Bryn Terfel’s landmark Handel Arias CD. Such spirited accompaniment to go with Bryn’s gutsy singing, he showed that period-style performance (abeit on modern instruments by the Scottish Chamber Orchestra)  need not be thin and tepid as such performances are often (unfairly) stereotyped with, nor adopting the breakneck, all-hell-breaks-loose approach that more recent specialists are attempting.

If that CD is as revelatory to most listeners as it was for me, credit must go as much to the maestro as much as to the divo. As such, his name on recordings has since become a sign of assurance for me, along with a select group of maestri and singers. Someday perhaps I may (should) check out his acclaimed Czech repertoire, such as his recording of Rusulka with none other than ‘La Voce’ herself in the title role. Meanwhile, my deepest condolences go to his family as well as the many young artistes he has worked with and taught. RIP Sir Charles.

As this blog’s very own celebration to the life of the maestro, here’s my favourite track from the Handel Arias CD: The Trumpet Shall Sound:

I was pleasantly surprised when it was announced that Taiwanese Tai Hsiao Chun would be singing the Queen of the Night at the SLO’s upcoming Magic Flute, as I was quite impressed by her Lucia di Lammermoor in January in Taipei this year. No singer is perfect of course and since its my first live Lucia its unfair to make comparisons with the great sopranos on recordings, but suffice to say that the SLO had found in Tai Hsiao Chun a genuine coloratura soprano; displaying effortless, crystal clear, floating high notes while milking the traditional flute cadenza for all it was worth.

Now we know that the SLO hasn’t had the best of luck finding coloraturas sopranos (Tales of Hoffmann anyone?) But suffice to say that by my estimation Tai should be able to fill these shoes and then some. In fact, the Queen of the Night is Tai’s most performed role, having chalked up over 10 productions throughout her career, so Singaporean audiences should have something to look forward to come 22 July.

So naturally I had to meet up with Hsiao Chun for an interview, and what better way to discuss her upcoming gig in Singapore than by treating her to Ya Kun toast and curry puffs at Taipei Main Station? Unfortunately the soprano had just came from lunch after performing the Queen of the Night in a morning school production of The Magic Flute (NOW do you believe its her most famous role?), and wasn’t quite hungry enough for more snacks (which just meant more home-town goodness for me).

Regular readers of this blog know that I often refer to myself as a coloratura soprano trapped in a baritone’s body (a dramatic-spinto-lyrico-coloratura-soprano to be specific), so naturally its quite a thrill to be discussing favourite roles and divas with the real deal. Our conversation took place in Chinese and was instantly translated and transcribed in English (Singaporeans should not take for granted our ability to converse in multiple languages at the same time, sometimes up to 4 languages in a conversation conversation. You have no idea how much other people envy us for that.) Here’s the discussion that followed:

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The Mad Scene: Thank you for doing this interview with The Mad Scene. First I have to tell you that I loved your Lucia di Lammermoor in January. What are your feelings on that performance?

Hsiao Chun: Thank you! I felt that I gave a very committed in the performance, as I identified with the role very much. I did a lot of work to understand her mood and background, to communicate her feelings through her dialogue and interaction with other characters. During that performance I felt that I really am Lucia, having invested a lot of energy in the role. There was still a lot musically to work on, but hopefully with more opportunities to perform the role, I will have more room to develop it. To fully work on drama and music as a whole you need more opportunities for both sides to develop together onstage; and I am still continuing training. When you are preparing a role you won’t criticize yourself much, but after the performance I need to self-examine to improve. It would be wonderful if I could play the role again. Being able to repeat a role gives the singer much more license to improve and take chances.

The Mad Scene: As long as we are talking about repeating roles, the Queen of the Night is apparently one of your signature roles. How many times have you sung it?

Hsiao Chun: Wow many many times! Of course I am saying this in an Asian context, as we don’t have the opportunities like Europeans to perform the same role hundreds of times, but if I were to give a ballpark figure… over 15 times in 5 productions maybe. While I was a student in Tunghai (Taichung) and Cleveland, Taipei Symphony Orchestra (TSO) this January… I fact I just came from a TSO children’s concert production of The Magic Flute, today!

The Mad Scene: How do you identify with the role of Queen of the Night?

Hsiao Chun: She is a person who likes to control others; she always has a motive when approaching others, so that on the surface she looks good, but that is really just a way to get to her goal, which she will use any means to achieve it.

The Mad Scene: Some people say that she is really misunderstood, as her husband gave what should rightfully be hers to Sarastro, just because she is a woman. Do you agree?

Hsiao Chun: You could say that she has some vulnerability, but I think that she is really a villain, who acts nice when only when necessary, such as in the beginning when persuading Tamino to rescue her daughter.

The Mad Scene: What is your favourite part of The Magic Flute?

Hsiao Chun: Hard to pin down, I think all the music is nice. The plot can seem messy at parts, if not properly directed it can seem too solemn and boring, but taking the music in parts, every tune is lovely. As The Magic Flute is one of Mozart’s last works, and his health was not so good, it was probably understandable that some parts of the plot and music don’t connect very well, but still it’s a great piece of music drama.

The Mad Scene: How about a particular aria, if voice parts are not an issue?

Hsiao Chun: There are plenty of nice arias in the opera, even if the role may not be dramatically interesting. Acting wise probably Papageno, for his comical presence. I love the duet by Pamina and Tamino, the music is very well written, and also the trio of children, their music is so cute! Perhaps one of the 3 Ladies too, their music seems very meaningful and fun, especially when they are fighting each other while trying to seduce Tamino!

The Mad Scene: You want to sing the 3 Ladies? Don’t most Queen of the Nights prefer to move on the Pamina?

Hsiao Chun: Well her too, but don’t underestimate the importance of these three roles! They may not be leading parts with big arias, but their music requires a very high level of musicianship and technique. In fact its industry practice that a singer who has the three ladies on their resumes can ask for a higher fee than others.

Of course the Queen of the Night is also a supporting role albeit a bigger one, but one shouldn’t underestimate its challenges, which are very different from a role like Lucia for instance. The first aria has only one high ‘F’, so many non-coloraturas can still sing it in concert. However the second aria is so sustained in that high register that it requires a true coloratura voice to pull it off. You need to sing no less than 4 high ‘F’s! Dramatically too, because you have so little stage time you need to make an impact right away, to show the explosiveness of her anger the moment you get onstage.

The Mad Scene: Of all the roles you have sung, which is your favourite, and why?

Hsiao Chun: That’s really hard to say because I only sing the roles I love. When I research a role I may decide that I don’t like them, maybe like Queen of the Night I may not like her character, but dramatically and musically there’s so much I can do! With Lucia I think she’s such a poor thing… Gilda too, such poor things, and so many lovely things you can do musically, it really helps you really connect with the role and moment.

The Mad Scene: Who are your favourite Lucias and Queen of the Nights?

Hsiao Chun: For Lucia, Joan Sutherland, Gruberova, and Callas I guess, though not in any particular order. I find them all to be very good even with some defects here and there.

The Mad Scene: What if a friend asked for recommendations, whose recording would you recommend?

Hsiao Chun: Gruberova. Maybe it’s because I find many similarities between my voice and her’s.

The Mad Scene: And for Queen of the Night?

Hsiao Chun: Gruberova too! But I also saw a Dessay performance on YouTube; she had a very interesting interpretation where she played the Queen like a very kind mother, so that when she expressed anger, such as in the 2nd aria, she takes it in a slower, less explosive manner. I found it a very interesting take.

The Mad Scene: Well Dessay was the one who said that bit about the character being misunderstood, that I asked earlier…

Hsiao Chun: That’s one angle you can play with for sure, but that really depends on how the director sees the role, not so much for the actor to say. But if I am the director, I might want a soft, feminine character, someone who is heartbroken because my daughter refused to listen to me; if the director requests I can do that too. But to sing such high notes, its easier if you sing it fast, so part of the reason why Dessay so impressed me is because she could sing it at such a slow speed, to match the mood she wants to portray. It really depends on the singer if she is suited to sing at such a slow speed.

But however you choose to see the role, you have to portray the depth of her anger. Some singers choose to just show the anger, because they want to meet a goal and are losing patience; some are sad and angry because they lost a daughter, whereas some just want to kill. It really depends on what the directors want from the singers. But ultimately she is really furious in that crucial scene so it’s important for the singer to communicate that.

The Mad Scene: What if you are the director? Which side of her character would you choose to portray?

Hsiao Chun: Having sung the Queen so many times I would want to try every take. I may need up to 100 productions to fully explore the role! She may be a small role but she exerts a lot of influence, especially on Tamino and the audience. If you think that Tamino is being lied to in the beginning, it’s because he is moved by the emotions in her opening aria, more so than just the portrait of Pamina; so we have two ways to present her opening aria: either as a manipulator or simply a portrayal of genuine sadness.

The Mad Scene: Any other favourite singers?

Hsiao Chun: Well there is this Italian soprano, whose name I can’t recall now… I saw her sing a fantastic Traviata at 50 years old! In fact I saw clips of her Traviata at 30 and at 50, and I’m impressed by how little difference the voice sounded after so many years!

The Mad Scene: Let me guess who she is: Mirella Devia?

Hsiao Chun: Yes Devia! She has such a marvelous technique that she could still sing roles like Lucia at 60! And there is another singer I’ve heard, who also sang Queen of the Night at 60. Her name starts with ‘M’…

The Mad Scene: Edda Moser?

Hsiao Chun: Yes! Can you imagine still singing those high ‘F’s at 60? Amazing!

The Mad Scene: What is your impression of Singapore?

Hsiao Chun: Only good things really, that it’s a very good country, very efficient, and very clean. I’m guessing that the people should be very close. I’ve seen Money No Enough recently and have quite a good impression of your country.

The Mad Scene: That’s interesting, most Taiwanese I’ve met refer to I Not Stupid as the only Singaporean movie they’ve seen.

Hsiao Chun: Oh I didn’t see that, but Money No Enough just happened to be on TV so I watched it, so that I can learn more about Singapore.

The Mad Scene: OK, what is your favourite Mad Scene, and why?

Hsiao Chun: Oh Lucia of course! It’s so thrilling for me to sing it! Also I would love to sing the role of Ophelia in Thomas’s Hamlet. I’ve studied it in the studio but unfortunately have had no chance to play it. I Puritani too; I heard a rumour that I think Hong Kong is doing it, but I don’t have their contact.

The Mad Scene: Oh you could ask our Pamina perhaps, since she is now based in Hong Kong… but that’s provided she doesn’t want to sing it herself of course. You should know that we Singaporeans love her lovely round voice so much that we simply refer to her as “La Yuen”. So lastly, tell us why we should all attend SLO’s The Magic Flute?

Hsiao Chun: Because it’s a very interesting work, one of the best operas and theatre pieces really. You can see all kinds of characters in it. Good music and drama, and probably good singing too!

Tai Hsiao Chun gets really really ANGRY in the SLO’s production of The Magic Flute, opening on 23 July 2010. Ticket information available on the Events Page.

Tenor Melvin Tan stages a recital on 20 August accompanied by Shane Thio, featuring songs by Berg, Rachmaninov and Korngold. No less than 3 song cycles will receive their Singapore premieres. Soprano Collette Lam and pianist Miranda Ong will also be making guest appearances. Click on the images to find out more:

Ticketing information is available on the Events Page. 

Our reviewer Christopher attended the Orchestra of the Music Maker’s Mahler 2 and offers his opinion:

Conductor : Chan Tze Law

Orchestra of the Music Makers
Queensland Festival Chorus (Chorus master: Alison Rogers)
Singapore Festival Chorus (Choral master: Nelson Kwei)

Programme:
Max Bruch: Violin Concerto no 1 in G minor (Violinist: See Ian Ike)
Gustav Mahler: Symphony no 2 in C minor (Soprano: Jeong Ae Ree, Mezzo-sopreano: Rebecca Chellappah)

This is a night of high romanticism, featuring two Germanic romantic works. Max Bruch’s Violin Concerto is a well-known piece; soloist See Ian Ike chose a virtuosic approach rather than a romantic approach. He has great command of the instrument. He chose to stun the audience with his clean, bright tone with narrow-vibrato, accurate tempo and precise-pitching, rather than touching the listeners with warm, lush, melancholic sound. Audiences will not forget his precise double stopping, although despite his frequent use of full-bowing, his sound cannot be said to be warm as he used rubato and portamento sparingly.

Any performance of Mahler’s Resurrection Symphony is always an event that attracts attention, partly because of its sheer length and its complex orchestration. People tend to forgive any short-comings as it is no mean feat just to get the piece in shape. The mammoth structure is also demanding on the conductor.

This performance had an unsteady start in the first movement (Allegro maestoso); while all the major portions are well rehearsed, the structure of the entire movement failed to emerge from the details of each segment. To begin with, the first movement has a complicated sonata form that theorists often argued about (whether there is one or two expositions, and for the second exposition, or a large development section (or two), or some combination thereof). This movement passes through a number of different moods, each calling for details in orchestra texture. We can appreciate the effort of the conductor trying to present as many details in these orchestral textures as possible, but sadly, the entire structure seems lost.

In the second movement, what is lacking is that Viennese gemuetlich, that delicate Laendler mood that depicts the joyful times in the life of the deceased.

However, the subsequent movements just get better and better. It became a fireworks display for the orchestra as well as the conductor. Here the hard work of the conductor paid off, making good use of Mahler’s writing for off-stage brass, percussion and choir (for the last movement), and the audience are simply absorbed by their music-making. The forth movement displayed a sensual Rebecca Chellappah, who sang the Urlicht movement with a voice that illustrates that longing for relief from worldly woes.

Unfortunately, I couldn’t say the same for soprano Jeong Ae Ree, for while she had a very secure technique and her voice did float above the chorus at times, her vocal timbre did not stand out from the choir well.

The audience will not forget the brilliant brass, the glorious sound of the huge trumpet section and the pensive trombone quartet. They are very well-performed, especially considering that the players had to multitask by waltzing on-and-off-stage to play the off-stage parts as well. The audience will also not forget the clean and neat performance of the combined choir, well rehearsed with clear diction and well-coordinated work.

With such an impressive performance, I am a little surprised that the audience did not give a standing ovation at the end. I am delighted to see a non-professional orchestra rise to achieve such an excellent standard of playing tonght.

The Mad Scene has a quick chat with up-and-comer Li Yang and opera veteran William Lim, stars of the upcoming SLO production of The Magic Flute: 

 

Li Yang 

The Mad Scene: What is the one thing that you like best in The Magic Flute?

Li Yang: I enjoy the plot of this opera very much. The story is very traditional and full of fantasy, that wisdom will conquer blindness, brightness will overcome darkness, and goodness will defeat evil.

The Mad Scene: What do you most look forward to in this SLO production?

Li Yang: I would like to thank SLO for giving me this opportunity to work with the fantastic cast to get more experience, and I am looking forward to work with the best opera company in Asia, the SLO, again soon.

The Mad Scene: What do you like most about your role in this coming production?

Li Yang: I will be singing Papagena. She is a semi-bird woman, a very dramatic figure. She sings a duet with Papageno in the opera, In this heart-warming duet, the care-free Papageno is introduced to his bride-to-be, Papagena. Love is kindled in their song where they discover the similarity in their names. Their music is lively and timid like a bird, full of warmth and pleasantness of fairy tales.

The Mad Scene: What is your favourite opera singer, and why?

Li Yang: Maria Callas. She has performed in hundreds of operas, virtually every one is wonderful. Roles are interpreted distinctly by this outstanding soprano, who is extraordinarily dazzling and dramatic on the stage. She has made a organic combination of music, drama and stage movements, and created numerous perfect art characters on stage.

The Mad Scene: What is your favourite Mad Scene?

Li Yang: The trio “Ich bin die erste Sängerin”! It’s from Der Schauspieldirektor. In it, the two ambitious singers confront him on who the prima donna will be, while Monsieur Vogelsang attempts to reconcile matters.

William Lim

The Mad Scene: What is the one thing that you like best in The Magic Flute?

William Lim: The fairy tale and very tuneful “Magic Flute” which can appeal to all ages allows it to be produced in different setting and still never looses it’s appeal. This is very important to me as it allows me the possibility to approach this role with something new which I may not realized previously.

The Mad Scene: What do you most look forward to in this SLO production?

William Lim: With each new productions, there will be old friends and new colleagues. For the next weeks, we will be working together and for me, learning from their invaluable experiences. To be sure, there will be sweat and blood but above all, we’ll take care of each other like a family.

The Mad Scene: What do you like most about your role in this coming production?

William Lim: The scene between the wise Speaker and the confused young hero can be extremely memorable not by singing any beautiful melodies but by the speech like recitatives.

The Mad Scene: What is your favourite opera singer, and why?

William Lim: I have a small group of singers whom I felt particularly close to and Victoria de los Angeles ranks high among them. I never had the good fortune to hearing her live except on her many gramophone records since I was very young. Her Gounod’s Marguerite is perhaps my all time favorite. Non of the sopranos I have heard since or after her equal her in warmth, Girlishness or innocence which is essential in this role. Please listen to the Jewel song, the Garden duet with Faust and the final trio.

The Mad Scene: What is your favourite Mad Scene, and why?

William Lim: Among the Bel Canto heroines who go mad, Imogene is dramatically the most satisfying. She does not goes through roller coaster long cadenza and endless high E flats before she reaches the destiny of her story. A mournful orchestral prelude introduces her mad scene. Then the out of mind Imogene thinks she sees her dead husband who was earlier murdered by her lover Gualtiero. She finally goes mad in a powerful cabaletta when the trumpet signals the execution of Gualtiero. This will have to be my all time favorite mad scene.

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Catch Li Yang and William in the SLO’s upcoming production of The Magic Flute. Ticket information is available on the Events Page.

 

The Mad Scene has came a long way in these past three years, so its easy to forget that one of our objectives is to spotlight promising young singers. With that in mind, we are happy to introduce to you Daniel Fong, a student at the UK’s Royal Academy of Music and also a pupil of Jeong Ae-Ree and pianist Shane Thio. Daniel can be heard in his first solo recital Songs of Travel next Saturday (17 July). The Mad Scene has a quick chat with Daniel on what we can look forward to:

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The Mad Scene: Hi Daniel, firstly tell us, what can we look forward to at your recital?

Daniel: This recital will have an all English Song program, focusing on British Songs from the 20th century. The program comprises of two halves. The first is Vaughan William’s Songs of Travel. This beautiful English song cycle captures the whimsical and light air of English Music and Song, and the piano cleverly paints the English Countryside. The second half comprises of songs by other British composers, mainly Finzi, Head and Quilter, including songs from Finzi’s song cycle Let us garlands bring. The recital is inspired by our (Mr Shane Thio and I) love of British Song and its subtle style, which is rarely performed or heard in Singapore. This is also my first full recital, and I am excited to present myself as a young performer.

The Mad Scene: What is your approach to programming a recital?

Daniel Fong: The approach to programming a recital is actually rather simple. Singers usually use broad themes or images to bind songs together. I have heard recitals where the prevalent theme was about death, flowers or birds. For the second half of my recital, the theme is on Love and Love-lost. Like most European composers of the 20th century, English composers were obsessed in expressing the feeling of falling in and out of Love in their music. Thus, it was easy for Mr Shane Thio and I to gather songs which speak on subject of Love.

The Mad Scene: In your own words, tell us what is so unique about Vaughan William’s Songs of Travel?

Daniel: He creates a world through his music, and as I sing, I can feel that I am traveling in it. Vaughan William has the amazing ability to form images in our minds through his music. The listener can actually distinctly hear the sounds of people, roaring waterfalls, flowing streams and chirping birds in the piano parts. To me this ability to play on our senses makes him the Schubert of English song, and transports us to our imaginary forests and fields. Furthermore, many pieces in the cycle echo each other, thus creating a real sense of continuity and connection from the first to the last song - like a journey. Vaughan William also had a great reverence for the British folk-song tradition, and this is clearly reflected in some of the pieces in the cycle. These pieces sound like folk-tunes, which are pleasant to hear and easy to pick up.

The Mad Scene: Describe your voice to those of us who have never heard it.

Daniel: In all honestly, I have never known how I truly sound. Because a person’s ears cannot fully pick up the whole resonance of one’s own voice, no one can really hear his or her true voice, and requires a third party to pass the judgement. But, I have been told that I have a warm tone. And because I am a rather young baritone, my voice and its ability will keep changing. I guess to answer this question; I will have to say come to the recital to find out!

The Mad Scene: Besides yourself, which young singers would you recommend music lovers in Singapore to look out for?

Daniel Fong: There are many good young singers in Singapore now. As a student of Ms Jeong Ae Ree in Singapore, I have had the opportunity to hear and know many great young singers. The number of concerts organized has also increased. For example, I know that Mr Shane Thio will be performing with my dear friends, Ms Lim Yanting (Soprano) and Mr Brendan Au (Tenor) at the NUS University Cultural Centre Theatre on 17th August this year.

The Mad Scene: Who do you prefer, Callas or Tebaldi?

Daniel Fong: Haha! This question boils down to one’s personal taste. I personally do not have a preference, as I feel that both have their own strengths that people flock to listen . I love how Callas puts so much emotional energy into her voice and character, though I do hear the wear and tear in her instrument. Tebaldi had great vocal technique, and I feel a more beautiful natural voice than Callas. But, I shall not take part in this age-old feud, commenting on who is the greater diva, as both are brilliant to me.

The Mad Scene: Lastly, tell us why we should all come and hear your recital Songs of Travel?

Daniel Fong: I think everyone will enjoy the recital. I am sure that the listener will be able to experience the same emotions and feelings that we have encountered in the music. Vaughan William’s music about traveling is not only beautiful and lush, but will also create in us a sense of awe and wonderment of nature. In the second half, the listener would also be able to share with us the all too familiar feelings of falling in love and losing a love-one. Besides the music, I think that people will find Mr Shane Thio and me to be quite lovable characters, and I hope that they will enjoy the musical partnership that we have created! We hope to make the recital a sharing of human emotions. So, do come for the recital!

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Excited? Here’s the information you need to get tickets:

Ticket Price : S$15
For tickets please call:
98163587
A Limited no. of tickets
Would be sold at the door.

One of the things that I really like about Taiwan is their preference to sell things in packages; for example, meals usually come with the main course, a starter of soup or salad, and a drink. For a mere TWD90 (SGD2.50) you can get a small pizza, a side of fries and a drink. That barely gets you a main course at the coffeeshop in Singapore.

So I needed a new set passport photos taken, and was charged what I thought was a rather hefty price of SGD12. But the package turned out to be quite a good deal: 6 printed photos, a soft copy on CD-ROM, and, get this, AIR-BRUSHING!

Cos everyone needs to look good on their documents, representational images be damned! Yes the Taiwanese’s eye for beauty truly is impressive; try getting the photo booth at the Immigration Office at Lavender MRT to wipe out your acne marks! Brings a new meaning to the phrase “Ugly Singaporean” huh…