Singapore Symphony Orchestra Apr 2024

COMPOSER WORKSHOP WITH ZECHARIAH GOH

Led by Zechariah Goh, Senior Lecturer of Composition at the Nanyang Academy of Fine Arts, this three-day workshop offers valuable insights into composing for a symphony orchestra. It is tailored for composition students and individuals with prior experience in composing, orchestrating, or arranging across various genres for a symphony orchestra.

This workshop will be held from 17 to 19 July 2024 at the Victoria Concert Hall with a presentation concert on 19 July 2024. Up to six candidates will be selected to work alongside Zechariah Goh and the Singapore Symphony Orchestra to further hone their art of composing for a symphony orchestra. The orchestra will be conducted by Rodolfo Barráez, the Associate Conductor of the Singapore Symphony Orchestra.

FOR WHOM

You should be a Singapore citizen, permanent resident or a foreigner studying, working or residing in Singapore.

APPLICATION DEADLINE

19 May 2024

OLGA PERETYATKO A NIGHT AT THE OPERA

Sat, 6 Apr 2024

Esplanade Concert Hall

KREISLER, STRAVINSKY AND MOZART

For the enjoyment of all patrons during the concert:

• Please switch off or silence all electronic devices.

• Please minimise noises during performance. If unavoidable, wait for a loud section in the music.

• No photography, video or audio recording is allowed when artists are performing.

• Non-flash photography is allowed only during bows and applause when no performance is taking place.

Go green. Digital programme books are available on www.sso.org.sg.

Photographs and videos will be taken at these events, in which you may appear. These may be published on the SSO’s publicity channels and materials. By attending the event, you consent to the use of these photographs and videos for the foregoing purposes.

Cover photo: Sloth Creatives

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 with its 44-week calendar of events.

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 through its school programmes. The SSO has also earned an international reputation for its orchestral virtuosity, having garnered sterling reviews for its overseas tours and many successful recordings. In 2021, the SSO clinched third place in the prestigious Orchestra of the Year Award by Gramophone. In 2022, BBC Music Magazine named the SSO as one of the 21 best orchestras in the world.

In July 2022, the SSO appointed renowned Austrian conductor Hans Graf as its Music Director, the third in the orchestra’s history after Lan Shui (1997–2019) and Choo Hoey (1979–1996). Prior to this, Hans Graf served as Chief Conductor from 2020.

The orchestra performs over 60 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. The SSO makes its performing home at the 1,800-seat state-of-theart Esplanade Concert Hall. More intimate works, as well as outreach and community performances take place at the 673-seat Victoria Concert Hall, the Home of the SSO.

Beyond Singapore, 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 fivecity tour of Germany and Prague also included the SSO’s second performance at the Berlin Philharmonie. In 2014, the SSO’s debut at the 120th BBC Proms in London received praise in major UK newspapers The Guardian and The Telegraph. The SSO has also performed in China on multiple occasions.

The SSO has released more than 50 recordings, with over 30 on the BIS label. Recent critically acclaimed albums include Herrmann’s Wuthering Heights (Chandos) and Scriabin - Poems of Ecstasy and Fire (BIS). Following the Four Seasons album on Pentatone, a complete Mozart Violin Concerto cycle with Chloe Chua and Hans Graf will be released in 2024. The SSO also leads the revival and recording of significant works such as Kozłowski’s Requiem, Ogerman’s Symbiosis (after Bill Evans) and violin concertos by Robert Russell Bennett and Vernon Duke.

The SSO has collaborated with such great artists as Vladimir Ashkenazy, Gustavo Dudamel, Charles Dutoit, Joe Hisaishi, Neeme Järvi, Okko Kamu, Hannu Lintu, Andrew Litton, Lorin Maazel, Martha Argerich, Ray Chen, Diana Damrau, Stephen Hough, Janine Jansen, Leonidas Kavakos, Lang Lang, Yo-Yo Ma, Gil Shaham and Krystian Zimerman.

The SSO is part of the Singapore Symphony Group, which also manages the Singapore Symphony Choruses, and the Singapore National Youth Orchestra, as well as the VCHpresents chamber music series, the Singapore International Piano Festival and the biennial National Piano & Violin Competition.

Our Story

The Group’s vision is to be a leading arts organization that engages, inspires and reflects Singapore through musical excellence. Our mission is to create memorable shared experiences with music. Through the SSO and its affiliated performing groups, we spread the love for music, nurture talent and enrich our diverse communities.

Singapore Symphony Orchestra

MIKHAIL

Mikhail Agrest, the current Music Chief Conductor at Stuttgart Ballet, is recognized as one of the most successful conductors of his generation. He has conducted performances at venues such as the Metropolitan Opera, Royal Opera House London, Semperoper Dresden, Opernhaus Zurich, Teatro Massimo Palermo, Teatro San Carlo di Napoli, Mariinsky Theatre, Finnish National Opera, Swedish National Opera, English National Opera, Scottish Opera, and Opera Australia.

Additionally, Agrest has led concerts with orchestras including Orchestre Philharmonique de Radio France, Staatskapelle Dresden, Danish National Orchestra, Stavanger Symphony Orchestra, and various philharmonic orchestras in London, St. Petersburg, Dresden, Netherlands, Helsinki, Stockholm, Taiwan, Seoul, and Bremen. His notable work with the BBC Symphony includes a Gubaidulina Festival at the Barbican and a recording of Rodion Shchedrin’s Concerto Parlando.

In recent seasons, Agrest made his Canadian debut with the Vancouver Symphony Orchestra and returned to the Seattle Symphony, Bremer Philharmoniker, and Südwestdeutsche Philharmonie Konstanz in Germany. His opera projects included La traviata and Weinberger’s Švanda dudák at Semperoper Dresden, as well as a new production of Eugene Onegin.

Mikhail Agrest honed his craft at the Mariinsky Theatre for over a decade, building a substantial body of operatic and symphonic repertoire and gaining crucial insights into orchestra development and artistic leadership. He collaborated with renowned singers such as Anna Netrebko, Ildar Abdrazakov, Vladimir Galouzine, Olga Borodina, Larissa Diadkova, Ekaterina Semenchuk, and Alexey Markov, among others.

As a scion of the great Russian conducting tradition, he studied conducting at St. Petersburg Conservatory Rimski-Korsakov under the guidance of the legendary Ilya Mussin. Agrest immigrated to the United States with his family as a teenager and holds a degree in violin performance.

tact4art.com/profile/Mikhail-Agrest

AGREST conductor

OLGA PERETYATKO

soprano

One of the world’s most sought-after sopranos, Olga Peretyatko made her international breakthrough when she became a prize-winner at Plácido Domingo’s prestigious Operalia Competition. Since then she has been a regular guest at nearly all important opera houses, concert halls and festivals, including La Scala, Saatsoper Berlin, Royal Opera House Covent Garden, The Bolshoi Theatre, The Metropolitan Opera, Aix-en-Provence Festival, Berlin Philharmonic, Théâtre des Champs-Élysées, Teatro Colón, and many others.

Peretyatko’s uniquely compelling voice and stage presence allow her to interpret a wide range of operatic roles from humorous to tragic. She has collaborated with the most renowned stage directors and conductors of our times, such as Kirill Petrenko, Zubin Mehta, Valery Gergiev, Yury Temirkanov, Lorin Maazel, Alberto Zedda, Daniel Barenboim, Dmitry Tcherniakov and Robert Lepage.

Peretyatko’s performance for the Bastille Day celebrations has attracted a live audience of 600,000 and an international TV audience of several million. Her six critically acclaimed albums on Sony Classical has received numerous prestigious awards, including OPUS Klassik (2018), ECHO Klassik (Best Solo Album, 2015), and Premio Franco Abbiati della Critica Musicale Italiana. Her latest album, on Melodiya, is dedicated to her daughter Maya. It brings together 23 lullabies from different corners of the world, personally selected by Olga and sung in their original languages. She also recorded the Kozlovsky Requiem with the Singapore Symphony, as one of the soloists.

Peretyatko was born and raised in St. Petersburg, Russia and started her musical journey singing in the children’s choir of the Mariinsky Theatre. Having earned a performance degree as a choir conductor, she went on to study singing at the Hanns Eisler-Hochschule für Musik in Berlin, the Opera Studio at the Hamburg State Opera, and the Accademia Rossiniana in Pesaro, Italy.

This appearance is made possible by exclusive arrangement with Primavera Consulting LLC. Ms Peretyatko records exclusively for Sony Classical.

www.olgaperetyatko.com

facebook.com/OlgaPeretyatkoSoprano

@olgaperetyatko

© DANIIL RABOVSKY

NIKOLAJ SZEPS-ZNAIDER conductor/violin

Nikolaj Szeps-Znaider is one of those rare musicians who has “transitioned uncommonly well to the podium, bringing his violinist’s insight and profound musicality” (Cleveland.com). The 2023/24 season marks his fourth as Music Director of the Orchestre National de Lyon, a partnership that has already been extended until 2026/27.

Szeps-Znaider regularly features as guest conductor with some of the world’s leading orchestras, with recent and forthcoming performances with the Cleveland Orchestra, NDR Elbphilharmonie, Bamberg Symphony, Oslo Philharmonic and Royal Liverpool Philharmonic. An imminent return to the Chicago Symphony continues a flourishing relationship with the orchestra.

Being a violin virtuoso, Szeps-Znaider maintains his reputation as one of the world’s leading exponents of the instrument. This season, he makes appearances with the Danish National Symphony, New York Philharmonic, Cleveland Orchestra, Israel Philharmonic as well as the Chicago Symphony and Singapore Symphony, where he will combine both his playing and conducting abilities. He will also be making his highly anticipated return to London’s Wigmore Hall, performing with pianist and long-time collaborator Saleem Ashkar.

Szeps-Znaider boasts an extensive discography of much of the core repertoire for violin. Recordings of particular note include a complete collection of Mozart’s

Violin Concertos with the London Symphony Orchestra, where Szeps-Znaider directs from the violin; Nielsen Violin Concerto with Alan Gilbert and the New York Philharmonic; Elgar Concerto in B minor with Sir Colin Davis and the Dresden Staatskapelle; award-winning recordings of the Brahms and Korngold concertos with Valery Gergiev and the Vienna Philharmonic, among others.

Szeps-Znaider plays the “Kreisler” Guarnerius “del Gesu” 1741 on extended loan to him by The Royal Danish Theatre through the generosity of the VELUX Foundations, the Villum Fonden and the Knud Højgaard Foundation.

imgartists.com/roster/nikolaj-szeps-znaider/

© LARS GUNDERSEN

The Orchestra

HANS GRAF Music Director

RODOLFO BARRÁEZ Associate Conductor

CHOO HOEY Conductor Emeritus

LAN SHUI Conductor Laureate

EUDENICE PALARUAN Choral Director

WONG LAI FOON Choirmaster

ELLISSA SAYAMPANATHAN Assistant Choral Conductor

FIRST VIOLIN

(Position vacant) Concertmaster, GK Goh Chair

Kong Zhao Hui1 Associate Concertmaster

Chan Yoong-Han2 Fixed Chair

Cao Can*

Chen Da Wei

Duan Yu Ling

Foo Say Ming

Jin Li

Kong Xianlong

Cindy Lee

Karen Tan

William Tan

Wei Zhe

Ye Lin*

Zhang Si Jing

SECOND VIOLIN

Michael Loh Associate Principal

Nikolai Koval*

Sayuri Kuru

Hai-Won Kwok

Margit Saur

Shao Tao Tao

Tseng Chieh-An

Wu Man Yun*

Xu Jueyi*

Yeo Teow Meng

Yin Shu Zhan*

Zhao Tian

VIOLA

Manchin Zhang Principal, Tan Jiew Cheng Chair

Guan Qi Associate Principal

Gu Bing Jie* Fixed Chair

Marietta Ku

Luo Biao

Julia Park

Shui Bing

Janice Tsai

Dandan Wang

Yang Shi Li

CELLO

Ng Pei-Sian Principal, The HEAD Foundation Chair

Yu Jing Associate Principal

Guo Hao Fixed Chair

Chan Wei Shing

Christopher Mui

Jamshid Saydikarimov

Song Woon Teng

Wang Yan

Wu Dai Dai

Zhao Yu Er

DOUBLE BASS

Yang Zheng Yi Associate Principal

Karen Yeo Fixed Chair

Olga Alexandrova

Jacek Mirucki

Guennadi Mouzyka

Wang Xu

FLUTE

Jin Ta Principal, Stephen Riady Chair

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

COR ANGLAIS

Elaine Yeo Associate Principal

CLARINET

Ma Yue Principal

Li Xin Associate Principal

Liu Yoko

Tang Xiao Ping

BASS CLARINET

Tang Xiao Ping Assistant Principal

BASSOON

Marcelo Padilla^ Principal

Liu Chang Associate Principal

Christoph Wichert

Zhao Ying Xue

CONTRABASSOON

Zhao Ying Xue Assistant Principal

HORN

Austin Larson Principal

Gao Jian Associate Principal

Jamie Hersch Associate Principal

Marc-Antoine Robillard Associate Principal

Bryan Chong^

Hoang Van Hoc

TRUMPET

Jon Paul Dante Principal

David Smith Associate Principal

Lau Wen Rong

Nuttakamon Supattranont

TROMBONE

Allen Meek Principal

Damian Patti Associate Principal

Samuel Armstrong

BASS TROMBONE

Wang Wei Assistant Principal

TUBA

Tomoki Natsume Principal

TIMPANI

Christian Schiøler Principal

Mario Choo

PERCUSSION

Jonathan Fox Principal

Mark Suter Associate Principal

Mario Choo

Lim Meng Keh HARP

Gulnara Mashurova Principal

With deep appreciation to the Rin Collection for their generous loan of string instruments. Musician on temporary contract

Kong Zhao Hui performs on a J.B. Guadagnini of Milan, c. 1750, donated by the National Arts Council, Singapore, with the support of Far East Organization and Lee Foundation.

Chan Yoong-Han performs on a David Tecchler, Fecit Roma An. D. 1700, courtesy of Mr G K Goh. Musicians listed alphabetically by family name rotate their seats on a per programme basis.

Guest Musicians

SSO GALA: OLGA PERETYATKO – A NIGHT AT THE OPERA | 6 APR 2024

FIRST VIOLIN

Erik Heide Guest Concertmaster

VIOLA

Patcharaphan Khumprakob

Yeo Jan Wea

HORN Alexander Oon

KREISLER, STRAVINSKY AND MOZART | 12 & 13 APR 2024

FIRST VIOLIN

Erik Heide Guest Concertmaster

OBOE

Celia Craig Guest Principal

ORGAN

Joanna Rajammal Paul

SSO GALA: OLGA PERETYATKO A NIGHT AT THE OPERA CASTA DIVA

Sat, 6 Apr 2024

Singapore Symphony Orchestra

Mikhail Agrest conductor

Olga Peretyatko soprano*

DONIZETTI

DONIZETTI BELLINI

PUCCINI VERDI VERDI

Overture to Don Pasquale

“Quel guardo il cavaliere… So Anch’io La Virtu” from Don Pasquale

“Casta Diva” from Norma

Preludio Sinfonico

“Tacea la notte placida… di tale amor che dirsi” from Il trovatore

“Mercè dilette amici” from I vespri siciliani

Intermission

Prélude and Aragonaise from Carmen Suite No. 1

“La marguerite a fermé sa corolle… ouvre ton coeur” from Vasco de Gama

“Me voilà seule dans la nuit… comme autrefois” from Les pêcheurs de Perles

Fête polonaise from Le roi malgré lui

“Obéissons quand leur voix appelle” (Gavotte) from Manon

“Je veux vivre dans le rêve” (Valse) from Roméo et Juliette

Concert Duration: approximately 2 hrs (including 20 mins intermission)

CHECK-IN TO TONIGHT'S CONCERT

Scan this QR code with the Singapore Symphony Mobile App.

GAETANO DONIZETTI (1797–1848)

Overture to Don Pasquale (1843)

“Quel guardo il cavaliere… So Anch’io La Virtu” from Don Pasquale

One of the biggest names in Italian opera of the 19th century, Gaetano Donizetti wrote over 70 operas and was a major influence on the development of the genre. Born in Bergamo, Lombardy, then part of the shortlived Cisalpine Republic set up by Napoleon, his home region later became part of the Kingdom of Lombardy-Venetia. Donizetti’s musical career took him all over Europe.

The opera buffa (comic opera) Don Pasquale, from his decade at the Paris Opera, was immediately recognised as a masterpiece and has remained his most popularly performed work. The appropriately light-hearted overture starts with a bang to grab the audience’s attention, and goes in a lyrical direction before turning into a festive mood punctuated with dramatic energy. The plot is one of romance and comedic stereotypes in search of love. At the end of the first act, the heroine Norina sings Quel guardo il cavaliere, in which she explains how she will use her feminine charms to make a man do her bidding.

Instrumentation Overture

flute, piccolo, 2 oboes, 2 clarinets, 2 bassoons, 4 horns, 2 trumpets, 3 trombones, timpani, bass drum, cymbals, strings

Quel guardo il cavaliere

soprano, 2 flutes, 2 oboes, 2 clarinets, 2 bassoons, 4 horns, 2 trumpets, 3 trombones, timpani, strings

Staging of Don Pasquale at the Salle Ventadour in Paris (1843)

“Quel guardo, il cavaliere in mezzo al cor trafisse, Piegò i lginocchio e disse: Son vostro cavalier.

E tanto era in quel guardo

Sapor di paradiso, Che il cavalier Riccardo, Tutto d'amor conquiso, Giurò che ad altra mai, Non volgeria il pensier.”

Ah, ah!

So anch'io la virtu magica

D'un guardo a tempo e loco, So anch'io come si bruciano

I cori a lento foco,

D'un breve sorrisetto

Conosco anch'io l'effetto, Di menzognera lagrima, D'un subito languor, Conosco i mille modi

Dell'amorose frodi, I vezzi e l'arti facili

Per adescare un cor.

D'un breve sorrisetto

Conosco anch'io l'effetto, D'un subito languor, So anch'io la virtu magica

Per inspirare amor, Conosco l'effetto, Ah! Si,

Per inspirare amor.

Ho testa bizzarra, son pronta vivace, Brillare mi piace scherzar: Se monto in furore

Di rado sto al segno, Ma in riso lo sdegno fo presto a cangiar, Ho testa bizzarra, Ma core eccellente, ah!

“That look, pierced the knight in the middle of the heart, He folded his body, bent at his knees and said I am your knight. And so it was in that look a taste of paradise, That the knight Richard, Conquered by love, Swore that never to another, Woman would he ever think about."

Ah, ah!

I too know the magical power of a look at the right time and place, I too know how the heart burns in slow fires, of a brief smile

I too know the effect, Of lying tears, On a sudden languor, I know a thousand ways love can fraud, The charms and arts are easy To fool the heart.

Of a brief smile

I too know the effect, On a sudden languor, I too know the magical power To breathe in love, I know the effect, Ah! Yes, to breathe in love.

I have a bizarre mind I possess a ready wit, I like joking: If I get furious

I'm rarely able to remain calm, But my disdain can soon turn to laughter, I have a bizarre mind

But an excellent heart, ah!

VINCENZO BELLINI (1801–1835)

“Casta Diva” from Norma (1831)

Produced in La Scala in Milan in 1831, Norma tells the tale of a love triangle in Gaul under Roman occupation (c. 100-50 B.C.), between Pollione the Roman proconsul of Gaul, Norma the high priestess of the Druid temple, and the young priestess Adalgisa, set against the background of the uprising of the Gauls against the occupation. The high priestess Norma has secretly broken her vows of chastity and borne two children to her lover Pollione. She discovers that he is now in love with Adalgisa, her young priestess friend.

It is in this first scene, after being informed by Pollione that he now loves Adalgisa, that Norma, with mistletoe in hand, approaches the altar in the sacred grove, praying to the moon goddess that the peace in the heavens may spread upon earth, and that her love Pollione may come back to her.

The Teatro alla Scala façade by Angelo Inganni (1852)

Casta Diva, che inargenti queste sacre antiche piante, a noi volgi il bel sembiante senza nube e senza vel.

Tempra, o Diva, tempra tu de’ cori ardenti tempra ancora lo zelo audace, spargi in terra ah quella pace che regnar tu fai nel ciel.

Chaste Goddess, covering with silver these sacred ancient plants, turn towards us your fair face cloudless and unveiled.

Temper, O Goddess, you temper the ardent hearts furthermore temper the bold zeal, spread on earth the same peace that makes you make reign in heaven.

Instrumentation

soprano, 2 flutes, 2 oboes, 2 clarinets, 2 bassoons, 4 horns, strings

GIACOMO PUCCINI (1858–1924)

Preludio Sinfonico (1882)

Italian Giacomo Puccini was the most successful opera composer after Verdi, and his operas are among the most frequently performed. His Preludio Sinfonico was written in 1882 as part of his final examinations at the conservatory in Milan. While not connected with any specific opera, it is sometimes thought of as an overture in search of an opera, as it has strong themes and is highly evocative. Listeners may find hints that point to motifs to be more fully developed in his later works, as well as noticing influences from Wagner and other contemporaries.

Instrumentation

2 flutes, 2 oboes (1 doubling on cor anglais), 2 clarinets, 2 bassoons, 4 horns, 2 trumpets, 3 trombones, tuba, timpani, bass drum, cymbals, harp, strings

Portrait of Puccini by Arturo Rietti (1906)

GIUSEPPE VERDI (1813–1901)

“Tacea la notte placida… di tale amor che dirsi” from Il trovatore (1853)

“Mercè dilette amici” from I vespri siciliani (1855)

No overview of 19th century Italian opera can omit the towering figure of Giuseppe Verdi, who towers over the genre. Coming after Donizetti and Bellini, and much influenced by them, Verdi was born into an Italian peninsula splintered into multiple kingdoms and duchies. Italian unification gathered momentum during his formative years, and he was a great supporter of the movement, composing operas on patriotic themes. Il trovatore (“The Troubadour”) was written during his middle period, and premiered in January 1853. Set in mediaeval Spain, it tells a story of witchcraft, murder, and vengeance, full of melodrama. In Tacea la notte placida, Leonora, a lady-in-waiting to the Princess of Aragon, tells her confidante Ines of her infatuation with a mysterious knight.

Tacea la notte placida e bella in ciel sereno

La luna il viso argenteo

Mostrava lieto e pieno

Quando suonar per l'aere, Infino allor sì muto,

Dolci s'udiro e flebili

Gli accordi d'un liuto, E versi melanconici

Un Trovator cantò.

Versi di prece ed umile

Qual d'uom che prega Iddio

In quella ripeteasi

Un nome... il nome mio!...

Corsi al veron sollecita...

Egli era! egli era desso!

Gioia provai che agli angeli

Solo è provar concesso!

Al core, al guardo estatico

La terra un ciel sembrò.

Di tale amor che dirsi

Mal può dalla parola,

D'amor che intendo io sola,

Il cor s'inebriò!

Il mio destino compiersi

Non può che a lui dappresso, S'io non vivrò per esso, Per esso io morirò!

The serene night was silent and, lovely in the calm sky, the moon happily revealed its silvery and full face! When, resounding in the air which till then had been so quiet, sweet and sad were heard the sounds of a lute, and a troubadour sang some melancholy verses. Verses, beseeching and humble, like a man praying to God: and in them was repeated a name, my name! I ran eagerly to the balcony... There he was; it was he! I felt a joy that only the angels are allowed to feel!

To my heart, my ecstatic eyes, the earth seemed like heaven!

With such love that words can scarcely tell, of a love that only I know, my heart is intoxicated. My fate can be fulfilled only at his side.

If I can't live for him, then for him I'll die!

Two years later in 1855, Verdi’s Les vêpres siciliennes (“The Sicilian Vespers”) premiered at the Paris Opera. Written to French libretto, it was soon translated into Italian as I vespri siciliani but the story of a 1281 Sicilian uprising against the occupying Norman French was considered too sensitive for the current political situation, and hence adapted to Portugal under Spanish rule in 1640. The original setting was not restored until after Italian unification in 1861. In the Act 5 Mercè, dilette amici Elena welcomes the gathered wedding guests to her marriage to Henri di Montforte, and sings of her happiness in a dance-like melody. Unknown to the French, her wedding bells will be the signal for the Sicilians to revolt and massacre the French occupiers!

19th century poster for Il trovatore by Luigi Morgari

Mercé, dilette amiche,

Di quei leggiadri fior;

Il caro dono è immagine

Del vostro bel candor!

Oh! fortunato il vincolo

Che mi prepara amore; Se voi recate pronube

Felici al core!

Mercé, del don! Ah sì! Ah sì!

O caro sogno, o dolce ebbrezza!

D'ignoto amor mi balza il cor!

Celeste un'aura già respiro

Che tutti i sensi inebriò

Io già respiro

Che tutti i sensi inebriò, ah, inebriò!

O piagge di Sicilia

Risplenda un dì seren

Assai vendette orribili

Ti laceraro il sen!

Di speme colma e immemore

Di quanto il cor soffrì

Il giorno del mio giubilo sia

Di tue glorie il dì

Gradisco il don di questi fior, ah sì, ah sì!

D'ignoto amor mi balza il cor, il cor

Ah, il cor, balza il cor

Che tutti i sensi inebriò,

Ah, che tutti i sensi inebriò.

Thank you, beloved friends, for these charming flowers; The lovely gift is a reflection of your heartfelt sincerity! Oh, welcome is the bond that awaits me through love.

If you will bring me bridesmaids, happy vows will fill my heart!

Thanks for the gift! Ah, yes! Ah, yes!

Oh dear dream, oh sweet intoxication! My heart leaps for an unknown love!

The heavenly air I breathe Exhilarates all my senses. I'll breathe again

Intoxicating all my senses, ah, intoxicating!

Oh, my Sicilian homeland, a tranquil day shines bright. Too much dreadful vengeance tears at your wounded heart!

Be filled with hope, forget the pain of all you have endured. May the day of my rejoicing be the day of your glory, too. I welcome this gift of flowers, ah yes, ah yes!

My heart, my heart, leaps for an unknown love

Ah, my heart, my heart leaps Intoxicating all the senses, Ah, intoxicating all the senses.

Instrumentation

Tacea la notte placida

soprano, flute, piccolo, 2 oboes, 2 clarinets, 2 bassoons, 4 horns, 2 trumpets, 3 trombones, tuba, timpani, strings

Mercè dilette amici

soprano, flute, piccolo, 2 oboes, 2 clarinets, 2 bassoons, 4 horns, 2 cornets, 3 trombones, tuba, timpani, strings

GEORGES BIZET (1838–1875)

Prélude and Aragonaise from Carmen Suite No. 1 (1882)

“La marguerite a fermé sa corolle… ouvre ton coeur” from Vasco de Gama (1860)

“Me voilà seule dans la nuit… comme autrefois” from Les pêcheurs de perles (1863)

Bizet’s opera Carmen caused a moral panic when it opened at the Opéra-Comique in 1875, for its depiction of an unrepentant seductress, and the initial reception in Paris was lukewarm. Bizet himself died suddenly of heart disease at the age of 36 after the 33rd performance. Nevertheless, its value was seen early by such lights as Tchaikovsky, who watched it in a revival in 1876 and wrote “Carmen is a masterpiece in every sense of the word... one of those rare creations which expresses the efforts of a whole musical epoch”. Since then, Carmen has become one of the most frequently performed operas, and melodies from the opera have entered the consciousness of people not otherwise familiar with classical music. After Bizet’s death, his friend Ernest Giraud compiled the instrumental music from the opera, with minor reorchestrations, and produced two Carmen Suites. The Prelude from Suite No. 1 hosts the ‘Fate’ motif, which appears at various points in the opera to remind us of mortality. The Aragonaise is the interlude before Act 3 of the opera. Despite being musically unrelated to the rest of the opera as it was originally intended for Bizet’s L’Arlésienne, its Spanish flavour makes it fit perfectly.

“ Carmen is a masterpiece in every sense of the word... one of those rare creations which expresses the efforts of a whole musical epoch”

In 1860, Bizet composed an Ode-Symphonie Vasco de Gama. But what is an ode-symphonie? Basically, a form midway between opera, oratorio, and symphony, combining orchestral and vocal movements. Why not call it a cantata? Perhaps because ode-symphonie was then the fashionable name, and Bizet wrote it during his time in Rome as a Prix de Rome winner — always good to ride the crest of the wave of fashion. Vasco de Gama is about the eponymous maritime explorer and the work depicts the movement of the sea, da Gama’s travels and some of the more dramatic events in his voyages. La marguerite a fermé sa corolle uses the bolero rhythm and the singer asks the listener to “Open your heart” with never-ending passion and love.

La marguerite a fermé sa corolle, L’ombre a fermé les yeux du jour.

Belle, me tiendras-tu parole?

La marguerite a fermé sa corolle, Ouvre ton cœur à mon amour.

Ouvre ton cœur, ô jeune ange, à ma flamme, Qu’un rêve charme ton sommeil.

Ouvre ton cœur, Je veux reprendre mon âme, Comme une fleur s’ouvre au soleil!

The daisy has closed its petals, darkness has closed the eyes of day, will you, fair one, be true to your word?

The daisy has closed its petals, Open your heart to my love.

Open your heart to my ardour, young angel, that a dream may charm your sleep –

Open your heart, I wish to recover my soul, as a flower unfolds to the sun!

Tr. Richard Stokes, from A French Song Companion (Oxford, 2000)

While historical settings were popular in the 19th century theatre, exotic settings in faraway lands were also guaranteed to bring in the crowds — ensuring ‘bums on seats’ was as much a concern then as now. Bizet’s 1863 opera Les pêcheurs de perles (“The Pearl Fishers”) was accordingly set in ancient Ceylon (Sri Lanka), and tells the story of how two men’s vow of eternal friendship is threatened by their love for the same woman, whose own dilemma is the conflict between secular love and her sacred oath as a priestess. In Me voilà seule dans la nuit… comme autrefois, the priestess Leila sings musing of how she and Nadir would meet together secretly.

At The Opera by Mary Cassatt (1878)

Me voilà seule dans la nuit, Seule en ce lieu désert où regne le silence!

Elle regarde autour d'elle avec crainte.

Je frissonne, j'ai peur! et le sommeil me fuit!

regardant du côté de la terrasse

Mais il est là! Mon cœur devine sa présence!

Comme autrefois dans la nuit sombre, Caché sous le feuillage épais, Il veille près de moi dans l'ombre, Je puis dormir, rêver en paix!

Il veille près de moi, Comme autrefois, comme autrefois

C'est lui! mes yeux l'ont reconnu!

C'est lui! mon âme est rassurée!

O bonheur! Joie inespérée! Pour me revoir il est venu, O bonheur! Il est venu, Il est là près de moi, ah!

Il veille près de moi, Oui comme autrefois

Je puis rêver ah en paix!

Here I am, alone in the night. Alone in this lonely place where silence reigns!

She looks around fearfully.

I'm shivering, I'm afraid! and sleep escapes me!

She looks towards the terrace.

But he is here, my heart can feel his presence.

As he used to, in the dark night, hidden under the thick leaves, he is watching near me, in the darkness, I can sleep and dream in peace.

He is watching near to me, like before, like before It is he, my eyes recognized him, it is he, my soul is soothed. O happiness! Unexpected joy! He came to see me again!

O happiness! He has come, he is there near me, ah!

He is watching near to me, Yes like before I can dream in peace!

Instrumentation

Carmen Suite No. 1

2 flutes (1 doubling on piccolo), 2 oboes, 2 clarinets, 2 bassoons, 4 horns, 2 trumpets, 3 trombones, timpani, bass drum, cymbals, tambourine, triangle, harp, strings

La marguerite a fermé sa corolle soprano, 2 flutes, 2 oboes, 2 clarinets, 2 bassoons, 2 horns, triangle, tambourine, strings

Me voilà seule dans la nuit soprano, 2 flutes, 2 oboes, 2 clarinets, 2 bassoons, 4 horns, timpani, strings

EMMANUEL CHABRIER (1841–1894)

Fête polonaise from Le roi malgré lui (1887)

Despite his talent from a young age, French composer Emmanuel Chabrier was never meant to be a musician, at least according to his parents, who nudged him into studying Law and becoming a respectable civil servant in the Ministry of the Interior in Paris. After 19 years in the civil service, Chabrier decided to devote himself to music in 1880. His 1887 opera Le roi malgré lui (“The Reluctant King”), set in 16th century Poland, contains some of his best music, despite a complicated and hard to follow libretto. Set at the beginning of Act 2, the Fête polonaise is a glittering and festive introduction complete with bright brass fanfares. Unlike the dreamy polonaises of Chopin, Chabrier paints the uniquely Polish dance in bright exciting and rousing colours.

Instrumentation

flute, piccolo, 2 oboes, 2 clarinets, 2 bassoons, 2 horns, 2 cornets, 3 trombones, timpani, triangle, cymbals, suspended cymbal, snare drum, bass drum, strings

JULES MASSENET (1842–1912)

“Obéissons quand leur voix appelle” (Gavotte) from Manon (1884)

French composer Jules Massenet is best known today for his two operas Manon (1884) and Werther (1892), but his output covered many genres including ballets, oratorios, orchestral music, piano pieces, and songs. A student of the Paris Conservatoire, he won the Prix de Rome as a student and later became Professor of Composition at his alma mater. Manon tells the story of the heroine’s journey from a naïve but high-spirited country girl to an avaricious courtesan in Paris, and finally to a broken prisoner. Obéissons quand leur voix appelle occurs in Act 3, and Manon, as a young fashionable courtesan, sings of the joys of youth.

Manon Lescaut's costume designed by Erté (1920)

MANON

Je marche sur tous les chemins, aussi bien qu'une souveraine; on s'incline, on baise sa main, car par la beauté je suis reine! Mes chevaux courent à grands pas; devant ma vie aventureuse, les grands s'avancent chapeau bas; je suis belle, je suis heureuse! Autour de moi tout doit fleurir! Je vais à tout ce qui m'attire! Et si Manon devait jamais mourir, ce serait, mes amis, dans un éclat de rire! Ah! ah! ah! ah!

Obéissons quand leur voix appelle, aux tendres amours, toujours, toujours, toujours, tant que vous êtes belle, usez sans les compter vos jours, tous vos jours!

Profitons bien de la jeunesse, des jours qu'amène le printemps; aimons, chantons, rions, sans cesse, nous n'avons encor que vingt ans!

Profitons bien de la jeunesse, aimons, rions, chantons sans cesse, nous n'avons encor que vingt ans! Ah! Ah!

Le cœur, hélas! le plus fidèle, oublie en un jour l'amour, l'amour, et la jeunesse ouvrant son aile a disparu sans retour, pour toujours!

Profitons bien de la jeunesse, bien courte, helas ! est le printemps! Aimons, chantons, rions sans cesse, nous n'aurons pas toujours vingt ans!

Profitons bien de la jeunesse! Aimons, chantons, rions sans cesse, profitons bien de nos vingt ans! Ah! Ah!

I go everywhere, the equal of any sovereign; people bow, they kiss my hand, because I am a queen by my lovely looks! My horses race me about; seeing the boldness of my life, highly placed people come forward with their hats off; I am beautiful, I am happy! All around me everything should flower! I go to everything that attracts me! And if ever Manon should die, she would die my friends, in a burst of laughter. Ha! Ha! Ha! Ha!

Obey when their voices are calling, beckoning us to tender loves, always, always, always; as long as you are beautiful, use up your days without counting, all of your days!

Let's take advantage of youth, days that spring provides; let's love, laugh, and sing without stopping, while we're still only twenty!

Let's take full advantage of our youth, let's love, laugh, and sing without stopping while we're still only twenty! Ha! Ha!

Even the most faithful heart, alas, forgets love in a day, love, and youth, spreading its wings to fly away, disappears, never to return, forever! Let's take full advantage of our youth, the springtime season, alas, is very short!

Let's love, sing, and laugh without stopping, we won't be twenty forever!

Let's take full advantage of our youth!

Let's love, sing, and laugh without stopping. Let's take advantage of being twenty! Ha! Ha!

Instrumentation

soprano, 2 flutes (1 doubling on piccolo), 2 oboes, 2 clarinets, 2 bassoons, 4 horns, 2 cornets, 3 trombones, timpani, triangle, bass drum, cymbals, strings

CHARLES GOUNOD (1818–1893)

“Je veux vivre dans le rêve” (Valse) from Roméo et Juliette (1867)

Yet another student of the Paris Conservatoire and winner of the Prix de Rome, CharlesFrançois Gounod composed twelve operas — not all of which were commercially successful. Fun fact: his Marche Pontificale, composed for the 1869 anniversary of the coronation of Pope Pius IX, was later adopted as the anthem of the Vatican City. Roméo et Juliette was premiered in 1867, and no doubt with the audience numbers boosted from the Paris Exposition, became an instant hit, being staged in Europe, Britain, and the United States within a year. The story follows Shakespeare’s play quite closely, and Je veux vivre dans le rêve occurs in Act 1, during the masked ball in the Capulets’ palace. Juliet has not yet met Romeo for the first time, and she sings innocently of love in a waltzlike ariette.

Programme notes by Edward C. Yong

Ah! Je veux vivre

Dans le rêve qui m'enivre;

Ce jour encore, Douce flamme,

Je te garde dans mon âme

Comme un trésor!

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.

Ah! Je veux vivre

Dans le rêve qui m'enivre;

Longtemps encore

Douce flamme,

Je te garde dans mon âme

Comme un trésor!

Loin de l'hiver morose

Laisse-moi sommeiller

Et respirer la rose

Avant de l'effeuiller.

Ah! Douce flamme,

Reste dans mon âme

Comme un doux trésor

Longtemps encore!

Ah! I want to live in this dream that surrounds me; live after long.

Sweet flame, I keep you in my soul like a treasure!

This rush of the youth only takes a day! Then the hour comes where you cry. Love enters the hearts, and happiness escapes.

Ah! I want to live in this dream that surrounds me; For a long time

Sweet flame, I keep you in my soul like a treasure!

Far from the cold winter let me dream and breathe the scent of the rose, before it wilts.

Ah! Sweet flame, I keep you in my soul like a sweet treasure, for a long time.

Instrumentation

soprano, flute, piccolo, 2 oboes, 2 clarinets, 2 bassoons, 4 horns, 2 trumpets, 3 trombones, timpani, triangle, harp, strings

L'Orchestre de l'Opéra by Edgar Degas (1870)

KREISLER, STRAVINSKY AND MOZART REDISCOVERING THE PAST

Fri & Sat, 12 & 13 Apr 2024 Victoria Concert Hall

Singapore Symphony Orchestra

Nikolaj Szeps-Znaider conductor/violin

KREISLER

STRAVINSKY MOZART

Violin Concerto in C major, “In the style of Vivaldi”

SSO Premiere

Pulcinella Suite (revised, 1949)

Intermission

Symphony No. 38 in D major, K. 504 “Prague”

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FRITZ KREISLER (1875–1962)

Violin Concerto in C major, “In the style of Vivaldi” (1927) SSO Premiere

Allegro energico, ma non troppo

Andante doloroso

Allegro molto

One popular buzzword these days is “upcycling”, where older things are repurposed and transformed into new furniture and other useful objects, but the concept has always been present in music. Just as Renaissance composers spun elaborate polyphony out of snippets of melodic material from the most random places, even Bach himself made organ works out of Vivaldi concerti. As such, Kreisler’s Violin Concerto in C “In the style of Vivaldi” is part of a long and honoured tradition.

Born in 1875 in Vienna and of Jewish descent, he was baptised at the age of 12, studied first at the Vienna Conservatory under Anton Bruckner, then in Paris under Léo Delibes and Jules Massenet. While in Paris, he won the Premier Grand Prix de Rome gold medal at the age of 12, competing against 40 other players, all of whom were at least 20 years of age. After a tour of the United States, he applied unsuccessfully to join the Vienna Philharmonic and ended up leaving music to study medicine. An army stint followed but a decade later he returned to the violin in 1899. In 1910 he premiered Elgar’s Violin Concerto, commissioned by and dedicated to him. He spent World War I in the Austrian army where he claimed his musical ear served him well in the trenches, for he said that because of it he could distinguish the sounds of the different shells as they whizzed past him. After being wounded and discharged, he moved to New York in 1914

and spent the rest of the war in America. He returned to Berlin in 1924 and that is where the story of this work begins.

In 1927, Vivaldi was known primarily by reputation. Although a substantial amount of his work had been printed during his lifetime, only a few copies of these edition had survived in libraries and private collections known only to musicologists and scholars. It was only in 1926 that his work began to be rediscovered and widespread performance of his works did not happen until after World War II. As such, any composer then could write in a Baroque style and very few would have been able to dispute such a claim. So it was that Kreisler began writing pastiche compositions in the style of earlier composers such as Vivaldi, Porpora, Couperin, and Tartini, passing them off as originals he had personally discovered in collections, and ironically these imitation works helped revive interest in these older composers. It was not until 1935 that he revealed the truth, and when the critics complained, his reply was that they had already deemed the works worthy - “The name changes but the value remains”.

Instrumentation solo violin, organ, strings

World Premiere Unknown

IGOR STRAVINSKY (1882–1971)

Pulcinella Suite (revised, 1949)

Sinfonia

Serenata

Scherzino

Tarantella

Toccata

Gavotta con due variazioni

Vivo

Minuetto – Finale

Born in 1882, Russian composer Igor Stravinsky cultivated an image of himself as an enfant terrible in terms of his unrelenting dedication to innovation and revolution in musical style, and often represents ‘modern’ to many minds, particularly recalling the legendary public riots that accompanied the 1913 premiere of his Rite of Spring. It often surprises audiences to learn that Stravinsky, who could read Latin, had a deep interest in Neo-Thomistic philosophy (with its roots in mediaeval Latin theology), displayed Byzantine icons in his study, wrote a body of sacred music for church services, and returned to devout practice of his Russian Orthodox Christian faith later in life while living in France — perhaps as a portable sign of ‘Russianness’ and a reminder of a bygone age.

With this, Stravinsky’s interest and familiarity with earlier forms becomes easier to understand. When in 1919 the conductor Ernest Ansermet wrote to Stravinsky, it was in regard to a project requested by Sergei Diaghilev, impresario of the Ballets Russes, a Paris-founded company of Russian ballet professionals. Diaghilev had requested a ballet with 18th century costumes and commedia dell’arte libretto, with music then believed to have been composed by

Italian Baroque composer Giovanni Battista Pergolesi. Stravinsky was initially reluctant, but after studying the scores, realised he could utilise this material but arranging it in a distinctly modern style, giving us Pulcinella. By way of background, Pulcinella is one of the stock comedic characters in Italian commedia dell’arte, a sometimes bawdy semi-improvised colourful form of Italian street musical theatre still performed today, and was the origin of the British puppet characters Punch and Judy.

The ballet was eventually produced in Paris in 1920, with costumes and sets designed by no less a celebrity than Pablo Picasso, and included vocal parts for solo soprano, tenor, and bass. The work was an immense success, and in 1922 Stravinsky extracted eight purely instrumental movements as Pulcinella Suite, premiered by the Boston Symphony Orchestra. Though musicology has since revealed that much of the music had been misattributed to Pergolesi, the artistic quality of Stravinsky’s work has ensured Pulcinella Suite a continued place in concert repertoires and the hearts of audiences.

The complicated plot of the ballet is beyond the scope of these notes but a brief familiarity with the themes of commedia dell’arte helps with appreciating the themes in the music: romantic courtship, clownish adventures, mistaken identities, disguises, feigned deaths, breakups, tearful reconciliations, but at the end everyone lives happily ever after.

Instrumentation

2 flutes (1 doubling on piccolo), 2 oboes, 2 bassoons, 2 horns, trumpet, trombone, strings

World Premiere

22 Dec 1922, Boston

First performed by SSO

9 Jul 1982

The Italian Comedians by Jean-Antoine Watteau (c.1720)

WOLFGANG AMADEUS MOZART (1756–1791)

Symphony No. 38 in D major, K. 504 “Prague” (1787)

Adagio – Allegro Andante Presto

Mozart the great innovator was no less reluctant to look toward older forms for inspiration. Early Classical symphonies had three movements: fast-slow-fast, based on the Italian overture. Starting in the Germanic lands in the 1750s, it became fashionable to include a minuet as the third movement. Why did Mozart, in 1787, write a threemovement symphony, which would have been considered distinctly old fashioned?

Since his last symphony, the Linz Symphony of 1783, Mozart had been hard at work, making the piano concerto a genre associated primarily with himself, premiering Figaro (1786), writing the six quartets dedicated to Haydn, and investigating the works of Baroque composers. While Mozart’s popularity with the Viennese public waxed and waned, he was constantly adored by that of the Bohemian capital Prague, then also part of the Holy Roman Empire. Thus it was that Mozart went to Prague shortly after New Year’s Day in 1787, travelling in style with his wife Constanze, several musicians, a servant, and even his dog Gauckerl. There his Symphony No. 38 was premiered on 19 January, and he even conducted a performance of Figaro three days later.

The symphony is notable for its passages where only wind instruments play while the strings are tacet (silent) — a new texture at the time. The wind players of Bohemia were famous throughout Europe, and the prominence of such passages to show off their abilities might indicate it had been written with a Prague performance in mind.

The symphony opens Adagio, longingly yearning, before leading into the most complicated Allegro movement then in existence. A flurry of themes are thrown at the listener in a way that the normal ‘first theme and second theme’ analysis fails utterly. The counterpoint is complex, and clearly the fruit of Mozart’s recent deep dive into the Baroque fugues of J. S. Bach. If this Garden of Eden is a trifle overgrown, we are nevertheless thankful.

Autograph manuscript of the symphony

Like a scene from an opera, the Andante is lyrical and relaxed, with shades of emotion. Graceful and wistful, Mozart sprinkles and punctuates the movement with dramatic interjections underlined by winds. While Mozart omitted the then-customary minuet, his generous proportions elsewhere ensure that we do not miss it — if all the repeat marks are observed, the opening movement of the Prague Symphony is longer than that of Beethoven’s supposedly ground-breaking Eroica Symphony. To use a local metaphor, Mozart has reworked the walls of a four-room flat to give us a luxurious open-concept three-room flat with massive floor space. Did he essentially merge the pastoral minuet with the slow movement? The listener may decide.

At the beginning of the Presto, Mozart quotes from The Marriage of Figaro, only recently premiered in Vienna and Prague, and hence its melodies would have been fresh in the minds of the listeners. Mozart is effectively saying, “You know this tune? See what else I can do with it.” And he does just, giving us a surprisingly chromatic section for winds. Bursting with drive, the extroverted final movement was where he gave back to his Prague audience the same warmth and affection they had shown him, an energy we can feel to this day.

Programme notes by Edward C. Yong

Instrumentation

2 flutes, 2 oboes, 2 bassoons, 2 horns, 2 trumpets, timpani, strings

World Premiere

19 Jan 1787, Prague

First performed by SSO

22 Nov 1979

SMETANA AND DVOŘÁK

17 May 2024, 7.30pm

THE PAVEL HAAS QUARTET

19 May 2024, 7.30pm

POETRY OF THE HARPXAVIER DE MAISTRE

22 May 2024, 7.30pm

ORGAN

THE CROW AND THE DOVE

15 Jun 2024, 2pm & 5pm

S

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Dr Norman Lee

Lee Wei Jie

Colin & Janet Leong

Voon S Leong

Wendy Leong Marnyi

Li Danqi & Liu Yi

Edith & Sean Lim

Elaine Lim

Lim Hui Li Debby

Lim Yuin Wen

Rachel Lin

Angela Loh

Sam & Claire Loh

Low Boon Hon

Alwyn Loy

Jin Lu

Benjamin Ma

Bahareh Maghami

Mak Mei Zi April

Andre Maniam

Mattopher

Norbert Meuser

Dr Tashiya Mirando

John Morley

Ngiam Shih Chun

Mdm Ngo Hwee Bee

Joy Ochiai

Matthew Ong

Xinyi Ong

Pigar & William

Chris Pinnick & Josephine Jung

Robert Khan & Co Pte Ltd

Danai Sae-Han

Jason Salim & Tan Hwee Koon

Gayathri & Steven Santhi-McBain

Sayawaki Yuri

Thierry Schrimpf

Farhana Sharmeen

Shi Lei

Small Story Singapore

Marcel Smit & Hanneke Verbeek

Sharon Son

Serene & Lars Sorensen

Casey Tan Khai Hee

Dr Giles Tan Ming Yee

Gordon HL Tan

Jane Tan

K.H. Tan

Dr Tan Lay Kok

Lincoln Tan

Min Tan

Tan Siew Ling Celine

Tan Yee Deng

Zeena Tan

David Teng

Teo Eng Chai

Teo Kien Boon

Kyra Teo

Alessandro Tesei

Alicia Thian & Brian Bonde

The Tomsik Family

Wang Meng

Stephan Wang

Jinny Wong

Wicky Wong

World Future Enterprise Pte Ltd

Yan Xia

Peter Yap Wan Shern

Ye Xuan

Yeow Ooh Teng

Lillian Yin

Yong Seow Kin

Zhu Yulin

Anonymous (64)

This list reflects donations that were made from 1 Jan 2023 to 31 Dec 2023. We would like to express our sincere thanks to donors whose names were inadvertently left out at print time.

The Singapore Symphony Group is a charity and a not-for-profit organisation. Singapore tax-payers may qualify for 250% tax deduction for donations made. You can support us by donating at www.sso.org.sg/donate or www.giving.sg/sso.

SUPPORT THE SSO

With You, WE CAN BUILD The Future of Music.

How can you help?

COMPLIMENTARY TICKETS*

While SSO is supported partially by funding from the Singapore government, a significant part can only be unlocked as matching grants when we receive donations from the public. If you are in a position to do so, please consider making a donation to support your orchestra – Build the future by giving in the present.

As a valued patron of the SSO, you will receive many benefits.

DONOR RECOGNITION & PUBLIC ACKNOWLEDGEMENT

Concert booklets and website

Patron of the Arts Nomination

Donors’ Wall at VCH Subscription/

OTHER BENEFITS

Invitation to special events

Donations of $100 and above will entitle you to priority bookings, and discounts^ on SSG Concerts.

For tax residents of Singapore, all donations may be entitled to a tax deduction of 2.5 times the value of your donation.

*Complimentary ticket benefits do not apply to Esplanade & Premier Box seats, or supporters who give through a fundraising event.

^Discounts are not applicable for purchase of Esplanade & Premier Box seats.

Through the SSO and its affiliated performing groups, we spread the love for music, nurture talent and enrich our diverse communities.

The Singapore Symphony Orchestra is a charity and not-for-profit organisation. To find out more, please visit www.sso.org.sg/support-us, or write to Nikki Chuang at nikki@sso.org.sg

A Standing Ovation

We recognise major gifts that help sustain the future of the Singapore Symphony Group. The recognition includes naming of a position in the SSO or in our affiliated performance groups such as the Singapore National Youth Orchestra and the Singapore Symphony Choruses.

SSO CONCERTMASTER GK GOH CHAIR

In July 2017, the SSO established the GK Goh Chair for the Concertmaster. Mr Goh Geok Khim and his family have been long-time supporters of the national orchestra. We are grateful for the donations from his family and friends towards this Chair, especially Mr and Mrs Goh Yew Lin for their most generous contribution.

NG PEI-SIAN

Mr Igor Yuzefovich was the inaugural GK Goh Concertmaster Chair from July 2017 to June 2018. The position is currently vacant. JIN

SSO PRINCIPAL CELLO THE HEAD FOUNDATION CHAIR

In recognition of a generous gift from The HEAD Foundation, we announced the naming of our Principal Cello, “The HEAD Foundation Chair” in November 2019. The Chair is currently held by Principal Cellist Ng Pei-Sian.

SSO PRINCIPAL FLUTE STEPHEN RIADY CHAIR

In recognition of a generous gift from Dr Stephen Riady, we announced in May 2022 the naming of our Principal Flute, “Stephen Riady Chair”. The position is currently held by our Principal Flutist Jin Ta.

SSO PRINCIPAL VIOLA TAN JIEW CHENG CHAIR

In recognition of a generous gift from the Estate of Tan Jiew Cheng, we announced in February 2024 the naming of our Principal Viola, “Tan Jiew Cheng Chair”. The position is currently held by our Principal Violist Manchin Zhang.

For more information, please write to director_development@sso.org.sg.

CORPORATE PATRONAGE

HEARTFELT THANKS TO OUR CORPORATE PATRONS

Temasek Foundation

The HEAD Foundation

Stephen Riady Group of Foundations

Lee Foundation

Audemars Piguet

City Developments Limited

Foundation Of Rotary Clubs (Singapore) Ltd

JKhoo Consultancy Pte Ltd

The New Eden Charitable Trust

TransTechnology Pte Ltd

VALIRAM

Far East Organization

United Overseas Bank Ltd

Holywell Foundation

Kris Foundation

IN-KIND SPONSORS

Raffles Hotel Singapore

SMRT Corporation

Singapore Airlines

Conrad Centennial Singapore

Symphony 924

Form a special relationship with Singapore’s national orchestra and increase your brand recognition among an influential and growing audience.

CORPORATE GIVING

We provide our Corporate Patrons with impressive entertainment and significant branding opportunities. Through our tailored packages, corporates may benefit from:

• Publicity and hospitality opportunities at an SSO concert or your private event,

• Acknowledgement and mentions in SSO’s key publicity channels,

• National Arts Council (NAC) Patron of the Arts nominations,

• Tax benefits.

Packages start at $10,000 and can be tailored to your company’s branding needs.

PARTNERSHIP

We partner with various corporates through tailored in-kind sponsorship and exchange of services. Current and recent partnerships include Official Hotel, Official Airline, and we offer other exciting titles.

For more details, please write to Chelsea Zhao at chelsea.zhao@sso.org.sg.

GAO JIAN ASSOCIATE PRINCIPAL HORN

BOARD OF DIRECTORS & COMMITTEES

CHAIR

Goh Yew Lin

BOARD OF DIRECTORS

Yong Ying-I (Deputy Chair)

Geoffrey Wong (Treasurer)

Chang Chee Pey

Chng Kai Fong

Prof Arnoud De Meyer

Warren Fernandez

Kenneth Kwok

Liew Wei Li

Sanjiv Misra

Lynette Pang

Prof Qin Li-Wei

Yasmin Zahid

Yee Chen Fah

Andrew Yeo Khirn Hin

NOMINATING AND EXECUTIVE COMMITTEE

Goh Yew Lin (Chair)

Prof Arnoud De Meyer

Geoffrey Wong

Yong Ying-I

HUMAN RESOURCES COMMITTEE

Yong Ying-I (Chair)

Chng Kai Fong

Prof Arnoud De Meyer

Heinrich Grafe

Doris Sohmen-Pao

INVESTMENT COMMITTEE

Geoffrey Wong (Chair)

Sanjiv Misra

David Goh

Alex Lee

AUDIT COMMITTEE

Yee Chen Fah (Chair)

Warren Fernandez

Lim Mei

Jovi Seet

SNYO COMMITTEE

Liew Wei Li (Chair)

Prof Qin Li-Wei

Benjamin Goh

Vivien Goh

Dr Kee Kirk Chin

Clara Lim-Tan

SSO MUSICIANS’ COMMITTEE

Mario Choo

David Smith

Wang Xu

Christoph Wichert

Yang Zheng Yi

Elaine Yeo

Zhao Tian

SSO COUNCIL

Alan Chan (Chair)

Odile Benjamin

Prof Chan Heng Chee

Dr Geh Min

Heinrich Grafe

Khoo Boon Hui

Lim Mei

Paige Parker

Dr Stephen Riady

Priscylla Shaw

Prof Gralf Sieghold

Andreas Sohmen-Pao

Prof Bernard Tan

Dr Tan Chin Nam

Tan Soo Nan

Wee Ee Cheong

SINGAPORE SYMPHONY GROUP ADMINISTRATION

CHIEF EXECUTIVE OFFICER

Kenneth Kwok

DEPUTY CEO, PROGRAMMES & PRODUCTION

Kok Tse Wei

DEPUTY CEO, PATRONS & CORPORATE SERVICES

Jenny Ang

ORGANISATION DEVELOPMENT

Lillian Yin

CEO OFFICE

Shirin Foo

Musriah Bte Md Salleh

ARTISTIC PLANNING

Hans Sørensen (Head)

Artistic Administration

Jodie Chiang

Jocelyn Cheng

Michelle Yeo

OPERATIONS

Ernest Khoo (Head)

Library

Lim Lip Hua

Wong Yi Wen

Orchestra Management

Chia Jit Min (Head)

Charis Peck Xin Hui

Kelvin Chua

Production Management

Noraihan Bte Nordin

Nazem Redzuan

Leong Shan Yi

Asyiq Iqmal

Ramayah Elango

Khairi Edzhairee

Khairul Nizam

Benjamin Chiau

COMMUNITY IMPACT

Community Engagement

Kua Li Leng (Head)

Whitney Tan

Lynnette Chng

Samantha Lim

Terrence Wong

Choral Programmes

Kua Li Leng (Head)

Regina Lee

Chang Hai Wen

Mimi Syaahira

Singapore National Youth Orchestra

Ramu Thiruyanam (Head)

Tang Ya Yun

Tan Sing Yee

Ridha Ridza

ABRSM

Patricia Yee

Lai Li-Yng

Joong Siow Chong

Freddie Loh

May Looi

William Teo

PATRONS

Development

Chelsea Zhao (Head)

Nikki Chuang

Sarah Wee

Sharmilah Banu

Eunice Salanga

PATRONS

Digital & Marketing Communications

Cindy Lim (Head)

Chia Han-Leon

Calista Lee

Germaine D’Rozario

Myrtle Lee

Hong Shu Hui

Jana Loh

Sherilyn Lim

Elizabeth Low

Corporate Communications

Elliot Lim

Customer Experience

Randy Teo

Dacia Cheang

Joy Tagore

CORPORATE SERVICES

Finance, IT & Facilities

Rick Ong (Head)

Alan Ong

Goh Hoey Fen

Loh Chin Huat

Md Zailani Bin Md Said

Human Resources & Administration

Valeria Tan (Head)

Janice Yeo

Fionn Tan

Netty Diyanah Bte Osman

SINGAPORE SYMPHONY CHORUSES

Delivering choral excellence since 1980

A premier body for classical choral singing, the Singapore Symphony Choruses comprise the Singapore Symphony Chorus, Singapore Symphony Youth Choir and Singapore Symphony Children’s Choir.

Drawing membership from diverse ages, nationalities and walks of life, our Choruses embody a comprehensive singing ecosystem that nurtures the brilliance of our brightest young talents, inspires youthful passion for the art and celebrates the best of choral excellence!

Scan the QR code and visit our website for more details on audition and training opportunities.

Scan for more information Or visit our website at sso.org.sg/choruses

MAJ O R DO N O R S

Mr & Mrs

Goh Yew Lin

SEASO N P A R T N E R S

Stephen Riady

Estate of Tan Jiew Cheng

SEASO N P A T R ON S

The vision of the Singapore Symphony Group is to be a leading arts organization that engages, inspires and reflects Singapore through musical excellence. Our mission is to create memorable shared experiences with music. Through the SSO and its affiliated performing groups, we spread the love for music, nurture talent and enrich our diverse communities. The Singapore Symphony Orchestra is a charity and not-for-profit organisation. You can support us by donating at www.sso.org.sg/donate

Group of Foundations