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:
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:
WOO-HOO!!!
It seems that the previous update on the SLO’s July Magic Flute did not include the singer who will be playing Sarastro. Therefore, The Mad Scene is proud to announce that our local boy Martin Ng Hon Wai will be singing those rumbling low notes come July.
Here is his bio:
Martin Ng Hon Wai is born in Singapore in 1977 (Ed: the same year Maria Callas died) and studies at the State Conservatory of Verona “Dall’Abaco”. Martin commenced his musical studies under Joy Chen and subsequently under Rudolf Knoll and Sergio di Bari. Martin is presently studying under Maestra Chu Tai-Li.
Martin won the International Singer of the Year Award in 2002 organised by the Singapore Lyric Opera and thereafter made his debut in 2005 with the company as Prince Yamadori in Puccini’s Madama Butterfly. His other operatic roles include Timur in Puccini’s Turandot (SLO 2008), King Balthazar in Menotti’s Amahl and the Night
Visitors (SLO 2005), Ferrando in Verdi’s Il Trovatore (Opus One Opera 2006-2007), Angelotti in Puccini’s Tosca (Opus One Opera 2006-2007), Colline in Puccini’s La Boheme (Opus One Opera 2006- 2007, SLO 2009)
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Erm Martin, does your birthday happen to fall on 16 September by any chance?
Meanwhile, limited 50%-subsidised Keppel Nights tickets are available. Visit www.keppelnights.com for more information. Applicable for $48 tiers for 24 July performance only
OperaNews this month carries a feature by Jennifer Melickon the Hanoi Opera House. She offers comments on the New York Philharmonic’s tour there (which had also stopped by Singapore), its place in contemporary Vietnamese culture, the Vietnamese opera scene (or lack thereof) and, as expected from a first-time visitor, the never-ending buzz of motorcycles.
http://operanews.com/Opera_News_Magazine/2010/5/Features/Reclaiming_Identity.html
The Mad Scene regrets to inform that OperaStudio’s concert of Czech arias has been cancelled: Here’s a note from artistic director Thomas Mannhart:
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OperaStudio regrets that the Czech recital was cancelled due to unforseen logistical and artistic issues. As we always aim to perform to the highest possible standards, we saw the need to postpone the performance to a later date. Our sincere apologies to fans and audience expecting a wonderful recital of beautiful Czech songs. We will bring that experience to you as soon as we are able to. We will definitely keep you posted.
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We wish OperaStudio all the best and look forward to attending their next project.
Here’s an interesting news bites: imagine a country that is rich enough to build an opera house in another country! Something tells me that Algeria will soon get to see endless productions of Turandot alternating with the Yellow River Cantata. Not a bad thing of course!
Alessandro Corbelli, star of our recently reviewed Gianni Schicchi and the Dessay/Florez vehicle of ROH’s La fille du Regiment, shares his thoughts withh MusicalCriticism.com:
http://www.musicalcriticism.com/interviews/corbelli-1207.shtml
SO EXCITING!!!!!!!!!!!!
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Title of Production: Die Zauberflote (The Magic Flute)
Date: 23, 24, 26 & 27 July 2010
Time: 8pm
Venue: Esplanade Theatre
Music by: W.A Mozart
Libretto: Emanuel Schikaneder
Staged by: Singapore Lyric Opera
Director: Justin Way
Conductor: Alice Farnham
Cast:
Tamino: Kota Murakami
Papageno: Song Kee Chang
The Queen of the Night: Tai Hsiao Chun
Monostratos: Lemuel dela Cruz
Pamina: Nancy Yuen
The Orator: William Lim
Three Ladies:
- First: Ee-Ping
- Second: Cherylene Liew, Christine The
- Third: Anna Koor
Papagena: Li Yang
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Taiwanese Tai Hsiao Chun, who also calls herself “Queen Night Tai”, recently sang a lovely Lucia and then the Queen of the Night in January 2010. The Queen of the Night seems to her most performed signature role, so do take the opportunity to catch her live.
More information about the cast on the SLO’s 15 page press release:
Quel scandale! Did you know that Giulini’s recording of the Verdi Requiem, said to be one of the very best in the catalogue, actually had no less than 4 chorus girls singing the high notes on behalf of soloist Elizabeth Swarzkopf in the Libera Me movement? No wonder the recording is so highly regarded: imagine having 5 singers doing one person’s job! Its kind of like that Farinelli soundtrack recording where producers spliced together a countertenor’s and soprano’s voices.
Much as I love the Verdi Requiem I have not actually heard this one yet, as I don’t think Swarzkopf is anyone’s idea of a Verdi soprano (My personal bias of course, but a much more likely Verdian called Maria Callas apparently wanted to record the part but producer Walter Legge chose to cast his wife instead). Maybe I’ll check it out just to see if I can spot the different voices (its available at the Esplanade Library and its Taiwanese equivalent). The Gramophone article where this revelation is told can be found here:
http://www.gramophone.net/Issue/Page/September%202009/42/1003445/THE+TAPING
By the way, the SSO performs the Verdi Requiem this coming Saturday. Go to the Events Page for details.