SSO Gala • Diana Damrau

LAN SHUI Music Director

SSO GALA

diana damrau 1 November 2017 Esplanade Concert Hall Performing Home of the SSO

Pavel Baleff, conductor Diana Damrau, soprano Nicolas TestĂŠ, bass baritone

1 Nov 2017, Wed

SSO Gala Diana Damrau Singapore Symphony Orchestra Pavel Baleff, conductor Diana Damrau, soprano* Nicolas Testé, bass-baritone^

GIOACHINO ROSSINI From The Barber of Seville — Overture 8’00 — “Una voce poco fa” * 6’00 — “La calunnia” ^ 4’00 CHARLES GOUNOD

“Ah! Je veux vivre” from Romeo & Juliet * 5’00

GIUSEPPE VERDI From Don Carlos — “Elle ne m’aime pas” ^ 10’00 — Ballo della regina: Finale 5’00 VINCENZO BELLINI

“O quante volte” from I Capuleti e i Montecchi * 7’00 “O amato zio, o mio secondo padre” from I Puritani *^ 12’00

Intermission 20’00

RICHARD WAGNER From The Flying Dutchman — Overture 11’00 — “Mögst du, mein Kind” ^ 5’00 PIETRO MASCAGNI

Cavalleria rusticana: Intermezzo 4’00

GIACOMO MEYERBEER

“Ombre légère” from Dinorah ou Le pardon de Ploërmel * 6’00

AMILCARE PONCHIELLI From La Gioconda — Dance of the Hours (Danza delle ore) 9’00 — “Sì, morir ella dè!” ^ 5’00 GIUSEPPE VERDI

“È strano… Ah, fors’è lui... Sempre libera” from La Traviata * 9’00

Concert duration: 2 hrs 20 mins Go green. Digital programme booklets are available on www.sso.org.sg.

Scan the QR code in the foyer to view a copy.

Sing a p ore S y mp hon y Or c he s t r a ‘A fine display of orchestral bravado for the SSO and Shui’ The Guardian

Since its founding in 1979, the Singapore Symphony Orchestra (SSO) has been Singapore’s flagship orchestra, touching lives through classical music and providing the heartbeat of the cultural scene in the cosmopolitan city-state.

In addition to its subscription series concerts, the orchestra is well-loved for its outdoor and community appearances, and its significant role educating the young people of Singapore. The SSO has also earned an international reputation for its orchestral virtuosity, having garnered sterling reviews for its overseas tours and many successful recordings.

The SSO makes its performing home at the 1,800-seat state-of-the-art Esplanade Concert Hall. More intimate works and all outreach and community performances take place at the 673-

seat Victoria Concert Hall, the home of the SSO. The orchestra performs 100 concerts a year, and its versatile repertoire spans all-time favourites and orchestral masterpieces to exciting cutting-edge premieres. Bridging the musical traditions of East and West, Singaporean and Asian musicians and composers are regularly showcased in the concert season. This has been a core of the SSO’s programming philosophy from the very beginning under Choo Hoey, who was Music Director from 1979 to 1996.

Since Lan Shui assumed the position of Music Director in 1997, the SSO has performed in Europe, Asia and the United States. In May 2016 the SSO was invited to perform at the Dresden Music Festival and the Prague Spring International Music Festival. This successful five-

city tour of Germany and Prague also included the SSO’s return to the Berlin Philharmonie after six years. In 2014 the SSO’s debut at the 120th BBC Proms in London received critical acclaim in the major UK newspapers The Guardian and Telegraph. The SSO has also performed in China on multiple occasions.

Notable SSO releases under BIS include a Rachmaninov series, a Debussy disc, Seascapes featuring sea-themed music by Debussy, Frank Bridge, Glazunov and Zhou Long, and the firstever cycle of Tcherepnin’s piano concertos and symphonies. The SSO has also collaborated with such great artists as Lorin Maazel, Charles Dutoit, Gennady Rozhdestvensky, Neeme Järvi, Vladimir Ashkenazy, Lang Lang, Yo-Yo Ma, Leonidas Kavakos and Gil Shaham.

Empowering lives.

Nurturing communities.

We believe in building a sustainable future with the community – wherever we operate. In more than 30 countries, we reach out and give back through lending a hand to the needy and under-privileged, promoting education, caring for the environment as well as cultivating appreciation of the arts.

We make it a part of our business to lay the foundation for a brighter future, one upon which successive generations will thrive.

Keppel Corporation Limited 1 HarbourFront Avenue #18-01 Keppel Bay Tower Singapore 098632 I www.kepcorp.com

Supporting the Local Arts and Cultural Scene Partner of SSO since 1978 NSL is a long-standing sponsor for Singapore Symphony Orchestra (SSO). We have been instrumental in helping the Orchestra reach out to the community-at-large as SSO brings music to the world.

A leading industrial group in the Asia Pacific with businesses in Precast & Prefabricated Bathroom Unit and Environmental Services, NSL believes that while achieving business goals is important, its actions need to also create a positive impact on the community, environment and all stakeholders.

NSL LTD 77 Robinson Road #27-00 Robinson 77 Singapore 068896 Tel: 6536 1000 I Fax: 6536 1008 I www.nsl.com.sg

PAV E L B A L E F F conductor

Credit: Joerg Bongartz

“I have often had the opportunity to listen to concerts by Pavel Baleff with BadenBaden Philharmonic, and I was impressed by the quality which he achieved with this Orchestra!” – Pierre Boulez, Paris, July 2011 Born in Bulgaria, Pavel Baleff conducted his first concert at 18 and received the Bulgarian Radio prize as best young musician in 1993. Since December 1998 Pavel Baleff has been the Musical Director of the Dresden Chamber Opera. In 2003 he won the renowned Bad Homburg conductor award – one of the highest German conducting honours.

Pavel has been Chief Conductor of the Baden-Baden Philharmonic Orchestra since 2007. He has been engaged as an opera, ballet and concert conductor at the Zurich Opera House, the Semperoper Dresden, the Gewandhaus Leipzig, the Hamburg State Opera and the Bolschoi Theatre in Moscow.

Pavel works with international renowned artists such as Anne-Sophie Mutter, Anna Netrebko, Krassimira Stoyanova, Diana Damrau, Edita Gruberova, Vesselina Kasarova, Ramon Vargas, Thomas Hampson, Nicolas Testé, Piotr Beczala and Luca Pisaroni. In 2012 Pavel won the German Record Critics Award as well as the International Classical Music Award for Slavic Opera Arias with Krassimira Stoyanova and the Münchner Rundfunkorchestra. The recording of Verdi arias with Krassimira Stoyanova, released by the Orfeo label, won the German Record Critics Award in 2014. In 2015, Russian Arias with Vesselina Kasarova was released. In Sofia he was awarded Bulgarian Conductor of the Year for The Ring of the Nibelung at the National Opera. Pavel Baleff is First Prize winner at the Carl Maria von Weber Competition and received an award by the Herbert von Karajan Foundation.

In December 2016 he made his debut with Gaetano Donizetti’s L’elisir d’amore at the Vienna State Opera. In the 2017/18 season Pavel will be guest conductor at the Opera Zurich in Ravel’s L'heure espagnole and L'enfant et les sortilèges as well as the ballet Swan Lake. In 2018/2019 he will conduct The Dead City at the Opera in Limoges.

DIANA DAMRA U soprano

Credit: Jürgen Frank

Soprano Diana Damrau has been performing on the world’s leading opera and concert stages for two decades. Her vast repertoire spans both lyric soprano and coloratura roles including title roles in Lucia di Lammermoor (La Scala, Bavarian State Opera, Metropolitan Opera, Royal Opera House), Manon (Vienna State Opera, Metropolitan Opera) and La traviata (La Scala, Metropolitan Opera, Royal Opera House, Opéra national de Paris and Bavarian State Opera) as well as Queen of the Night in The Magic Flute (Metropolitan Opera, Salzburg Festival, Vienna State Opera, Royal Opera House).

The Metropolitan Opera has been a house in which the soprano has performed her signature roles, been broadcast in HD to cinemas globally and made seven role debuts. Diana Damrau has twice participated in the annual inaugural performance at La Scala di Milano; in 2004 in the title role of Salieri’s Europa Riconosciuta recently released on DVD and in 2013 as the title role in a new production of La traviata to commemorate Verdi’s 200th anniversary. The soprano has also performed contemporary works for the opera stage, most notably as the title role in Iain Bell’s operatic adaptation of Hogarth’s A Harlot’s Progress and as Drunken Woman/Gym Instructress in Lorin Maazel’s 1984.

On the occasion of her new album Grand Opera which is dedicated to the works of Giacomo Meyerbeer, Diana Damrau toured Europe in May 2017. Together with the French bass-baritone Nicolas Testé performing opera gala and recital programmes, she will tour Asia in November 2017.

2017/18 season highlights include Diana Damrau’s return to the Bayerische Staatsoper as Lucia in Lucia di Lammermoor and as Violetta in La Traviata. She will give her role debut in the title role of Maria Stuarda at the Opernhaus Zurich and performs in the same role at the Deutsche Oper Berlin. In February 2018 she will tour Europe together with tenor Jonas Kaufmann. Another highlight is the world premiere of Iain Bell’s Aurora: Concerto for Coloratura Soprano together with the Royal Liverpool Philharmonic Orchestra under Vasily Petrenko at the BBC Proms in the Royal Albert Hall.

Diana Damrau records exclusively for Erato/Warner Classics. General Management Concerts, Tours & Media of Diana Damrau: CCM Classic Concerts Management (www.ccm-international.de). For more information, visit www.diana-damrau.com.

Nic ol a s T e s t é bass-baritone

Credit: Jiyang Chen

French bass-baritone Nicolas Testé studied piano, bassoon and music history in Paris before embarking on a career as a singer. He was awarded the Second Prize at the Voix Nouvelles competition in 1998.

Nicolas regularly performs at renowned opera houses such as the Metropolitan Opera New York, Staatsoper Munich, Los Angeles Opera, San Fransisco Opera, Deutsche Oper Berlin, Opéra National de Paris, Teatro San Carlo Naples, Grand Théâtre Geneva, Teatro La Fenice as well as at the Glyndebourne Festival and Chorégies d’Orange.

His extensive repertoire comprises title roles in Iphigénie en Aulide (Agamemnon), Roméo et Juliette (Frère Laurent), Manon (Des Grieux), Hamlet (Claudius), Il Trovatore (Ferrando), The Magic Flute (Sarastro), Castor and Pollux (Jupiter), Faust (Mephisto), The Tales of Hoffmann (The Four Villains) and The Barber of Seville (Basilio).

In recent years, Nicolas made his debut at the Bayerische Staatsoper in La Bohème (Colline) and the San Francisco Opera in Lucia di Lammermoor (Raimondo), roles he also played at the Staatsoper Munich. He performed at the Metropolitan Opera in Bizet’s Les Pêcheurs de Perles (Nourabad), the first time in history that the opera was performed there; as well as in Carmen (Zuniga). At the Opéra National de Paris, he was in Samson and Dalila (Abimelech) and at the Los Angeles Opera in the role of the Four Villains in The Tales of Hoffmann.

Besides opera productions Nicolas Testé regularly performs with acclaimed symphony orchestras. In spring 2017 he toured South America with the renowned soprano Diana Damrau, including a debut on 27 April 2017 at the Teatro Colón in Buenos Aires. Further concerts took place in São Paulo, Brazil, Mexico and Chile.

This was followed by the “Belcanto Drammatico” tour in May/June 2017. Together with Diana Damrau and the Prague Philharmonia, Nicolas Testé performed arias

by Meyerbeer, Massenet and Verdi in the major concert halls in Europe, in Baden, Hamburg, Dresden, Munich, Prague and Poland. In autumn 2017 he gives concerts in Asia, including Shanghai, Tokyo and Korea.

SUPERCHARGED SUNDAYS AT OSCAR’S Supercharge your afternoons at Oscar’s Sunday Brunch, from freshly shucked oysters, Boston lobsters, to premium roast London duck and free flow champagne. Balance all that indulgence at the 4 metre-long salad bar, chilled shakes and organic pastas prepared by chefs at the theatrical stations.

Specially for Friends of SSO, enjoy 20% off total bill.

For reservations, visit www.connoisseur.sg or call 6432 7481 Prior reservations necessary. Subject to availability. Black-out dates apply. A valid Friends card must be produced. Discount cannot be used in conjunction with other promotions, discounts or vouchers.

centennial singapore Two Temasek Boulevard, Singapore 038982

Phone +65 6334 8888

ConradSingapore.com

SSO MU SICIANS Lan Shui Music Director joshua tan Associate Conductor jason lai Associate Conductor andrew litton Principal Guest Conductor Choo Hoey Conductor Emeritus Eudenice Palaruan Choral Director

FIRST VIOLIN Igor Yuzefovich° Concertmaster, The GK Goh Chair Lynnette Seah Co-Concertmaster Kong Zhao Hui* Associate Concertmaster Chan Yoong-Han Fixed Chair Cao Can* Chen Da Wei Duan Yu Ling Foo Say Ming Gu Wen Li Jin Li Cindy Lee Sui Jing Jing Karen Tan William Tan Wei Zhe SECOND VIOLIN Michael Loh Associate Principal Hai-Won Kwok Fixed Chair Nikolai Koval* Chikako Sasaki* Margit Saur Shao Tao Tao Lillian Wang Wu Man Yun* Xu Jue Yi*

Ye Lin* Yeo Teow Meng Yin Shu Zhan* Zhang Si Jing* VIOLA Zhang Manchin Principal Guan Qi Associate Principal Gu Bing Jie* Fixed Chair Marietta Ku Lim Chun^ Luo Biao Shui Bing Tan Wee-Hsin Janice Tsai^ Yang Shi Li Yeo Jan Wea^ CELLO Ng Pei-Sian Principal Yu Jing Associate Principal Guo Hao Fixed Chair Chan Wei Shing Song Woon Teng Wang Yan Wang Zihao* Peter Wilson Wu Dai Dai Zhao Yu Er DOUBLE BASS Guennadi Mouzyka Principal Yang Zheng Yi Associate Principal Karen Yeo Fixed Chair Olga Alexandrova Jacek Mirucki Wang Xu FLUTE Jin Ta Principal Evgueni Brokmiller Associate Principal Roberto Alvarez Miao Shanshan PICCOLO Roberto Alvarez Assistant Principal

OBOE Rachel Walker Principal Pan Yun Associate Principal Carolyn Hollier Elaine Yeo

TRUMPET Jon Paul Dante Principal David Smith Associate Principal Lau Wen Rong Sergey Tyuteykin

COR ANGLAIS Elaine Yeo Associate Principal

TROMBONE Allen Meek Principal Damian Patti Associate Principal Samuel Armstrong

CLARINET Ma Yue Principal Li Xin Associate Principal Liu Yoko Tang Xiao Ping BASS CLARINET Tang Xiao Ping Assistant Principal BASSOON Liu Chang Associate Principal Christoph Wichert Zhao Ying Xue CONTRA BASSOON Zhao Ying Xue Assistant Principal HORN Han Chang Chou Principal Gao Jian Associate Principal Jamie Hersch Associate Principal Marc-Antoine Robillard Associate Principal Hoang Van Hoc^ Kartik Alan Jairamin

BASS TROMBONE Wang Wei Assistant Principal TUBA Hidehiro Fujita Principal TIMPANI Christian Schiøler Principal Jonathan Fox Associate Principal PERCUSSION Jonathan Fox Principal Mark Suter Associate Principal Lim Meng Keh Zhu Zheng Yi HARP Gulnara Mashurova Principal

* With deep appreciation to the Rin Collection for their generous loan of string instruments. ° Igor Yuzefovich plays an instrument generously loaned by Mr & Mrs G K Goh ^ Musician on temporary contract Musicians listed alphabetically by family name rotate their seats on a per programme basis.

A S ta nding Ovat ion to our Donor s a nd sp ons or s PATRON SPONSOR

Tote Board Group (Tote Board, Singapore Pools & Singapore Turf Club) $900,000 and above

Temasek Foundation Nurtures CLG Ltd $100,000 and above

Christopher Ho & Rosy Ho Interchem Pte Ltd Anonymous $50,000 and above

John Swire & Sons (S.E. Asia) Pte Ltd Singapore Press Holdings Limited Joseph Grimberg Kingsmen Exhibits Pte Ltd Lee Foundation, Singapore Mr & Mrs Goh Yew Lin GK Goh Holdings Limited NSL Ltd Aquilus Pte Ltd Anonymous

$20,000 and above Saga Tree Capital Advisors Pte Ltd Singapore Institute of Management Keppel Care Foundation Stephen Riady Group of Foundations Kris Foundation Far East Organization Mr and Mrs Goh Geok Khim Geoffrey Wong & Ai Ai Wong United Overseas Bank Limited UPP Holdings Limited Eugene Lai Chin Look Clarinda Tjia-Dharmadi-Martin

Dorothy Chan Ms Paige Parker and Mr Jim Rogers Mr and Mrs Wong Ngit Liong JCCI Singapore Foundation Limited Petrochemical Corporation of Singapore Pte Ltd Tan Chin Tuan Foundation Holywell Foundation Limited Pontiac Land Group One North Capital Pte Ltd Anonymous Christina Ong Doris and Andreas Sohmen-Pao

$10,000 and above Dr and Mrs Thomas Zuellig Foundation Prince Albert II of Monaco Allen & Gledhill LLP Santa Lucia Asset Management Pte Ltd S R Nathan Lim and Tan Securities Pte Ltd ABRSM At-Sunrice GlobalChef Academy Pte Ltd BinjaiTree Boardroom Limited DBS Bank Limited Hi-P International Limited Hong Leong Foundation LGT Bank (Singapore) Ltd Marina Bay Sands Pte Ltd Nomura Asset Management Singapore Ltd OSIM International Limited Prima Limited PSA International Private Limited Resorts World at Sentosa Pte Ltd Van Cleef and Arpels Tan Kong Piat (Pte) Limited Choo Chiau Beng

Tan Choo Leng Christine Yeh David Ong Eng Hui Anonymous Prof Chan Heng Chee Lito and Kim Camacho Amy and Kevin Gould Anonymous Andress Goh Lai Yan Lee Li-Ming Anonymous Olivia Lum Kim Teo Poh Jin Pauline Chan and Jean Nasr Yong Pung How Yong Ying-I Maisy Koh and Dr Beh Swan Gin Prof Cham Tao Soon Leong Wai Leng Liew Wei Li Lin Diaan-Yi Desmond Lim Yu Jin

$5,000 and above Juliana and Clemente Benelli Prof Arnoud De Meyer Ms Manju Vangal and Mr Arudra Vangal Sharon Chandran Mr and Mrs Tan Vern Han AIA Singapore Private Limited ComfortDelgro Corporation Limited CV Shipping Pte Ltd F & N Foods Pte Ltd Fullerton Fund Management Company Ltd Loke Cheng Kim Foundation Devika and Sanjiv Misra

Anonymous Electrolux S.E.A. Pte Ltd Grace Fu Hai Yien Chng Hak-Peng Anonymous Ross & Florence Jennings Prof and Mrs Lim Seh Chun Mr and Mrs W K Leong Ms Tan Sook Yee Mr & Dr Peter Sheren Odile & Douglas Benjamin Dr Gralf Sieghold Anonymous

$1,000 and above Thorsten Walther Christian Rothenbuehler Johanes Oeni Schroder Investment Management (Singapore) Ltd Dr Tan Chin Nam Anonymous Jullie Kan Lim Eng Neo Ronald and Janet Stride Chartered Asset Management Private Limited Prive Clinic Pte Ltd Xeitgeist Entertainment Group Pte Ltd Daniel Harel and Laurence Harel Eric Wong Guy J P Hentsch Ivy Teh Julian and Sandra Chang Ng Keng Hooi Tan Khai Hee Kris Wiluan Lawrence Basapa Anonymous Marie Elaine Teo Leow Oon Geok Patrick Chong Chong Siak Ching Ho Soo Foo Leong Yoke Chun Cynthia Chee Bin Eng Andreas Ruschkowski Timothy Pitrelli Eugene Lee See Tho Kai Yin Electronics & Engineering Pte Ltd Kim Woon Soo Shih Chih-Lung Coutte Didier D'Isidoro Eddy Chong Mi-Li Pamela Gael Bomblian Cambridge Therapeutics Pte Ltd Jean Yip Salon Pte Ltd JW Central Pte Ltd Robert Khan & Co Private Limited Sara Taseer Fine Jewellery Pte Ltd Dr Ho Ching Lin (SNEC) Wilmar International Limited Gan Chee Yen Connie Chaird Fong Ei Lie Gajardo Eugenia Carmichael Heather Lin John Hsu Lai Kenneth Mark Wong Kevin Ong Lee Fong

Lau Leok Yee Lau Kheng Tiong Yeo Ning Hong Somalingam Radakrishnan Richard Low Robin Ian Rawlings Richard Smith Bernhard Steiner Sheila Patel Ho Soh Choon Lee Suan Yew Lim Swee Lin Wong Yik Mun Low Nguok Kwong Todd On Lian Tan Poh Jerry Gwee Xiao Ye Tian Tan Wee Kheng Kenneth Michael Tan Kok Huan Anonymous Ng Yong Ngee Pauline Ang Hooi Yeong Alvin Liew AndrĂŠ Klein Andre Maniam Arudra Vangal Azima Moiz Aznan Abu Bakar Bernard Jean Sabrier Bettina Lieske Bo Sun Low Boon Hon Tan Boon Ngee Brian Holt Gambrill Charles Robertson Khor Cheng Kian David Neo Chin Wee Goh Chiu Gak Christopher John Fussner Daniel Tando David Harris Zemans Derek Quah Donny Low Teo Ee Peng Low Fatt Kin Gillian Metzger Vincent Lam Ho Ming Lim Hong Eng Janet Chai Huei Chuen Hunter Nield Jeremy Snoad John & Eliza Bittleston Jonathan Reiter Joseph Mocanu Joyce Tan Kanti Bajpai Anonymous

This list is for donations from 1 Oct 2016 to 30 Sep 2017.

Leong Keng Hong Jennie Chua Kheng Yeng Lai Kim Peng Mitchell Tan Kok Kiong Eunice Mah Li Lien Adelina Mah Li Ting Wong Liang Keen Lilian Khoo Liwen Holmes Marcie Ann Ball Margaret Chew Sing Seng Mark Edward Hansen Matthew Latham Matthew G Johnson Maureen Derooij Ivan Tan Meng Cheng Michel Blanc Michelle Loh Giles Tan Ming Yee Naoyoshi Nick Shimoda Kwee Nee Chia Irene Mr & Mrs Neil Tottman Wu Peichan Valerie Peter White Cees & Raife Armstrong Richard Logan Ridzuan Farouk Robert Tan Rolf Gerber Satoru Yano Jeffrey Loke Sin Hun Siong Ted Lee Susanna Ho Choon Mei Takashi Kousaka Shang Thong Kai and Tiffany Choong Vanessa Yeo Chan Wai Leong Warren Fernandez Cheng Wei Mr & Mrs Willem Mark Nabarro William H Hernstadt Xiao Li Victor Loo Belinda Koh Yuh Ling Bao Zhiming Annie Yeo Arend Schumacher Benjamin Ma Enhao Reuben Ong Chin Evelyn Rachel Irina Francken John S Davison Kathleen Moroney Madeleine Lee Stuart Liventals Goh Sze Wei

upcoming concerts

10 November 2017

Fri | 7.30pm Esplanade Concert Hall

Subscription Concert

BEETHOVEN TRIPLE CONCERTO Musical Collaboration in threes BEETHOVEN Triple Concerto for Violin, Cello & Piano in C major, Op. 56 COPLAND Symphony No. 3 Andrew Litton, conductor/piano Igor Yuzefovich, violin Ng Pei-Sian, cello Pre-concert Talk 6.30pm | library@esplanade POST-CONCERT SYMPHONY CHAT Sponsored by

17 November 2017

Fri | 7.30pm Esplanade Concert Hall

SONG OF DESTINY • BRAHMS SYMPHONIES Wander Gladly in the light T. IRFAN Meditation BRAHMS Gesang der Parzen, Op. 89 (“Song of the Fates”)

Schicksalslied, Op. 54 (“Song of Destiny”)

Symphony No. 2 in D major, Op. 73 Lan Shui, conductor Singapore Symphony Chorus Singapore Symphony Youth Choir The Choir of the Transylvania State Philharmonic, Cluj-Napoca Eudenice Palaruan, choral director Pre-concert Talk 6.30pm | library@esplanade

music i a n c h a ir s

igor yuzefovich Concertmaster The GK Goh Chair The GK Goh Chair is endowed by the Family and Friends of Mr Goh Geok Khim

GUO HAO Fixed Chair Cello The Fixed Chair Cello is supported by

CORPORATE SEAT S The Singapore Symphony Orchestra appreciates the support of companies in our Corporate Seats scheme. The scheme supports the Orchestra through regular attendance of subscription concerts. $20,000 and above Petrochemical Corporation of Singapore (Pte) Ltd

Up to $10,000 Hong Leong Foundation Nomura Asset Management Singapore Ltd Prima Limited Santa Lucia Asset Management Stephen Riady Group of Foundations

This list is for donations from 1 Oct 2016 to 1 Oct 2017.

The Singapore Symphony Orchestra is a charity and not-for-profit organisation.

Find out how you can support us at www.sso.org.sg. Call or email us at 6602 4238 or peggykek@sso.org.sg.

he a r t f e lt t h a nk s to t he fa mily a nd F RIENDS of mr g oh g eok k him In appreciation of a major gift from the Family and Friends of Mr Goh Geok Khim on the occasion of his 85th birthday on 17 July 2017, the Singapore Symphony Orchestra is pleased to announce the naming of the SSO Concertmaster position, the GK Goh Chair.

Igor Yuzefovich Concertmaster The GK Goh Chair Endowed by the Family and Friends of Mr Goh Geok Khim

Help us to spread the love of music. Visit www.sso.org.sg/donate Your donation to the SSO is 250% tax deductible. Our charity registration: 48-0003303-X

Gioachino Rossini (1792-1868) From The Barber of Seville 18’00 The Barber of Seville is based upon Pierre-Augustin Caron de Beaumarchais’ play from 1775 of the same name. In his foreword to the comedy, he explains the plot: “An amorous old man intends to marry his ward on the following day; a young man who is more clever forestalls him, and on that very day, captures the girl in the guardian’s house, right under his nose, and makes her his wife.”

The original overture was lost after the premiere and Rossini substituted another that he had already used in two or three of his earlier operas. It contains no thematic material from The Barber of Seville, but its lively melodies and rhythmic vitality serve as a perfect introduction to it.

Rosina, the ward of Dr. Bartolo makes her entrance singing “Una voce poca fa” in which she reflects upon the voice that has enchanted her. She thinks her suitor is a student, but in fact he is Count Almaviva. In the subsequent scene, Don Basilio, Rosina’s music teacher warns Bartolo about the young man who has been serenading his ward, conjuring up a plan to discredit the count through vicious gossip, or in today’s parlance, fake news.

“Una voce poco fa”, Rosina’s aria from Act I Una voce poco fa qui nel cor mi risuonò; il mio cor ferito è già, e Lindor fu che il piagò.

Sì, Lindoro mio sarà; lo giurai, la vincerò.

Il tutor ricuserà, io l'ingegno aguzzerò.

Alla fin s'accheterà e contenta io resterò.

Sì, Lindoro mio sarà; lo giurai, la vincerò.

Io sono docile, – son rispettosa, sono ubbediente, dolce, amorosa; mi lascio reggere, mi fo guidar.

A voice a while back echoes here in my heart; already my heart has been pierced and Lindoro inflicted the wound.

Yes, Lindoro shall be mine; I swear it, I will win.

My guardian will refuse me; I shall sharpen all my wits.

In the end he will be calmed and I shall rest content...

Yes, Lindoro shall be mine; I swear it, I will win.

I am docile, I'm respectful, I'm obedient, gentle, loving; I let myself be ruled, I let myself be guided.

Ma se mi toccano dov'è il mio debole, sarò una vipera e cento trappole prima di cedere farò giocar.

But if they touch me on my weak spot, I'll be a viper and a hundred tricks I'll play before I yield.

“La calunnia”, Don Basilio’s aria from Act I:

La calunnia è un venticello The calumny is a little wind, un’auretta assai gentil a very gentle little breeze che insensibile, sottile, which numbly, softly, leggermente, dolcemente, lightly, kindly, incomincia a sussurrar. begins to whisper.

Piano piano, terra terra, Little by little, mildly, sotto voce, sibilando, in a low voice, hissing, va scorrendo, va ronzando; it goes flowing, it goes buzzing; nelle orecchie della gente in people’s ears s’introduce destramente, it enters deftly e le teste ed i cervelli and makes heads and brains fa stordire e fa gonfiar. stun and blow.

Dalla bocca fuori uscendo, Getting out from the mouth lo schiamazzo va crescendo: the clamour grows: prende forza a poco a poco, it slowly strenghtens, vola già di loco in loco. it already flies from one place to another.

Sembra il tuono, la tempesta It seems like the thunder, like the storm che nel sen della foresta, that in the depth of the forest va fischiando, brontolando, go whistling, grumbling, e ti fa d’orror gelar. and makes your blood run cold.

Alla fin trabocca e scoppia, In the end it spills over and blow up, si propaga, si raddoppia it spreads, it doubles e produce un’esplosione and provokes an explosion come un colpo di cannone, like a cannon shot, un tremuoto, un temporale, an earthquake, a rain storm, un tumulto generale a general tumult che fa l’aria rimbombar. which makes the air peal.

E il meschino calunniato, And the miserable one who is defamed, avvilito, calpestato, degraded, trampled, sotto il pubblico flagello scourged by the public opinion per gran sorte a crepar. fortunately dies.

Charles Gounod ( 1818 - 1893 ) “Ah! Je veux vivre” from Romeo & Juliet 5’00 Gounod’s Romeo & Juliet is based on Shakespeare’s tragedy and was an immediate success when it premiered in Paris in 1867. It even inspired a popular parody, Rhu et Eau en Julliet, which translates to Rum and Water in July.

“Je veux vivre” is Juliet’s entrance aria in which she protests to her nanny that she has no interest in marriage. In a buoyant, sparkling waltz with dazzling high notes, Juliet sings that she wants to enjoy her youth before getting married. Unbeknownst to her, Romeo has already caught a glimpse of her and is instantly besmitten.

“Ah! Je veux vivre”, Juliet’s aria from Act I Ah! Je veux vivre Dans ce rêve qui m’enivre; Ce jour encor, Douce flamme, Je te garde dans mon âme Comme un trésor!

Ah! I want to live in this intoxicating dream!

This day still, gentle flame, I keep you in my heart like a treasure!

Cette ivresse De jeunesse Ne dure, hélas! qu’un jour!

Puis vient l’heure Où l’on pleure, Le cœur cède à l’amour Et le bonheur fuit sans retour.

This intoxication of youth alas! lasts but a day!

Then comes the time when one weeps, the heart surrenders to love and happiness flies off for ever!

Je veux vivre, etc Loin de l’hiver morose Laisse-moi sommeiller Et respirer la rose, Avant de l’effeuiller.

I want to live Far from sullen winter let me slumber and breathe the rose, before despoiling it.

Ah! Douce flamme, Reste dans mon âme Comme un doux trésor Longtemps encore!

Ah! Gentle flame, stay in my heart like a sweet treasure for a long while yet.

Giuseppe Verdi ( 1813 - 1901 ) From Don Carlos 15’00 Verdi’s Don Carlos, which premiered in Paris in 1867, is a sprawling, historical drama of love, intrigue and power set in 16th-century Spain during the Inquisition.

In the opera, Elisabeth de Valois, princess of France is to marry King Philip II of Spain.

She had been betrothed to his son Carlo, but political expediency dictates royal marriages, not youthful passions. Upon learning that they are nonetheless in love with each other, Philip orders his rebellious son thrown into prison, and in the aria “Elle ne m'aime pas!” rages and despairs over the fact that Elisabeth has never loved him.

As Verdi composed Don Carlos for Paris, he had to adhere to the conventions of French grand opera where a ballet was required. He inserted it in Act III, set in the queen’s garden where mistaken identities, unrequited love and jealousy prove to be a tragic mix. The ballet goes by the name “La Pérégrina: ballet de la Reine” (“Ballo della regina” in italian).

“Elle ne m’aime pas!”, King Philip’s aria from Act IV (original French version) Elle ne m’aime pas! Non! Son cœur m’est fermé, Elle ne m’a jamais aimé!

She does not love me! No! Her heart is closed to me, she has never loved me!

Je la revois encor, regardant en silence mes cheveux blancs, le jour qu’elle arriva de France.

Elle ne m’aime pas!

I can see her still, looking silently at my white hair, the day she arrived from France.

No, she does not love me!

She does not love me!

Où suis-je? Ces flambeaux sont consumés.

L’aurore argente ces vitraux, Voici le jour!

Hélas! Le sommeil salutaire, Le doux sommeil a fui pour jamais ma paupière!

Where am I? Those candles are burnt out … dawn silvers the window‑panes, day is here!

Alas!Healing sleep, sweet sleep has flown for ever from my eyelids!

Je dormirai dans mon manteau royal, Quand sonnera pour moi l’heure dernière, Je dormirai sous les voûtes de pierre Des caveaux de l’Escurial!

I shall sleep in my royal cloak, when the last hour arrives for me, I shall sleep beneath the stone arches in the vaults of the Escorial!

Ah! Si la Royauté nous donnait le pouvoir de lire au fond des cœurs où Dieu Seul peut tout voir!

Ah! Si le Roi dort, la trahison se trame, On lui ravit sa couronne et sa femme!

Ah! If only our royal station gave us the power to delve into the depths of hearts, where God alone sees all!

If the King sleeps, treason is hatched, he is robbed of his crown and his wife!

Je dormirai dans mon manteau royal, Quand aura lui pour moi l’heure dernière, Je dormirai sous les voûtes de pierre Des caveaux de l’Escurial!

I shall sleep in my royal cloak, when the last hour arrives for me, I shall sleep beneath the stone arches in the vaults of the Escorial!

Ah! Si la Royauté nous donnait le pouvoir de lire au fond des coeurs!

Elle ne m’aime pas! Non! Son coeur m’est fermé, Elle ne m’aime pas!

Ah! If only our royal station gave us the power to delve into the depths of hearts!

She does not love me! No! Her heart is closed to me, she does not love me!

Vincenzo Bellini ( 1801 - 1835 ) “O quante volte” from I Capuleti e i Montecchi” 7’00 The success of I Capuleti e i Montecchi (“The Capulets and the Montagues” – the rival families in Romeo and Juliet) at its premiere in 1830 was a relief for Bellini after the failure of Zaira the previous year. As they were working under a tight deadline, Felice Romani, his librettist reworked one of his earlier librettos and Bellini incorporated about half of the music from Zaira into the new opera.

Romani used the same sources for his libretto as did Shakespeare, however it bears little resemblance to Romeo and Juliet, except for the names of the key characters and the tragic conclusion. In her opening recitative and aria, Giulietta dreads her pending marriage to Tebaldo and expresses her love for Romeo.

“O quante volte”, Giulietta’s aria from Act I Oh! quante volte, oh quante Ti chiedo al ciel piangendo!

Con quale ardor t'attendo, E inganno il mio desir!

Raggio del tuo sembiante Ah! parmi il brillar del giorno: Ah! l'aura che spira intorno Mi sembra un tuo sospir, Ah! l'aura che spira, ecc.

Oh! How much time, Oh! How often I beg you!

The sky weeps with the passions of my waiting and delude my desires!

To me the light of day Ah! Is like the flash of your presence: Ah! The air that winds around is my longings.

“O amato zio, o mio secondo padre” from I Puritani 12’00 Bellini’s I puritani (“The Puritans”) takes place during the English Civil War in the mid-seventeenth century. Elvira is being forced to marry the Puritan Riccardo against her will, as she is in love with the Royalist Arturo. In an extended duet between Elvira and her uncle Giorgio, he tells her that her father has relented and she is permitted to marry Arturo.

“O amato zio, o mio secondo padre”, Duet for Elvira and Giorgio from Act I Elvira O amato zio, o mio secondo padre!

Elvira O beloved uncle, O my second father!

Giorgio Perchè mesta così? M'abbraccia, Elvira.

Giorgio Why so sad? Embrace me, Elvira?

Elvira Ah! chiamarmi tua figlia.

Elvira Ah! call me your daughter.

Giorgio O figlia, o nome Che la vecchiezza mia consola e alletta, Pel dolce tempo ch’io ti veglio accanto, Pel palpitar del mio paterno core E pel soave pianto Che in questo giorno d’allegrezza pieno Piove dal ciglio ad inondarmi il seno ...

O figlia mia diletta, Oggi sposa sarai!

Giorgio O daughter, O name That consoles my old age and delights it By the sweet time I watch over you, By the beating of my paternal heart, And by the sweet weeping That on this day filled with joy Rains from my eyes to flood my breast…

O my beloved daughter, Today you will be a bride.

Elvira Sposa! No, mai!

Sai com’arde in petto mio Bella fiamma onnipossente; Sai che puro è il mio desio, Che innocente è questo core.

Se tremante all'ara innante Strascinata - un dì sarò ...

Forsennata - in quell’istante Di dolore io morirò!

Elvira Bride! No, never!

You know how in my bosom A beautiful, all-powerful flame burns; You know that my desire is pure, That this heart is innocent, If, trembling, to the altar I am dragged one day…

Raving, at that moment I shall die of grief!

Giorgio Scaccia omai pensier si nero.

Giorgio Dispel now such a black thought.

Elvira Morir, sì ... sposa, non mai!

Elvira Die, yes! … Bride, never!

Giorgio Che dirai se il cavaliero Qui vedrai, se tuo sarà?

Giorgio What would you say if you see Your Cavalier here, if he is to be yours?

Elvira Ciel! ripeti, chi verrà?

Elvira Heaven! Say it again! Who is coming?

Giorgio Egli stesso…

Giorgio He himself…

Elvira Egli… Chi?

Elvira He! Who?

Giorgio Arturo!

Giorgio Arturo!

Elvira E fia vero?

Elvira Can it be true?

Giorgio O figlia, il giuro!

Giorgio O daughter, I swear it!

Elvira Egli? Arturo?

Elvira He? Arturo?

Giorgio Arturo.

Giorgio Arturo.

Elvira O ciel! E fia vero?

Elvira O heaven! Can it be true?

Giorgio Sì, oh! sì t’allegra, mia buona Elvira, Ah! sì, t’allegra.

Giorgio Yes, oh, yes!

Rejoice, my good Elvira, Ah, Yes! Rejoice!

Elvira O gioia! O gioia! O gioia!

Elvira O joy! O joy! O joy!

Elvira/Giorgio Non è sogno ...

O Arturo!/O Elvira!

O amor!

Elvira/Giorgio It is not a dream…

O Arturo!/O Elvira!

O love!

Giorgio Piangi, o figlia, sul mio seno: Piangi, ah! piangi di contento.

Ti cancelli ogni tormento Questa lacrima d’amor.

E tu mira, o Dio pietoso, L’innocenza in uman velo; Benedici tu dal cielo Questo giglio di candor.

Giorgio Weep, O daughter, on my breast, Weep! Ah, weep for happiness.

May these tears of love Wash away all torment.

And Thou behold, O merciful God, Innocence in human guise: Bless, from heaven, This lily of purity.

Elvira Ah! Quest’alma, al duolo avvezza, È sì vinta dal gioire, Che ormai non può capir Sì gran dolcezza!

Chi mosse a’miei desir Il genitor?

Elvira Ah! this soul, accustomed to sorrow, Is so overcome with joy.

That now it cannot comprehend Such great sweetness!

Ah, this soul, etc.

Who moved my father To my wishes?

Giorgio Ascolta.

Sorgea la notte folta, Tacea la terra e il cielo, Parea natura avvolta, Avvolta in mesto vel.

L’ora propizia ai miseri, Il tuo pregar, tue lacrime, M’avvalorar sì l’anima Che volo al genitor.

Giorgio Listen.

The dark night was coming, The earth and the heaven were silent.

Nature seemed enfolded, Enfolded in a sad veil.

The hour, propitious to the wretched, Your pleading, your tears, So strengthened my spirit, yes, my spirit That I flew, I flew to your father.

Elvira Oh! mio consolator!

Elvira Oh! My comforter!

Giorgio Io cominciai: “Germano”, Ne più potei parlar; Allor bagnai sua mano D’un muto lagrimar.

Poi ripigliai tra gemiti: “L’angelica tua Elvira Pel prode Artur sospira; Se ad altre nozze andrà …

Misera perirà!”

Giorgio I began” “Brother,” But I could speak no further.

Then I bathed his hand With a silent weeping, Then I resumed, amid moans: “Your angelic Elvira Yearns for the brave Arturo; If she marries another…

The wretched girl will die!

Elvira O angiol di pietà Sceso dal ciel per me!

E il padre?

Elvira Oh! Angel of mercy, Descended from heaven for me!

And my father?

Giorgio Ognor tacea ...

Giorgio He was still silent…

Elvira E poi?

Elvira And then?

Giorgio Ei dicea: “Riccardo Chiese e ottenea mia fede ...

Ei la mia figlia avrà!”

Giorgio He said: "Riccardo Asked and obtained my word…

He shall have my daughter.”

Elvira Ciel! Solo a udirti io palpito!

E tu?

Elvira Heaven! Simply hearing you, I tremble!

And you?

Giorgio “La figlia misera”, Io ripetea, “morrà”!

“Ah, viva!” ei mi dicea, E stringemi al cor.

“Sia Elvira felice, Sia lieta d'amor.”

Giorgio “Your wretched daughter,” I repeated, “will die.

Ah! Let her live! He said to me, And clasped me to his heart; “Let Elvira be happy, Let her be content in her love.”

Elvira Odi ... qual suon si desta?

Elvira Hark. … What sound is heard?

Giorgio Ascoltiam! È il segnal di gente d’arme.

Giorgio Let us listen!

It is the sentries’ signal.

Giorgio Senti?

Giorgio Do you hear?

Elvira Taci.

Elvira Hush.

Giorgio Ah! non tel dissi?

Giorgio Ah! Did I not tell you so?

Elvira Ah, non resisto!

Elvira Ah! I cannot bear it!

Giorgio Deh! ti calma!

Giorgio Pray! Calm yourself!

Elvira Ah! padre mio!

Elvira Ah! My father!

Elvira A quel nome, al mio contento, Al mio core io credo appena.

Tanta gioia, o Dio, pavento, Non ho lena a sostener!

Elvira In that name, in my happiness, In my heart I can scarcely believe: O God, I fear I have not the strength To bear such joy.

Giorgio A quel suono, al nome amato, Al tuo core or presta fede!

Questo giorno venturato D’ogni gioia sia forier.

Giorgio In that sound, in the beloved name, In your heart now have faith: Let this fortunate day Be herald of every joy.

Elvira Senti?

Elvira Do you hear?

Giorgio Sei paga?

Giorgio Are you satisfied?

Elvira Appieno.

Elvira Totally.

Giorgio Le grida ascolta di gioia e onore.

Giorgio The shouts resound with joy and honour.

Elvira Gli fanno onor!

Lo senti?

A quel nome, al mio contento, ecc.

Elvira They should give him honour.

Do you hear the shouts?

In that name, is my happiness, etc.

Giorgio A quel suono, al nome amato, ecc.

Giorgio In that sound, in the beloved name, etc.

Richard Wagner ( 1813 - 1883 ) From The Flying Dutchman 16’00 With the premiere of Der Fliegende Holländer (“The Flying Dutchman”) in 1843, Wagner found his mature artistic voice. It tells the tale of a sailor damned to sail the seas, only permitted to come ashore once every seven years. To free himself from this curse, he must find a woman who will pledge eternal love to him.

The opera begins with horn calls announcing the Dutchman as he sails on the stormy seas, vividly depicted in the orchestra by the woodwinds and strings. In the overture, Wagner introduces the opera’s main musical themes, each of which builds to a dramatic climax, before it ends in a mood of subdued rapture.

Eager to have a rich son-in-law, Daland has offered the hand of his daughter Senta to the Dutchman. In the aria “Mögst du, mein Kind” he comes to Senta with the Dutchman and asks her if she will marry the mysterious ship captain. Senta readily agrees believing that she is the woman to break the curse.

“Mögst du, mein Kind”, Daland’s aria from Act II Mögst du, mein Kind, den fremden Mann willkommen heissen?

Seemann ist er, gleich mir, das Gastrecht spricht er an.

Lang’ ohne Heimat, stets auf fernen, weiten Reisen, in fremden Landen er der Schätze viel gewann.

Aus seinem Vaterland verwiesen, für einen Herd er reichlich lohnt: Sprich, Senta, würd’ es dich verdriessen, wenn dieser Fremde bei uns wohnt?

My child, bid this stranger welcome!

A seaman he is, like me, he asks to be our guest.

Long homeless, always sailing far and wide, in foregin lands he has won rich treasure.

Exiled from his homeland, he'll pay well for a hearth.

Tell me, Senta, would it vex you if this stranger lodged with us?

Sagt, hab’ ich sie zuviel gepreisen?

Ihr seht sie selbst, ist sie Euch recht?

Soll ich von Lob noch überfliessen?

Gesteht, sie zieret ihr Geschlect?

Now, did I overpraise her?

You see her yourself - do you approve?

Need I lavish more praise?

Admit it, she adorns her sex!

Mögst du, mein Kind, dem Manne freundlich dich erweisen!

Von deinem Herzen auch spricht holde Gab’ er an; Reich’ ihm die Hand, denn Bräutigam Sollst du ihn heissen: Stimmst du der Vater bei, Ist morgen er dein Mann.

Will you, my child, be friendly to this man?

From your heart he asks too a gracious gift: give him your hand, for bridegroom you shall call him: agree with your father and tomorrow he is your husband.

Sieh dieses Band, sieh diese Spangen!

Was er besitzt, macht dies gering.

Muss, teures Kind, dich’s nicht verlangen?

Dein ist es, wechselst du den Ring.

See this bracelet, these clasps!

This is nothing to what he owns.

Surely you want them, dear child?

It is all yours when you exchange rings.

Doch keines spricht . . .

Sollt’ ich hier lästig sein?

So ist’s! Am besten lass ich sie allein.

But neither speaks... Do I intrude?

Yes. Better leave them alone.

Mögst du den edlen Mann gewinnen!

Glaub’ mir, soch’ Glück wird immer neu.

May you win this fine man!

Believe me, such luck never comes twice.

Bleibt hier allein!

Ich geh’ von hinnen.

Glaubt mir, wie schön, so ist sie treu!

Stay here alone! I am going.

Believe me, she is as true as she is fair.

Pietro Mascag ni ( 1863 - 1945 ) Cavalleria rusticana: Intermezzo 4’00 Mascagni’s Cavalleria rusticana, a tragic tale of love and jealousy is set in a Sicilian village. Turiddu has abandoned Santuzza and is in love with Lola, who is married to Alfio. Santuzza seeks revenge by telling Alfio of their affair, who then kills Turrido.

Santuzza and Turridu’s mother are alone, united in grief at the end of the opera.

The Intermezzo is played with the stage bare and the curtain up immediately after Santuzza has told Alfio about Lola and Turiddu. With its beautiful melody, the Intermezzo suspends time, and in doing so bridges the seemingly tranquil existence and timeless rituals of a small village with the unbridled passions of the people who live there.

Giacomo Meyerbeer ( 1791 - 1864 ) “Ombre légère” from Dinorah ou Le pardon de Ploërmel 6’00 Meyerbeer’s grand operas were the most frequently performed of any composer in the nineteenth century. Dinorah, or The Pardon of Ploërmel dating from 1859 is one of his few forays into the world of opéra-comique.

Its best-known piece is the aria “Ombre légère”, known as the “Shadow Song”, in which Dinorah dances in the moonlight. The aria begins with a beautiful melody with elaborate ornamentation. When Dinorah’s shadow disappears as a cloud passes in front of the moon, her mood turns somber. Overjoyed when it reemerges, she sings a dazzling cadenza bringing the aria to a brilliant, virtuosic climax.

“Ombre légère”, Dinorah’s aria from Act II Ombre légère Qui suis mes pas, Ne t’en va pas!

Fée ou chimère, Qui m’es si chère Ne t’en va pas!

Courons ensemble, J’ai peur, je tremble Quand tu t’en vas Loin de moi!

Light shadow, are those my steps, do not go away!

Fairy or fantasy, so dear to me, do not go away!

Let us run together, I fear, I tremble when you go away from me!

Ah, ne t’en va pas!

A chaque auore Je te revois; Ah! Reste encore, Danse à ma voix!

Pour te séduire, Je viens sourire, Je veux chanter!

Approche-toi! Viens, réponds moi, Chante avec moi!

Ah! Réponds, ah c’est bien!

Ah! Do not go away!

At every dawn I see you again!

Ah! still dancing to my voice!

I come to seduce you with my smile, I want to sing!

Come closer to me! Come, answer and sing with me!

Ah! Answer me! Ah! It's good!

Sais-tu bien qu’Hoël m’aime, Et qu’aujourd’hui même Dieu va pour toujour, Bénir nos amours!

Do you know Hoël loves me, and even now God will forever bless your love! Do you know?

Le sais-tu? Mais tu prends la fuite!

Pourquoi me quitter? Quand ma voix t’invite, Pourquoi me quitter? La nuit m’environne!

Je suis seule, hélas!

Ah! Reviens, sois bonne! Ah! C’est elle!

Ah! Méchante, est-ce moi qui l’on fuit?

But you take flight! Why leave me?

When my voice invites you, why leave me?

The night surrounds me? I am alone, alas Ah! Come back, please! Ah! It's me!

Ah! Wicked, is it me you are leaving?

Ah! Danse! Reste avec moi!

Ah! Dance! Stay with me!

Amilcare Ponchielli ( 1834 - 1886 ) From La Gioconda 14’00 Of Ponchielli’s ten operas, only La Gioconda is performed today. It is based upon a play by Victor Hugo about the tragic fate of a young Venetian street singer. Gioconda loves a sailor, Enzo, who in turn still longs for his former mistress Laura, now married to Alvise, the head of the Inquisition. Laura still loves Enzo and is betrayed by Barnaba, a spy who desires Gioconda for himself.

In “Sì, morir ella de!”, Alvise rages over Laura’s infidelity and decides that she must die to restore the family’s honour. The ballet, “Danza delle ore” is heard immediately after Alvise orders his wife to take the poison he gives her. The music will be familiar to many, as it was used in Walt Disney’s Fantasia and elsewhere.

“Sì, morir ella de!”, Alvise’s aria from Act III. Sì, morir ella de’! Sul nome mio Scritta l’infamia impunemente avrà?

Chi un Badoèr tradì non può sperar pietà!...

Yes! Die she must! Shall infamy Be written on my name with impunity?

Who betrays a Badoer Can hope for no pity! ...

Se ier non la ghermì Nell’isola fatal questa mia man, L’espïazion non fia tremenda meno!

Leri un pugnal le avria squarciato il seno; Oggi... un ferro non è, sarà un veleno!

If yesterday on that fatal island This hand of mine did not seize her, Expiation will be no less terrible!

A dagger should have pierced her breast.

Today ... it will not be steel … but poison!

Là turbini e farnetichi la gaia baraonda, dell’agonia col gemito la festa si confonda!...

Ombre di mia prosàpia, non arrossite ancora!

Tutto la morte vendica, anche il tradito onor!

There, let the gay party Keep on its whirling dances.

Here, with a groan of agony Let the festivities be mixed!

Shades of my forefathers Do not blush yet!

Death revenges everything – Even betrayed honour!

Colà farnetichi ...

Là del patrizio veneto S’adempia al largo invito, quivi il feral marito provveda al proprio onor!

Fremete, o danze, o cantici, è una infedel che muor!

There, nobleman of Venice, Be gracious host to your guests.

Here, outraged husband, Look to your honour!

Tremble in your dances and songs It is a faithless wife who dies!

Giuseppe Verdi “È strano… Ah, fors’è lui... Sempre libera” from La Traviata 9’00 La traviata is based upon a semi-autobiographical play by Alexandre Dumas, fils entitled La Dame aux camélias, based on the life of Marie Duplessis, one of Paris’s most celebrated courtesans. With Violetta, Verdi created a heroine, who in spite of her past is capable of love and enormous self sacrifice; she renounces Alfredo to preserve the reputation of his sister, whose own marriage prospects are doomed by his scandalous behaviour.

The opera opens at a party where Violetta senses that the shadow of death hangs over her. As the guests leave, Alfredo remains behind and declares his love for her. Alone, Violetta muses over Alfredo’s words and her desperate need to be loved. There is no doubt about her true feelings, but in a burst of trills and coloratura, Violetta abandons any thoughts of real love and is hell-bent on enjoying her freedom. “È strano…Ah, fors' è lui...Sempre libera”, Violetta’s aria from Act I È strano! è strano! in core Scolpiti ho quegli accenti!

Sarìa per me sventura un serio amore?

Che risolvi, o turbata anima mia?

Null'uomo ancora t'accendeva O gioia Ch'io non conobbi, essere amata amando!

E sdegnarla poss'io Per l'aride follie del viver mio?

How strange it is … how strange!

Those words are carved upon my heart!

Would a true love bring me misfortune?

What do you think, o my troubled spirit?

No man before kindled a flame like this.

Oh, joy … I never knew …

To love and to be loved!

How can I reject this For a life of sterile pleasure?

Ah, fors'è lui che l'anima Solinga ne' tumulti Godea sovente pingere De' suoi colori occulti!

Lui che modesto e vigile All'egre soglie ascese, E nuova febbre accese, Destandomi all'amor.

A quell'amor ch'è palpito Dell'universo intero, Misterioso, altero, Croce e delizia al cor.

Ah! perhaps it is he whom my soul, lonely amidst all the tumult, delighted in picturing in mysterious colours...

He who, discret and watchful, came to my house when I was ill and kindled a new fever by awakening me to love!

That love which is the heartbeat of the whole universe, mysterious, exalted, pain and delight of the heart.

A me fanciulla, un candido E trepido desire Questi effigiò dolcissimo Signor dell'avvenire,

When I was a girl, a pure and diffident longing showed me the dear image of him, for whom I waited.

Quando ne' cieli il raggio Di sua beltà vedea, E tutta me pascea Di quel divino error.

Sentìa che amore è palpito Dell'universo intero, Misterioso, altero, Croce e delizia al cor!

When in the sky I beheld the brilliance of his beauty, and this divine fallacy sustained me.

I felt that love is the heartbeat of the whole universe, mysterious, exalted, pain and delight of the heart.

Follie! follie delirio vano è questo!

Povera donna, sola Abbandonata in questo Popoloso deserto Che appellano Parigi, Che spero or più?

Che far degg’io!

Gioire, Di voluttà nei vortici perire.

It’s madness! It's empty delirium!

A poor, lonely woman Abandoned in this teeming desert They call Paris!

What can I hope?

What should I do?

Enjoy myself!

Perish in the vortices of pleasure!

Sempre libera degg’io Folleggiar di gioia in gioia, Vo’ che scorra il viver mio Pei sentieri del piacer, Nasca il giorno, o il giorno muoia, Sempre lieta ne’ ritrovi A diletti sempre nuovi Dee volare il mio pensier.

Free and aimless I must flutter From pleasure to pleasure, Skimming the surface Of life's primrose path.

As each day dawns, As each day dies, Gaily I turn to the new delights That make my spirit soar.

Programme notes by Rick Perdian

b oa rd of direc tor s & COMMITTE e S board of directors Mr Goh Yew Lin (Chairman) Ms Yong Ying-I (Deputy Chairman) Mr Ang Chek Meng Mrs Odile Benjamin Mr Chng Hak-Peng Mr Lionel Choi Mr Warren Fernandez Prof Arnoud De Meyer Mr Heinrich Grafe Ms Liew Wei Li Ms Lim Mei Mr Sanjiv Misra Mr Andreas Sohmen-Pao Mr Paul Tan Dr Kelly Tang Mr Yee Chen Fah

Endowment Fund Committee

SNYO Committee

Mr Goh Yew Lin (Chairman) Mr David Goh Mr Paul Supramaniam Mr Anthony Teo

Ms Liew Wei Li (Chairlady) Mr Ang Chek Meng Ms Vivien Goh Dr Kee Kirk Chin Mrs Valarie Wilson

SSO Council

SSO LADIES’ LEAGUE Mrs Odile Benjamin (Chairlady) Mrs Kwan Lui (Deputy Chairlady) Mrs Celeste Basapa Mrs Maisy Beh Mrs Kim Camacho Mrs Rosy Ho Ms Judy Hunt Prof Annie Koh Dr Julie Lo Mrs Clarinda TjiaDharmadi-Martin Ms Paige Parker Ms Kris Tan Ms Manju Vangal Mrs Grace Yeh

Audit Committee

Prof Cham Tao Soon (Chairman) Mr Alan Chan Ms Chew Gek Khim Mr Choo Chiau Beng Dr Geh Min Mr Goh Geok Khim Mr Khoo Boon Hui Prof Tommy Koh Mr JY Pillay Dr Stephen Riady Ms Priscylla Shaw Dr Gralf Sieghold Mr Andreas Sohmen-Pao Dr Tan Chin Nam Ms Tan Choo Leng Mr Tan Soo Nan Mr Wee Ee Cheong

Mr Yee Chen Fah (Chairman) Ms Lim Mei

Musicians’ Committee

Nominating and Executive Committee Mr Goh Yew Lin (Chairman) Mr Paul Tan Ms Yong Ying-I

Mr Chan Wei Shing Mr Jon Paul Dante Mr Jamie Hersch Mr Ng Pei-Sian Mr Mark Suter Mr Christoph Wichert Mr Yeo Teow Meng

MANAGEMENT CHIEF EXECUTIVE OFFICER Mr Chng Hak-Peng

CEO OFFICE

PROGRAMMES (VCH)

Mr Edward Loh Mr Chris Yong

Ms Michelle Yeo (Head) Ms Erin Tan

ORCHESTRA MANAGEMENT

DEVELOPMENT & PartnershipS

Mr Ernest Khoo (Head) Mr Chia Jit Min Ms Tan Wei Tian Stage Management Ms Kimberly Kwa (Stage Manager) Ms Chin Rosherna Mr Ramayah Elango Mr Abdul Wahab bin Sakir Mr Md Zailani bin Md Said Mr Md Fariz bin Samsuri Mr Radin Sulaiman bin Ali LIBRARY Mr Lim Yeow Siang (Head) Mr Lim Lip Hua Ms Priscilla Neo PROGRAMMES (SSO) Ms Kua Li Leng (Head) Ms Teo Chew Yen Ms Jolene Yeo Community Outreach Ms Kathleen Tan Ms Vanessa Lee Choral Programmes Ms Regina Lee Ms Whitney Tan

Ms Peggy Kek (Head) Corporate Communications Ms Leong Wenshan Development & Sponsorship Mr Anthony Chng Ms Nikki Chuang Mr Chris Yong MARKETING COMMUNICATIONS & CUSTOMER EXPERIENCE Ms Cindy Lim (Head) Mr Chia Han-Leon Ms Myrtle Lee Ms Jana Loh Ms Hong Shu Hui Ms Melissa Tan Ms Cheryl Pek Ms Khairani Basman Ms Dacia Cheang Ms Nur Shafiqah bte Othman CORPORATE SERVICES Mr Rick Ong (Head) Mr Alan Ong (Finance) Ms Goh Hoey Fen (Finance) Mr Md Zailani bin Md Said

HUMAN RESOURCES & ADMINISTRATION Mr Desmen Low Ms Shanti Govindasamy Ms Melissa Lee SINGAPORE NATIONAL YOUTH ORCHESTRA Ms Pang Siu Yuin (Head) Ms Shirin Foo Mr Tan Yong Qing Ms Tang Ya Yun ABRSM Ms Hay Su-San (Head) Ms Patricia Yee Ms Lai Li-Yng Mr Joong Siow Chong

Compose Your Success at SIM

SIM has been an advocate of lifelong learning, long before they became buzzwords. For more than 50 years, we have been helping individuals and companies realise their full potential through skills and knowledge upgrading.

Whether you are a young student, aspiring entrepreneur, mid-career or C-suite executive looking for continual learning and growth, you will find something relevant to your needs from our wide range of education pathways, training courses and services.

As the leading provider of private education and training in Singapore, we remain committed to helping you succeed.

Discover the sound of your success with SIM.

www.sim.edu.sg

PATRON SPONSOR

Tote Board Group

OFFICIAL AIRLINE

OFFICIAL HOTEL

OFFICIAL TRAINING PARTNER

OFFICIAL RADIO STATION

OFFICIAL OUTDOOR MEDIA PARTNERS

OFFICIAL POSTAGE SPONSOR

SPONSORS LEE FOUNDATION

SUPPORTED BY

The Singapore Symphony Orchestra is a not-for-profit company limited by guarantee and registered under the Charities Order.

SSO.ORG.SG