Concert Programmes
GLORIA!
SSO CHRISTMAS CONCERT
SSO PRESIDENT’S YOUNG PERFORMERS 2025 CONCERT
OPEN FOR AUDITIONS
Auditions will be held for shortlisted Singaporean instrumentalists performing concertos written for t heir instrument and Singaporean vocalists performing any vocal work with orchestra.
ELIGIBILITY:
Applicants should be Singapore citizens and should be no more than 25 years of age, as of 1 July 2025.
APPLICATION DEADLINE:
Applicants are invited to submit their online appli cation by , with the following items:
DEADLINE 13 December 2024 13 December 2024
1. including their date of birth, musical background and contact information
2. A high-quality featuring a recent performance of a complete concerto with either piano or orchestra accompaniment, with composer name, duration of each movement and edition (if applicable) of the work cl early labelled.
For application enquiries, please contact: pypc@sso .org.sg
SCAN TO APPLY
2022 soloist
Pualina Lim piano
For the enjoyment of all patrons during the concert:
Please switch off or silence all electronic devices.
Gloria!
Fri & Sat, 29 & 30 Nov 2024
Victoria Concert Hall
SSO Christmas Concert
Thu–Sat, 12–14 Dec 2024
Victoria Concert Hall
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.
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 23 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-the-art 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 five-city 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. In the 2024/25 season, the SSO will perform in Kyoto as part of the Asia Orchestra Week, as well as a three-city tour of Australia.
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). With Singaporean violinist Chloe Chua, the SSO has recorded the Four Seasons, as well as the Butterfly Lovers Violin Concerto, and a Mozart Violin Concerto cycle with Hans Graf to be released by Pentatone Records in the 2024/25 season. 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, Hannu Lintu, Lorin Maazel, Martha Argerich, Diana Damrau, Janine Jansen, Leonidas Kavakos, Lang Lang, Yo-Yo Ma, Mischa Maisky, Gil Shaham and Krystian Zimerman.
The SSO is part of the Singapore Symphony Group, which also manages the Singapore Symphony Choruses, the Singapore National Youth Orchestra, the Singapore International Piano Festival and the biennial National Piano & Violin Competition.
Singapore Symphony Orchestra
The Group’s vision is to be a leading arts organisation 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 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
David Coucheron
Co-Principal Guest Concertmaster
Kevin Lin
Co-Principal Guest Concertmaster
Kong Zhao Hui1
Associate Concertmaster
Chan Yoong-Han2
Fixed Chair
Cao Can*
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
Nikolai Koval*
Sayuri Kuru
Hai-Won Kwok
Margit Saur
Shao Tao Tao
Tseng Chieh-An
Wu Man Yun*
Xu Jueyi*
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
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
Guo Siping 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 annual 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
GLORIA! | 29 & 30 NOV 2024
ORGAN
Eudenice Palaruan
HARPSICHORD
Shane Thio
SSO CHRISTMAS CONCERT | 12–14 DEC 2024
PIANO
Aya Sakou
ORGAN
Koh Jia Hwei
FOR A CARING & RESILIENTSingap ore
STEPHEN LAYTON conductor
Awarded with an MBE for services to classical music in October 2020, Stephen Layton is one of the most sought-after conductors of his generation. Often described as the finest exponent of choral music in the world today, his ground-breaking approach has had a profound influence on choral music over the last 30 years. Having taken up the post of Principal Conductor of the Slovenian Philharmonic Choir from the start of the 2024/25 season, Layton is also Founder and Director of Polyphony, and Director of Holst Singers. Layton recently stepped down as Fellow and Director of Music at Trinity College Cambridge – a post he held for 17 years, changing the nature of a ‘college choir’ into a leading artistic beacon on the world stage.
Layton is regularly invited to work with the world’s leading choirs, orchestras and composers. His interpretations have been heard from Sydney Opera House to the Concertgebouw, from Tallinn to São Paolo, and his recordings have won or been nominated for every major international recording award. He has two Gramophone Awards (and a further ten nominations), five Grammy nominations, the Diapason d’Or de l’Année in France, the Echo Klassik award in Germany, the Spanish CD compact award, and Australia’s Limelight Recording of the Year.
Layton is constantly in demand to premiere new works by the greatest established and emerging composers of our age. Passionate in his exploration of new music, Layton has introduced a vast range of new choral works to the UK and the rest of the world, transforming the music into some of the most widely performed today.
© MATTHEW JOHNSON
EUDENICE PALARUAN
Choral Director
Eudenice Palaruan studied at the University of the Philippines College of Music, majoring in composition and choral conducting. He took further training in choral conducting at the Berliner Kirchenmusikschule, Germany. He graduated doctor of musical arts at St. Paul University Manila.
He was a singer, resident composer/arranger, and assistant choirmaster of the Philippine Madrigal Singers. In addition, he performed with the Berlin Spandauer Kantorei, the World Youth Choir, and sang countertenor with the Berlin Monteverdichor.
In addition, he was the principal conductor of the San Miguel Master Chorale. For years, he has been the resident conductor of the International Bamboo Organ Festival, where he performed and recorded significant selections of Latin-American baroque music. With his active involvement in the choralization of Philippine and other Asian indigenous music, he premiered a substantial volume of new Asian choral works. In addition, he was
often invited to give lectures on non-Western vocal aesthetics.
Eudenice also arranges for the SSO choruses and the SSC community outreach programmes. In addition, the SSO choruses have premiered new choral works written by local composers and arrangers in Singapore under his direction.
He taught composition and choral conducting in institutions such as the University of the Philippines College of Music, the Asian Institute for Liturgy and Music, and St. Paul University College of Music and the Performing Arts. In addition, he teaches at the Singapore Bible College School of Church Music and directs the SBC Chorale. Eudenice is often invited to adjudicate in international composition competitions and give masterclasses in choral conducting.
© MICHELLE TNG YING
WONG LAI FOON Choirmaster
Wong Lai Foon has been a driving force behind the development and growth of the Singapore Symphony Children’s Choir (SSCC) since its inception in 2006. Appointed Choirmaster in 2015 and armed with a mission to nurture young voices and inspire choral excellence, she led in the expansion of the SSCC’s training programme to include six preparatory ensembles, as well as the formation of the Singapore Symphony Youth Choir in 2016.
With repertoire ranging from Baroque to opera to contemporary and popular music, she has directed the SSCC and SSYC in a wide array of concerts, often receiving praise for the choirs’ beautiful tone and sensitivity. She has prepared the choirs in collaborations with renowned conductors and performers such as
Stephen Layton, The King’s Singers, and Sofi Jeanin and la Maîtrise de Radio France. The SSCC has also had the distinction of being invited to perform at state functions.
Wong has commissioned and premiered treble choir works by local composers and has also arranged for the SSCC and SSYC. Her efforts to educate and inspire singers extend into the community through workshops, talks, as well as adjudicator, chorus-master and guestconductor roles. Some ensembles that she has worked with include The Philharmonic Chamber Choir, Singapore Symphony Chorus, Singapore Lyric Opera, Hallelujah Singers, and Methodist Festival Choir. She holds a master’s degree in choral conducting from Westminster Choir College, USA.
© MICHELLE
SINGAPORE SYMPHONY CHORUS
For over four decades, the Singapore Symphony Chorus (SSC) has been bringing together passionate and talented choristers from all walks of life to celebrate the best of symphonic music-making, and to create music that moves, transcending language and culture.
More than just a choir, the SSC is a warm and vibrant community for lifelong social connections beyond the stage. Seasoned performers at the Victoria Concert Hall and the Esplanade, the chorus’s committed group of singers come together week after week to hone their artistry and volunteer their time to deliver some of the most challenging choral classics to the highest standards.
Led by world-class conductors including Okko Kamu, Lan Shui, Lim Yau, Masaaki Suzuki
and Sofi Jeannin, the chorus has amassed an impressive repertoire such as Tippett’s A Child of Our Time, Arvo Pärt’s Te Deum, Britten’s War Requiem, and Bach’s St John Passion, amongst others, since its founding in 1980.
With their dedication towards presenting outstanding performances, the SSC is the pinnacle of choral excellence in Singapore and a testament to the power of music and how it connects people across cultures and generations.
Eudenice Palaruan Choral Director
Ellissa Sayampanathan Assistant Choral Conductor
Shane Thio rehearsal pianist
Ng Sheh Feng choral associate
Wong Yang Kai choral associate
SINGAPORE SYMPHONY YOUTH CHOIR
Inspiring Choral Passion
Energetic and full of dynamism, the Singapore Symphony Youth Choir (SSYC)’s choristers embody a zeal for artistic growth that inspires and pushes boundaries.
Comprised of a myriad of vibrant personalities aged between 17 and 28, the cool collective welcomes like-minded singers to share their journey of youthful passion for symphonic choral music-making, alongside the national orchestra! Performing regularly at the Victoria Concert Hall and the Esplanade, the SSYC is a group of dedicated singers who enjoy coming together to explore some of the most challenging and beloved choral works across styles and genres.
Since 2016, SSYC has had the privilege of performing under the baton of renowned conductors such as Lan Shui, Hans Graf,
and Stephen Layton. Their repertoire boasts of musical highlights including Scriabin’s Prometheus, Puccini’s La Bohème, Tallis’s Why Fumeth in Fight, Faure’s Requiem and recordings of Borodin’s Polovtsian Dances and Mahler’s Symphony No. 2.
With the unique opportunity to learn from world renowned musicians and be part of a community that inspires passion, all while creating a professional sound, SSYC is a social journey to reimagine classical music and choral excellence.
Wong Lai Foon Choirmaster
Ellissa Sayampanathan Assistant Choral Conductor
Evelyn Handrisanto rehearsal pianist
SINGAPORE SYMPHONY CHILDREN’S CHOIR
Nurturing Choral Brilliance
Established in 2006, the Singapore Symphony Children’s Choir (SSCC) is an exciting and unique opportunity for young singers to work alongside the national orchestra and worldclass conductors!
Based at the Victoria Concert Hall, Singapore’s leading children’s choir is dedicated to a holistic training approach that nurtures wellrounded artistic growth, cultivates discipline and confidence, and inspires a lifelong love for music and the arts. More than a choir, the SSCC is a life journey of learning, growth, lasting friendships, and music-making at its best.
SSCC has performed great choral masterpieces under the baton of distinguished conductors such as Lim Yau, Sofi Jeannin and FrançoisXavier Roth, and even shared the stage with
critically acclaimed vocal group, The King’s Singers. Most recently, the choir, together with the Singapore Symphony Youth Choir, premiered a treble arrangement of Faure’s Requiem under the direction of world-renowned choral conductor Stephen Layton.
The SSCC’s commitment to musical excellence has enriched generations of singers and audiences, laying the foundation for choral patronage in the local music scene. Along with their fellow choruses, the SSCC is a key player in inspiring young musicians as well as shaping the future of choral music in Singapore and beyond.
Wong Lai Foon Choirmaster
Ellissa Sayampanathan Assistant Choral Conductor
Low Jinhong rehearsal pianist
SINGAPORE SYMPHONY CHORUSES
Delivering choral excellence since 1980
A premier body for classical choral singing, the Si ngapore Symphony Choruses comprise the Singapore Symphony Chorus, Si ngapore Symphony Youth Choir and Singapore Symphony Childre n’s Choir.
Drawing membership from diverse ages, nationalities and walks of life, our Choruses embody a comprehensive singing ecosyst em that nurtures the brilliance of our brightest young talents, insp ires youthful passion for the art and celebrates the best of choral excel lence!
Scan the QR code and visit our website for more det ails on audition and training opportunities.
@singaporesymphony
@sgsymphonychorus
@sgsymphonyyouthchoir
@sgsymphonychildrenschoir
The Choruses
Gloria!
SINGAPORE SYMPHONY YOUTH CHOIR
SOPRANO
Jocelyne Harefa
Giselle Lim
Desiree Seng
Samyukta Sounderamann
Carine Tan
Christabelle Tan
Janelle Tan
Jasmine Towndrow
ALTO
Dieh Xin Xin
Elizabeth Goh
Truly Hutapea^
Trinetra Kumarasan
Zachary Lim
Ong Sherlyn
Ellissa Sayampanathan*
Tan Yuqing
Tan Yulin
Elizabeth Yeo
TENOR
Jesse Cai^
Hann Lyang
Daniel Lee
Lim Enhui^
Jayden Moktan
Ronald Ooi^
Malcolm Ravindran^
Elliott Titcombe^
SINGAPORE SYMPHONY CHILDREN’S CHOIR
Riyan Ballesteros
-Pattanayak
Lisa Chang
Samuel Chen
Elizabeth Chern
Christian Chew
Chin Yi Hao
Choo Yu En
Deng Handing
Emma Foo
Fu Yuqi
Aureilee Gooi
Graciella Gunawan
Nadia Hajadi
Emily Hia
Cloris Ho
Isabelle Ho
Clarita Hutabarat
Rachael Jong
Joshika Kandasamy
Olivia Kennedy-White
Ropheka Khoo
Marian Koh
Emma Lee-Goh
Melina Leong
Stephanie Lim
Eyzen Lim
Lei Nakayasu
Ng Yi Poh
Joseph Nyan
Ong Sze Ying
Ong Wing Hei
Jing Fei Pang
Suri Rao
Genevieve Seow
Angeline Sun
Ashlynn Tan
Tan Caewyn
Emily Tan
BASS
Leonard Buescher
Chai Chang Kai
Liu Felix
Joshua Tan
Dominic Tang
Wong Zhen Wei
Chia Chee An^
*Assistant Choral Conductor
^Guest Singer
Michael Tan
Yuna Tano
Shania Tay
Germaine Teo
Caresse Wisantoso
Evelyn Xue
Cammi Yeo
Stanley Yuan
Felix Zhang
Alex Zhang
Zhang Yixuan
Chloe Zhou
The Choruses
SSO Christmas Concert
SINGAPORE SYMPHONY CHORUS
SOPRANO
Karen Aw
Josephine Budiana
Janice Chee
Alexis Chen
Chia Gin Gin
Elizabeth Daniel
Julie Demange Wodtke
Grace Goh
Vivien Heng
Kaitlyn Kim
Selina Kwek
Liang Xinyu
Sarah Santhana
Andrea Yenny Sjah
Nelia Soelistia
Stacey Wang Espera
Sarah Tang
Wang Yu-Ann
ALTO
Grace Angel
Chan Mei Yoke
Joy Chen
Chng Xin Bei
Marie Amelie McKeand
Friederike Herrmann
Truly Hutapea
Suzannah Kewley
Susan Kurniawati
Wendy Lim
Lin Wei
Shoumin Low
Sharon Low
Ng Beng Choo
Natividad Solaguren
Ena Su
Ratna Sutantio
Elsie Tan
Tan Seow Yen
Rina Ushioda
Wang Jiunwen
Nadine Yap
TENOR
Jean-Michel Bardin
Jesse Cai
Jeroven Marquez
Ronald Ooi
Samuel Pazicky
Rac Roldan
Ian Tan
BASS
Craig Chambers
Arthur Davis
Kentaro Hirama
Andy Jatmiko
Paul Kitamura
Justin Lee
Jared Robertson
Teo Siak Hian
Elliott Titcombe
Michael Walsh
Wong Hin Yan
Wong Yang Kai*
*Choral Associate
SINGAPORE SYMPHONY CHILDREN’S CHOIR
Miya Ang
Riyan Ballesteros -Pattanayak
Lisa Chang
Elizabeth Chern
Chin Yi Hao
Halyn Cho
Hailey Chua
Deng Handing
Dylan Francis
Fu Yuqi
Colleen Fung
Megan Fung
Naomi Heng
Charlotte Ho
Abigail Ho
Rachael Jong
Marian Koh
Emma Lee-Goh
Melina Leong
Eyzen Lim
Megan Montefrio
Ng Yi Poh
Sophie Ong
Jing Fei Pang
Suri Rao
Nadia Sri Kanda
Angeline Sun
Emily Tan
Tan Caewyn
Ilysa Tan
Shania Tay
Germaine Teo
Matthew Wong
Stanley Yuan
Zhang Yixuan
Chloe Zhou
RODOLFO BARRÁEZ
Associate Conductor
A natural communicator with infectious charisma, Berlin-based Venezuelan conductor Rodolfo Barráez brings remarkable vivacity, sensitivity, and zeal to his artistry. The 2023/24 season sees him join the Los Angeles Philharmonic Orchestra as Assistant Conductor, his appointment of Associate Conductor of the Simón Bolívar Symphony Orchestra of Venezuela, as well as begin his second season as Associate Conductor of the Singapore Symphony Orchestra. Rodolfo is also Conductor-in-Residence at the Paris Opera.
In 2023, Rodolfo was awarded first prize at the Hong Kong International Conducting Competition. He also won first prize at the 2018 Universidad Nacional Autónoma de México International Conducting Competition
(OFUNAM), and second prize at the 2020 Siemens-Hallé International Conductor Competition in Manchester.
He completed his Bachelor’s and Master’s conducting studies at Hochschule für Musik Hanns Eisler in Berlin, and previously his Bachelor’s at the National Experimental University of the Arts in Venezuela. In 2022, he was selected as Conducting Fellow at the Verbier Festival.
Rodolfo made his debut with Los Angeles Philharmonic in early 2023 at the Walt Disney Concert Hall. He joined the Münchener Kammerorchester on their tour of South America as well as the Appassionato Orchestra at the Verbier Festival 2022. Future highlights include performances with the Hong Kong Sinfonietta, RTVE Symphony Orchestra, Gävle Symphony Orchestra, Simón Bolívar Symphony, among others.
Strongly influenced by his own remarkable education as part of El Sistema under the guidance of José Antonio Abreu and Teresa Hernández, Rodolfo is committed to contributing to music education. In 2019, Rodolfo founded the Falcón Conducting Workshop; an organization that nurtures and supports the development of emerging conductors through masterclasses and workshops in his hometown as well as worldwide at renowned institutions.
VICTORIA SONGWEI LI
soprano
Praised for the ‘brilliance and agility’ of voice (The Straits Times) and described as ‘a voice of rare beauty’ (Bachtrack), London-based Singaporean soprano Victoria Songwei Li is quickly making a name for herself as an interpreter of coloratura roles, singing both in concert and on the opera stage. She is a graduate of the Royal Academy of Music, and the Guildhall School of Music and Drama, where she studied with Yvonne Kenny.
Performing highlights include Tytania A Midsummer Night’s Dream (Garsington Opera), Amour Platée, La Folie (cover) Platée; Elle La Voix Humaine (Thailand Philharmonic Orchestra); Wellgunde Das Rheingold (Orchestra of the Music Makers); Tytania A Midsummer Night’s Dream (New
Opera Singapore), Blanche Dialogues des Carmélites, Elle La Voix Humaine, title role Rusalka, Giannetta L’elisir d’amore, Cupidon Orpheus in the Underworld; Mrs Delgado It’s A Wonderful Life (English National Opera), Pepik and Woodpecker The Cunning Little Vixen, 2nd Niece (cover) Peter Grimes, A Handmaid The Handmaid’s Tale.
She was awarded the Cyril Greaves Bursary as winner of the Opera category in the David Clover Festival of Singing (UK), the Osaka Governor Award, and First Prize at the 20th International Osaka Music Competition (Japan).
Opera aside, Victoria has also sung as a soloist with the Los Angeles Philharmonic under the baton of Gustavo Dudamel, Thailand Philharmonic Orchestra, Southbank Symfonia, Daegu Opera Orchestra, and the Singapore Symphony Orchestra.
JADE TAN SHI YU
mezzo-soprano
A mezzo-soprano who sings with “nuance” and with “great ability in portraying emotion and meaning” (The Straits Times), Jade Tan Shi Yu was the Grand-prize winner of the Yong Siew Toh Conservatory of Music’s Concerto Competition 2016 and Best Singaporean Artist and Third-Prize Winner in the Singapore Lyric Opera’s ASEAN Vocal Competition 2016. She was honoured with the title of President’s Young Performer of Singapore in 2016.
Jade Tan graduated from the Yong Siew Toh Conservatory of Music as Valedictorian with First Class Honours and completed a Master’s Degree in Voice and Operatic Performance at the Hannover Hochschule für Musik, Theater
und Medien, Germany. She was a recipient of the Tan Kah Kee Foundation Scholarship. She made her operatic debut as Dorabella from Mozart’s Così fan tutte in the Hannover Hochschule für Musik, Theater und Medien, Germany and has since performed the roles of Giannetta in the Singapore Lyric Opera’s production of L’Elisir d’amore (2017) and Zora in Serbian-born Ana Sokolovic’s Svadba (2018) and Waltraute in the Orchestra of the Music Maker’s production of Die Walküre (2020).
ANDERS KAMPMANN tenor
The Danish tenor Anders Kampmann studied at The Guildhall School of Music and Drama in London and at The Royal Academy of Music in Aarhus. He began his career performing baritone repertoire, but soon reshaped his instrument into a rich and sonorous tenor voice.
He has sung roles such as Sándor Barinkay in Der Zigeunerbaron by Johann Strauss at Theater Magdeburg, Canio in Leoncavallo’s I Pagliacci, as well as Turiddu in Cavalleria Rusticana (Mascagni) at Elsinore Chamber Opera, the roles of Siegmund and Siegfried in The Ring in one evening (music by Richard Wagner) on the same stage and the role of Prince Jennaro in Hartmann’s Ravnen at Danish National Opera.
Anders is a frequent guest at The Royal Opera House in Copenhagen, where he has recently performed in Den Glade Enke 2.0 by Franz Lehar, King and Marshall (music by Heise) and by Louise Alenius. Anders is often appearing as a soloist in works such as Requiem (Verdi), Die Schöpfung (Haydn), The Messiah (Händel), Requiem (Mozart) and Messa di Gloria (Puccini). He has worked with an array of orchestras including Copenhagen Philharmonic Orchestra, Aarhus Symphony Orchestra, Odense Symphony Orchestra and Soenderjyllands Symphony Orchestra.
In season 2024/25, Anders can be heard as Pinkerton in Madama Butterfly by Puccini and Count René de la Rochefocauld in Fête Galante by Schierbeck at Danish National Opera.
STEFFEN BRUUN
bass
Steffen Bruun graduated in June 2005 after opera studies in Copenhagen and Sydney. Shortly after his graduation he had his stage debut as the Emperor in Stravinsky’s The Nightingale at The Funen Opera, and has later sung Sarastro in Mozart’s Die Zauberflöte, the bass parts of Monteverdi’s operas, Leone in Handel’s Tamerlano, Don Inigo in Ravel’s L’Heure Espagnole, Uberto in Pergolesis La Serva Padrona, Pimen in Mussorgsky’s Boris Gudonov, Osmin in Mozart’s Entführung aus dem Serail, Comte de Grieux in Massenet’s Manon, Il Re in Verdi’s Aida and Bass in Saariaho’s Only the Sound Remains at Teatro Real, Madrid.
He got his debut at the Royal Opera Copenhagen as Zuniga in Bizet’s Carmen in 2019 and has been associated since as a
guest soloist. This season had Steffen sing Sarastro in Die Zauberflöte and Norando in Hartmann’s The Raven, both at the Danish National Opera, the first performance of HJEM at CPH Opera Festival and he has just returned touring Germany with yet another Aida. The season was crowned with a nomination as Singer of the Year 2023 in CPH Culture.
Recordings include a first performance of Klenau’s 9th Symphony with DR Symphony Orchestra, lieder by Poul Rovsing Olsen on Dacapo Records, Carl Nielsen’s Maskarade (as Vægteren), L’Orfeo (as Caronte) for Swedish BIS Records, Johann Johannson’s Drone Mass for Deutsche Grammophon and Hornemann’s Aladdin (as Genie) with DR Symphony Orchestra under the baton of Michael Schønwandt.
Steffen is a part of the Berlin-based Home Opera where he takes the role as MC as well as singer.
© MATTHIAS LØVGREEN
To recognize our donors’ continued support towards the national orchestra, we offer a more personalized way for you to make a mark in the Home of the SSO, with a dedicated plaque on your preferred seat at the Victoria Concert Hall.
Selected seats are up for adoption in donation tiers of $8,000, $15,000, $25,000*
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GLORIA! A CELEBRATION OF CAROLS
Fri & Sat, 29 & 30 Nov 2024
Victoria Concert Hall
Singapore Symphony Youth Choir 1
Singapore Symphony Children’s Choir 2
Singapore Symphony Orchestra
Stephen Layton conductor
Wong Lai Foon Choirmaster
A Ceremony of Carols, Op. 28 2 by Benjamin Britten
Solos by Ng Yi Poh, Isabelle Ho, Emily Tan
Adagio in G minor, for Organ and Strings attributed to Tomaso Albinoni/Remo Giazotto
Lapsimessu 2 (Singapore Premiere) by Einojuhani Rautavaara
Melina Leong soprano (III. Gloria)
Intermission
Laudate Dominum from Vesperae solennes de confessore, K. 339 1 (SSO Premiere) by Wolfgang Amadeus Mozart
Carine Tan soprano
Jesu, Joy of Man’s Desiring 1 by Johann Sebastian Bach
Gloria in D major, RV. 589 1 by Antonio Vivaldi
Giselle Lim, Janelle Tan sopranos (III. Laudamus te)
Jasmine Towndrow soprano (VI. Domine Deus)
Zachary Lim counter-tenor (VIII. Domine Deus, X. Qui sedes)
A Ceremony of Carols, Op. 28 (1942)
by Benjamin Britten
1. 2. 3.
4a. 4b. 5.
Procession
Wolcum Yole!
There is no Rose
That yongë child
Balulalow
As dew in Aprille
Britten’s A Ceremony of Carols is rarely compared with Carl Orff’s Carmina Burana, one a work intended for church use and the other a concert collection of secular songs, but the two share an important feature: both utilise the texts of songs much older than the composers, often ignoring the surviving melodies, and in both cases have become better known than the original works themselves.
Composed in 1942, while on a sea voyage from the United States to England and surrounded by U-boats, it was originally set for treble voices (two sopranos and one alto part) and harp, with a mixed choir version appearing in 1943. Britten (1913–1976) had been studying the harp, intending to write a concerto, and his writing utilises the many effects available to the concert harp.
The work opens with the Procession “Hodie Christus natus est”, a unison Gregorian chant from vespers (evening prayer) of Christmas Day. Wolcum Yole! is in Middle English and welcomes the holiday season by naming the coming guests – all the saints whose days follow Christmas on the church calendar, while the harp gives simple arpeggiated chords and figuration. There is no Rose is a macaronic piece, alternating lines of Middle English and Latin text, while the melody is gentle and reverent above an
This Little Babe Interlude In Freezing Winter Night Spring Carol Deo Gracias Recession 6.
ostinato bass. That yongë child continues the hushed, intimate tone of the previous piece, but this time as a soprano solo with harp accompaniment. Balulalow presents a more jubilant tone and depicts the Virgin Mary singing a lullaby to the newborn Christ, while the alternating phrases in major and minor blur and blend luminously as the harp strings continue undamped.
Britten had been studying the harp, intending to write a concerto.
As dew in Aprille focuses on the Virgin Mary, as the harp whispers on the upper strings to suggest near-silent dewfall. The rather martial text of This Little Babe is given a swift tempo, polyrhythms, overlapping voices, a progressive crescendo, emphasised with the harp’s près de la table technique, where the harpist plays closer to the soundboard, resulting in a brighter and brittle sound. Britten gives us an Interlude with a distinctly modal feel, without forgetting the harp’s trademark glissandi towards the end. In Freezing Winter Night has the choir singing in a round and at various contrasting paces, while the harp flutters nervously in the cold, until the parts all synchronise. Spring Carol, for two sopranos, brings up images of the coming spring with singing birds and animals at play, while the harp skips around. Deo Gracias uses another macaronic poem Adam lay i-bounden, and is filled with forward momentum, using syncopation and staccato rhythms, building to a climax.
Procession / 11. Recession
Hodie Christus natus est
Hodie Salvator apparuit
Hodie in terra canunt angeli
Laetantur archangeli
Hodie exsultant justi, dicentes
Gloria in excelsis Deo Alleluia!
Wolcum Yole!
Wolcum, Wolcum
Wolcum be thou hevenè king Wolcum Yole!
Wolcum, born in one morning, Wolcum for whom we sall sing!
Wolcum be ye, Stevene and Jon, Wolcum, Innocentes every one, Wolcum, Thomas marter one, Wolcum, be ye Good Newe Yere,
Wolcum, Twelfth Day both in fere, Wolcum, seintes lefe and dere, Wolcum Yole!
Candelmesse, Quene of bliss
Wolcum bothe to more and lesse. Wolcum be ye that are here, Wolcum Yole!
Wolcum alle and make good cheer, Wolcum alle another yere, Wolcum Yole! Wolcum!
There is no Rose
There is no rose of such vertu As is the rose that bare Jesu. Alleluia, alleluia.
For in this rose conteinèd was Heaven and earth in little space, Res miranda, res miranda.
By that rose we may well see That he is God in persons three, Pares forma, pares forma.
The angels sung en the shepherds to: Gloria in excelsis Deo! Gaudeamus, gaudeamus.
Leave we all this worldly mirth, And follow we this joyful birth. Transeamus, transeamus.
Alleluia, Res miranda, Pares forma, Gaudeamus, Transeamus.
That yongë child
That yongë child when it gan weep With song she lulled him asleep; That was so sweet a melody It passèd alle minstrelsy
The nightingalë sang also: Her song is hoarse and nought thereto: Whoso attendeth to her song And leaveth the first then doth he wrong.
Balulalow
O my deare hert, young Jesus sweit, Prepare thy creddil in my spreit, And I sall rock thee to my hert, And never mair from thee depart.
But I sall praise thee evermoir With sanges sweit unto thy gloir; The knees of my hert sall I bow And sing that richt Balulalow!
As dew in Aprille I sing of a maiden That is makèles: King of all kings To her son she ches.
He came also stille, There his moder was, As dew in Aprille That falleth on the grass.
He came also stille To his moder’s bour, As dew in Aprille That falleth on the flour.
He came also stille There his moder lay, As dew in Aprille That falleth on the spray.
Moder and mayden Was never none but she Well may such a lady Goddes moder be.
This Little Babe
This little Babe so few days old, Is come to rifle Satan’s fold; All hell doth at his presence quake, Though he himself for cold do shake; For in this weak unarmed wise The gates of hell he will surprise.
With tears he fights and wins the field, His naked breast stands for a shield; His battering shot are babish cries, His arrows looks of weeping eyes, His martial ensigns Cold and Need, And feeble Flesh his warrior’s steed.
His camp is pitched in a stall, His bulwark but a broken wall; The crib his trench, haystalks his stakes; Of shepherds he his muster makes; And thus, as sure his foe to wound, The angels’ trumps a larum sound.
My soul, with Christ join thou in fight; Stick to the tents that he hath pight. Within his crib is surest ward; This little Babe will be thy guard. If thou wilt foil thy foes with joy, Then flit not from this heavenly Boy.
In Freezing Winter Night
Behold, a silly tender babe, in freezing winter night, In homely manger trembling lies; Alas, a piteous sight!
The inns are full, no man will yield this little pilgrim bed. But forced he is with silly beasts in crib to shroud his head.
This stable is a Prince’s court, this crib his chair of State; The beasts are parcel of his pomp, the wooden dish his plate.
The persons in that poor attire
His royal liveries wear; The Prince himself is come from Heav’n; This pomp is prizèd there.
With joy approach, O Christian wight, do homage to thy King, And highly praise his humble pomp, which he from Heav’n doth bring.
Spring Carol
Pleasure it is to hear iwis, The Birdès sing, The deer in the dale, The sheep in the vale, The corn springing.
God’s purveyance For sustenance It is for man.
Then we always to him give praise, And thank him than.
Deo Gracias
Deo gracias!
Adam lay ibounden, bounden in a bond; Four thousand winter thought he not too long.
Deo gracias!
And all was for an appil an appil that he tok, As clerkës finden written in their book.
Deo gracias!
Ne had the appil takè ben, Ne haddè never Our Lady A ben hevenè quene. Blessèd be the time That appil takè was. Therefore we moun singen,
Deo gracias!
Instrumentation chorus, harp
World Premiere 5 Dec 1942
First performed by Singapore Symphony 17 Dec 1992
Adagio in G minor, for Organ and Strings (1949) attributed to Tomaso Albinoni/Remo Giazotto
When the Allies bombed Dresden during World War II, one of the destroyed buildings was the Saxon State Library, which contained a large portion of the manuscript works of Venetian Baroque composer Tomaso Albinoni (1671–1751). After the end of the war, Italian musicologist Remo Giazotto (1910–1998) obtained a manuscript fragment containing a figured bass part and the first six bars of a first violin part. He believed it to be by Albinoni, perhaps from a church sonata for two violins and bass, possibly from the Opus 4 set of 1708.
the Saxon State Library has been found, scholars over the decades have argued over whether the entire work is a musical hoax of Giazotto’s composition. However, in 2007, Giazotto’s last assistant before his death, Muska Mangano, discovered among Giazotto’s papers a modern but independent transcription of the figured bass portion, and six fragmentary bars of the first violin. This bore a stamp stating, “the Dresden provenance of the original from which it was taken”, providing support for Giazotto’s account that he did base his composition on an earlier source—whether that source was by Albinoni is another matter altogether.
Scholars over the decades have argued over whether the entire work is a musical hoax of Giazotto’s composition.
Despite the majority of the work definitely being by Giazotto, with a bassline of uncertain authorship, the name “Albinoni’s Adagio” stuck and the piece has become a runaway favourite, popping up in countless film soundtracks and sampled in everything from pop to electronic dance music.
Working from this, he filled in the other parts to create a piece for string orchestra, eventually publishing it in 1958 under the title “Adagio in G minor for strings and organ, on two thematic ideas and on a figured bass by Tomaso Albinoni”. As Giazotto never publicly showed the original manuscript fragments, and no official record of its presence in the collection of
Instrumentation organ, strings
World Premiere unknown
First performed by SSO 13 Mar 1987
Lapsimessu (A Children’s Mass, 1973)
by Einojuhani Rautavaara Singapore Premiere
Kyrie
Meditatio super Kyrie
Gloria
Meditatio super Gloria I II III IV
Einojuhani Rautavaara (1928–2016), wellknown and enormously popular in choral circles, is perhaps the most important and influential Finnish composer of the 20th and 21st centuries after Jean Sibelius. His Lapsimessu (A Children’s Mass), written for treble voices and strings, was premiered in 1973 at a competition, where it won first prize in composition.
The a cappella Kyrie opens with a theme reminiscent of Finnish folk song, with its slides, modal melody, and mediaevalflavoured open fifths. Rautavaara’s early forays into 12-tone music show themselves in the Meditatio super Kyrie, a string interlude of uncertain tonality. The movements alternate voices and strings for now. Gloria, for voices alone, sets only the first line of the traditional Gloria in
Rautavaara: Lapsimessu
Kyrie eleison
Christe eleison
Kyrie eleison
Gloria in excelsis Deo, Et in terra pax hominibus bonae voluntatis.
Agnus Dei, qui tollis peccata mundi, miserere nobis.
Agnus Dei, qui tollis peccata mundi, dona nobis pacem.
Alleluia
VI VII
Agnus Dei
Meditatio super Agnus Dei
Halleluja
excelsis text. The strings respond with the Meditatio super Gloria, taking snatches of themes presented earlier by the voices and sublimating them. The Agnus Dei has the most memorable melody in the set so far, layering the voices to create an effect of snow in the Nordic forests. Meditatio super Agnus Dei follows, with the strings ‘meditating’ on what went before. In the final Halleluja, strings and voices combine for a dramatically chromatic finale, building tension with the unexpected harmonies.
Instrumentation chorus, strings
World Premiere 20 Dec 1973, Finland
Lord, have mercy Christ, have mercy Lord, have mercy
Glory to God in the highest, and peace on earth to men of goodwill.
Lamb of God, who takes away the sins of the world, have mercy on us.
Lamb of God, who takes away the sins of the world, grant us peace.
Hallelujah
Laudate Dominum from Vesperae solennes de confessore, K. 339 (1780)
by Wolfgang Amadeus Mozart SSO Premiere
One of Mozart’s most famous sacred solo pieces for treble voice, the Laudate Dominum sets Psalm 116 (Septuagint numbering) as one of the five psalms intended for vespers (evening prayer) on the feasts of confessors. This psalm is also used for vespers on Christmas, making it eminently suitable for the theme of this concert. Mozart (1756–1791) writes one of his most gorgeously lyrical melodies for the soprano, atop strings with gently arpeggiating violas, reserving a surprise when the choir enters at the Gloria Patri, taking over from the solo voice, which returns soaring above the choir at the final Amen.
Instrumentation soprano, chorus, bassoon, organ, strings
World Premiere unknown
Mozart: Laudate Dominum
Laudate Dominum, omnes gentes; laudate eum, omnes populi.
Quoniam confirmata est super nos misericordia ejus, et veritas Domini manet in aeternum.
Gloria Patri et Filio et Spiritui Sancto, sicut erat in principio, et nunc et semper, et in saecula saeculorum. Amen.
Praise the Lord, all nations; praise him, all peoples.
For His mercy on us is certain, and the truth of the Lord remains forever.
Glory to the Father, and to the Son, and to the Holy Spirit, as it was in the beginning, is now and always, and to the ages of ages. Amen.
Jesu, Joy of Man’s Desiring (1723)
by Johann Sebastian Bach
One of Bach’s most recognisable choral melodies (and hence also a popular wedding march), Jesu bleibet meine Freunde (“Jesu, Joy of Man’s Desiring”) began life as a simple chorale melody Werder munter, mein Gemüthe by Johann Schop. Part of Bach’s duties as cantor at the Thomaskirche in Leipzig was to produce and direct cantatas for every Sunday of the church year, and this piece belongs to the cantata Herz und Mund und Tat und Leben (“Heart and mouth and deed and life”) BWV 147, which was premiered in 1723, the first year of Bach’s employment in Lepizig. The cantata was intended for 2nd July, the feast of the Vistation, which commemorates the visit of Mary to Elizabeth.
Bach (1685–1750) took the chorale melody which would have been familiar to his congregation and showed his mastery by spinning a sparkling countermelody in triplets that flows naturally and surrounds the simple chorale like a frame, enhancing it without obscuring its beauty.
Instrumentation chorus, 2 oboes, trumpet, organ, strings
World Premiere unknown
First performed by SSO 21 Dec 1990
Bach: Jesu Joy of Man’s desiring Jesus bleibet meine Freude, Meines Herzens Trost und Saft, Jesus wehret allem Leide, Er ist meines Lebens Kraft, Meiner Augen Lust und Sonne, Meiner Seele Schatz und Wonne; Darum lass ich Jesum nicht Aus dem Herzen und Gesicht.
Jesu, joy of man’s desiring, Holy wisdom, Love most bright, Drawn by thee, our souls aspiring Soar to uncreated light. Word of God, our flesh that fashioned With the fire of life impassioned, Striving still to truth unknown, Soaring, dying round thy throne.
by Antonio Vivaldi
Gloria in excelsis Deo
Et in terra pax
Laudamus te
Gratias agimus tibi
Propter magnam gloriam
Domine Deus, Rex coelestis
The presence of women players in orchestras was a contentious issue in the 20th century—the first ever orchestra to include female players alongside men was the Queen’s Hall Orchestra in London in 1913. Before this, women only played in all-female ensembles. Even the Vienna Philharmonic had a ban on women players, until the Austrian government threatened them with funding cuts in 1996, leading to the 2003 appointment of the first female player in its 161-year history. This ‘modern’ attitude that female musicians were somehow inferior would have puzzled Baroque composers, particularly Antonio Vivaldi (1678–1741), who spent the largest portion of his working life as composer-in-residence at the Ospedale della Pietà, a convent-run boarding school for ‘orphaned’ girls, with the bulk of his choral music and concerti being written for the girls to perform.
Domine, Fili unigenite
Domine Deus, Agnus Dei
Qui tollis peccata mundi
Qui sedes ad dexteram Patris
Quoniam tu solus sanctus
Cum Sancto Spiritu
It is not inconceivable that it was the brilliance and ability of these young women that inspired Vivaldi, helping him perfect the skills.
Founded because illegitimate babies were being drowned in the canals, the Ospedale della Pietà took in these unwanted girls and schooled them, training them to perform on instruments usually played by men. With their performances these girls earned their keep and rubbed shoulders with kings and queens. It is not inconceivable that it was the brilliance and ability of these young women that inspired Vivaldi, helping him perfect the skills that eventually gave us the Four Seasons
The circumstances of the composition of the Gloria, RV. 589 are unknown, but scholars conjecture it to have been produced about 1715, perhaps performed at mass at Christmas or Easter. It is written for SATB chorus, two soprano and one alto soloists, a single oboe, a single trumpet, strings and continuo. The absence of tenor and bass solo parts reinforces the impression that it was written for the girls to perform (the chorus bass parts were sung an octave higher), and the unusual use of a single oboe and trumpet may have been dictated by manpower (girlpower?) limitations.
coloratura runs, and we can almost see the enthusiastic teenaged singers egging each other on. The chorus returns in Gratias agimus tibi, solemnly giving thanks before erupting into a fugue at Propter magnam gloriam. A largo pastoral interlude follows in Domine Deus, Rex coelestis, with a very pretty duet between solo violin and soprano solo. Vivaldi shows us his master of the French-style, with his dotted rhythms in the F major Domine, Fili unigenite, overflowing with exuberance.
When listening to the Gloria it is hard not to feel some emotion when realising the voices that first sang this were originally destined to be drowned in the Venetian canals.
Domine Deus, Agnus Dei brings respite, the alto soloist singing petitions to the Lamb of God with the chorus singing in response. The minor-key Qui tollis peccata mundi brings back simple harmonies and tone colour contrasting with the previous movements. Intercession follows, again with the alto soloist at Qui sedes ad dexteram Patris. The opening music comes back at Quoniam tu solus sanctus, being an abbreviated reprise of the first movement. The customary fugue at Cum Sancto Spiritu ends the work—Vivaldi here reworks a composition by his contemporary Giovanni Maria Ruggieri, condensing a double-choir fugue into a single choir and altering the orchestration. When listening to the Gloria it is hard not to feel some emotion when realising the voices that first sang this were originally destined to be drowned in the Venetian canals, for just as Vivaldi’s music gave and sustained life for them, it continues to bring solace to us now.
The Gloria in excelsis Deo opens in D major with rushing strings punctuated by trumpets, proclaiming glory with determined joy, the contrasts of dynamics adding to the excitement. Et in terra pax moves us into the minor, meditating on the difficulties of achieving peace but never losing a certain serene poise. In Laudamus te, the two sopranos chase each other in their
Instrumentation
solo voices chorus, oboe, bassoon, trumpet, harpsichord, strings
World Premiere unknown
First performed by SSO 17 Dec 1998
Vivaldi: Gloria Gloria in excelsis Deo
Et in terra pax hominibus bonae voluntatis.
Laudamus te, benedicimus te, adoramus te, glorificamus te.
Gratias agimus tibi propter magnam gloriam tuam.
Domine Deus, rex coelestis, Deus pater omnipotens;
Domine fili unigenite, Jesu Christe; Domine Deus, agnus Dei, filius patris, Rex coelestis, Domine Fili unigenite, qui tollis peccata mundi, miserere nobis.
Qui tollis peccata mundi, suscipe deprecationem nostram.
Qui sedes ad dexteram patris, miserere nobis.
Quoniam tu solus sanctus, tu solus Dominus, tu solus altissimus, Jesu Christe.
Cum sancto spiritu, in gloria Dei patris. Amen.
Glory to God on high;
And on earth peace to men of good will.
We praise You, we bless You, we worship You, we glorify You.
We give thanks to You for your great glory.
Lord God, heavenly king, God the father almighty;
Lord, the only begotten son, Jesus Christ; Lord God, lamb of God, son of the father, heavenly king, only begotten son, You take away the sins of the world, have mercy upon us.
You take away the sins of the world, receive our prayer.
You sit at the right hand of the father, have mercy upon us.
For You alone are holy, You alone are the Lord, You alone are most high, Jesus Christ.
With the holy spirit, in the glory of God the father. Amen.
Notes by Edward C. Yong
SSO CHRISTMAS CONCERT FOR UNTO US A CHILD IS BORN
Thu–Sat, 12–14 Dec 2024
Victoria Concert Hall
Singapore Symphony Orchestra
Singapore Symphony Chorus1
Singapore Symphony Children’s Choir 2
Rodolfo Barráez Associate Conductor
Eudenice Palaruan Choral Director
Wong Lai Foon Choirmaster
Victoria Songwei Li soprano*
Jade Tan Shi Yu mezzo-soprano*
Anders Kampmann tenor*
Steffen Bruun bass*
Messiah, HWV 56 (Part 1)*1 by George Frideric Handel
Intermission
Celtic Carol (SSO Premiere) by Lindsey Sterling (adpt. Sean O’Loughlin)
African Noel 2 (arr. Victor Johnson)
Natus est in Bethleem 2 by Xabier Sarasola (orch. Jaume Santonja)
The Christmas Song (Chestnuts Roasting On An Open Fire) (SSO Premiere) by Mel Tormé (arr. James Kazik)
It’s Christmastime 1 & 2 (arr. Calvin Custer)
Messiah, HWV 56 (Part 1) (1741)
by George Frideric Handel
Handel (1685–1759) wrote most of Messiah in three weeks. He was always an efficient composer, but a famous legend claims divine inspiration was at play; after finishing the Hallelujah chorus, Handel supposedly proclaimed: “I did think I did see all Heaven before me, and the great God himself!” Part 1 reflects on the prophecies of the Messiah who would offer salvation, the Virgin birth, and Christ’s miracles and benevolent acts.
Handel was a master of Affektenlehre, the Baroque aesthetic of word painting. Listen for the flickering of vocal flames in “And He shall purify” and the misty strings of “For behold”. In “Ev’ry Valley”, Handel sets the word “crooked” with bouncy dotted rhythms and emphasises “straight” with strong single beats. The opening of “The People that Walked in Darkness” meanders through a dark minor key, then suddenly brightens into a major key with the words “have seen a great light.”
Sinfonia (Overture)
Comfort ye my people
Comfort ye, comfort ye my people, saith your God.
Speak ye comfortably to Jerusalem, and cry unto her, that her warfare is accomplished, that her iniquity is pardoned.
The voice of him that crieth in the wilderness; prepare ye the way of the Lord; make straight in the desert a highway for our God.
(Isaiah 40: 1–3)
Every valley shall be exalted
Every valley shall be exalted, and every mountain and hill made low; the crooked straight and the rough places plain.
(Isaiah 40: 4)
And the glory of the Lord
And the glory of the Lord shall be revealed, and all flesh shall see it together: for the mouth of the Lord hath spoken it.
(Isaiah 40: 5)
Thus saith the Lord of hosts
Thus saith the Lord, the Lord of hosts: Yet once a little while and I will shake the heavens and the earth, the sea and the dry land.
And I will shake all nations; and the desire of all nations shall come.
(Haggai 2: 6–7)
The Lord, whom ye seek, shall suddenly come to His temple, even the messenger of the Covenant, whom you delight in; behold, He shall come, saith the Lord of hosts.
(Malachi 3: 1)
But who may abide the day of His coming
But who may abide the day of His coming, and who shall stand when He appeareth? For He is like a refiner’s fire.
(Malachi 3: 2)
And He shall purify the sons of Levi And He shall purify the sons of Levi, that they may offer unto the Lord an offering in righteousness.
(Malachi 3: 3)
Behold, a virgin shall conceive Behold, a virgin shall conceive and bear a son, and shall call His name Emmanuel, God with us.
(Isaiah 7: 14; Matthew 1: 23)
O Thou that tellest good tidings to Zion
O thou that tellest good tidings to Zion, get thee up into the high mountain. O thou that tellest good tidings to Jerusalem, lift up thy voice with strength; lift it up, be not afraid; say unto the cities of Judah, behold your god!
(Isaiah 40: 9)
Arise, shine, for thy light is come, and the glory of the Lord is risen upon thee.
(Isaiah 60: 1)
For behold, darkness shall cover the earth
For behold, darkness shall cover the earth, and gross darkness the people; but the Lord shall arise upon thee, and His glory shall be seen upon thee.
And the Gentiles shall come to thy light, and kings to the brightness of thy rising.
(Isaiah 60: 2–3)
The people that walked in darkness have seen a great light
The people that walked in darkness have seen a great light; and they that dwell in the land of the shadow of death, upon them hath the light shined.
(Isaiah 9: 2)
For unto us a Child is born
For unto us a child is born, unto us a son is given, and the government shall be upon His shoulder; and His name shall be called Wonderful, Counsellor, the mighty God, the Everlasting Father, the Prince of Peace.
(Isaiah 9: 6)
Pifa, ‘Pastorale Symphony’
There were shepherds abiding in the fields
There were shepherds abiding in the field, keeping watch over their flocks by night.
(Luke 2: 8)
Glory to God in the highest
And lo, the angel of the Lord came upon them, and the glory of the Lord shone round about them, and they were sore afraid.
(Luke 2: 9)
Rejoice greatly, O daughter of Zion
And the angel said unto them: “Fear not, for behold, I bring you good tidings of great joy, which shall be to all people.
For unto you is born this day in the city of David a Saviour, which is Christ the Lord.”
(Luke 2: 10–11)
And suddenly there was with the angel, a multitude of the heavenly host, praising God, and saying:
(Luke 2: 13)
Glory to God in the highest, and peace on earth, good will towards men.
(Luke 2: 14)
Rejoice greatly, O daughter of Zion; shout, O daughter of Jerusalem!
Behold, thy King cometh unto thee; He is the righteous Saviour, and He shall speak peace unto the heathen.
Rejoice greatly.
(Zechariah 9: 9–10)
Then shall the eyes of the blind be opened
Then shall the eyes of the blind be opened, and the ears of the deaf unstopped.
Then shall the lame man leap as an hart, and the tongue of the dumb shall sing.
(Isaiah 35: 5–6)
He shall feed His flock like a shepherd
He shall feed His flock like a shepherd; and He shall gather the lambs with His arm, and carry them in His bosom, and gently lead those that are with young.
(Isaiah 40: 11)
Come unto Him, all ye that labour, come unto Him that are heavy laden, and He will give you rest.
Take his yoke upon you, and learn of Him, for He is meek and lowly of heart, and ye shall find rest unto your souls.
(Matthew 11: 28–29)
His yoke is easy
His yoke is easy, and His burden is light.
(Matthew 11: 30)
Instrumentation
solo voices, chorus, 2 oboes, bassoon, 2 trumpets, organ, strings
World Premiere 13 Apr 1742, Dublin
First performed by SSO 7 Apr 1988
Celtic Carol by Lindsey Sterling (adpt. Sean O’Loughlin) SSO Premiere
Pop violinist Lindsey Stirling’s hit medley of traditional carols, infused with Celtic dance rhythms, was released in 2011. The music video, featuring Stirling dressed as an elf as she dances and plays the violin, was filmed on a cold winter night in an unheated warehouse in Utah! In Sean O’Loughlin’s arrangement, the piece is adapted for string orchestra. Joyous melodies in the upper strings are enhanced by the percussion: deep, resonant folk-dance beats from the bodhrán, a traditional Irish round drum; ethereal sprinkles of fairy dust from the mark tree (a hanging bell chime instrument); and playful jingles from the triangle.
Instrumentation
bodhrán, triangle, mark tree, drum set, strings
African Noel (arr. Victor Johnson)
This all-time school concert staple is based on a traditional Liberian folksong from the African west coast called “Banuwa”, with the original words meaning “Don’t cry, little girl, don’t cry”. Over time, a new set of words was introduced to the same melody:
Sing Noël, Sing We All Noël!
Victor Johnson’s arrangement for a fourpart chorus retains the tribal jubilation of its origin and features call-and-response. The rhythmic flavour is enhanced by ethnic percussion: sticks, shaker, bongo or African drums, triangle, and tambourine.
Natus est in Bethleem by Xabier Sarasola (orch. Jaume Santonja)
Basque composer Sarasola’s vibrant choral work is based on Puer natus in Bethlehem (A child is born in Bethlehem), a medieval Latin Christmas hymn. The piece is structured in three sections, with the first and last sections characterised by an upbeat staccato and dotted rhythms mirroring the exuberance of the text, which announces the birth of Christ. The music transitions into a slower middle section. Here, the choir evokes a sense of reverence and stillness to honour the Virgin Mary.
Originally written for treble choir, piano, and flute, tonight’s performance is the world premiere of a new version orchestrated by Jaume Santonja.
Natus est in Bethleem, gloria Jerusalem, Per Mariam Virgine radix
Instrumentation
chorus, sticks, triangle, bongos, shaker, tambourine
First performed by SSCC 16 Dec 2016
Instrumentation
chorus, flute, piccolo, 2 oboes, 2 clarinets, 2 bassoons, 4 horns, 2 trumpets, 3 trombones, timpani, glockenspiel, tambourine, strings
A child was born in Bethlehem, the glory of Jersusalem, Through the Virgin Mary the root of
Jesse florida, Profert mundo gaudia.
Flos incomparabilis et excelsi numinis, Splendor inefabilis nobis fit infantulus, Jacens in praesepibus.
O Mater purissima,
O Virgo dulcissima, Sinas nos in hac hora venerando Filium, Osculare parvulum.
Pacem nobis omnibus nuntiavit angelus, Refulsit pastoribus verisolis radius, Dicant omnes gratias.
Jesse flowered, And brought joy to the world.
The flower of an incomparable and high God, An indescribable splendor came to us as a child, lying in a manger.
O most pure Mother, O sweetest Virgin, In this hour let us worship the Son, And kiss the little one.
The angel proclaimed peace to all, Light shone upon the shepherds, And the world gave thanks.
The Christmas Song (Chestnuts Roasting On An Open Fire)
by Mel Tormé (arr. James Kazik) SSO Premiere
An old classic, The Christmas Song was written in July 1945 during an exceptionally hot summer afternoon. In an effort to “stay cool by thinking cool” (a strategy Singaporeans can certainly relate to!), songwriter Robert Wells immersed himself in an imagined winter and penned a short poem: “Chestnuts roasting, Jack Frost nipping, Yuletide carols, Folks dressed up like Eskimos.” His lyric partner, Mel Tormé, immediately saw its potential for a full verse. Forty-five minutes later, one of the most played festive songs was born. The imagery of “chestnuts roasting on an open fire” was inspired by Wells’s childhood memories in Boston, where street vendors served paper cones filled with roasted chestnuts.
Chestnuts roasting on an open fire
Jack Frost nipping at your nose
Yuletide carols being sung by a choir
And folks dressed up like Eskimos
Everybody knows a turkey and some mistletoe
Help to make the season bright
Tiny tots with their eyes all aglow
Will find it hard to sleep tonight
They know that Santa’s on his way
He’s loaded lots of toys and goodies on his sleigh
And every mother’s child is gonna spy
To see if reindeer really know how to fly
So I’m offering this simple phrase
To kids from one to ninety-two
Although it’s been said many times, many ways
Merry Christmas to you
So I’m offering this simple phrase
To kids from one to ninety-two
Although it’s been said many times, many ways
Merry Christmas
Instrumentation drum set, piano, strings
Merry Christmas
Merry Christmas to you
It’s Christmastime (arr. Calvin Custer)
It’s Christmastime is a medley of four timeless songs. Santa Claus Is Coming to Town tells children to be on their best behaviour, because Santa is on his way to deliver gifts! Originally written for the musical Meet Me in St. Louis, Have Yourself a Merry Little Christmas conveys a heartfelt message of hope and togetherness. Silver Bells captures the ringing of church bells in the city and the excitement of holiday shoppers. Finally, I'll Be Home for Christmas captures the true spirit of Christmas and the importance of family. Sung from the perspective of a soldier stationed overseas during World War Two, he tells his family he will be coming home and requests snow, mistletoe, and presents on the tree.
Santa Claus is Coming to Town
You better watch out
You better not cry
Better not pout
I’m telling you why
Santa Claus is coming to town
He’s making a list
And checking it twice
He’s gonna find out
Who’s naughty or nice
Santa Claus is coming to town
He sees you when you’re sleeping
He knows when you’re awake
He knows if you’ve been bad or good
So be good for goodness sake
You better watch out
You better not cry
Better not pout
I’m telling you why
Santa Claus is coming to town
Have Yourself a Merry Little Christmas
Have yourself a merry little Christmas
Let your heart be light
From now on, our troubles will be out of sight
Have yourself a merry little Christmas
Make the Yuletide gay
From now on, our troubles will be miles away
Here we are, as in olden days
Happy golden days of yore
Faithful friends who are dear to us
Gather near to us once more
Through the years we all will be together
If the fates allow
Hang a shining star upon the highest bough
And have yourself a merry little Christmas now
Silver Bells
City sidewalks, busy sidewalks
dressed in holiday style
In the air there’s a feeling of Christmas
Children laughing, people passing meeting smile after smile
And on every street corner you’ll hear
Silver bells
Silver bells
It’s Christmastime in the city
Ring-a-ling
Hear them ring
Soon it will be Christmas Day
I’ll Be Home for Christmas
I’ll be home for Christmas
You can count on me
Please have snow and mistletoe
And presents under the tree
Christmas Eve will find me
Where the love light gleams
I’ll be home for Christmas
If only in my dreams
Notes by See Ning Hui
Instrumentation
chorus, 2 flutes (1 doubling on piccolo), oboe, 2 clarinets, bassoon, 4 horns, 2 trumpets, 3 trombones, timpani, triangle, cymbals, drum set, glockenspiel, sleigh bells, vibraphone, xylophone, cabasa, piano, strings
First performed by SS0 21 Dec 1990
To Our Donor Patrons
We would like to express our deepest appreciation to the following individuals and organisations who support our mission to create memorable shared experiences with music in the past year.
Without your support, it would be impossible for the SSO to continue to strive for artistic excellence and touch the hearts of audiences.
PATRON SPONSOR
Tote Board Group
(Tote Board, Singapore Pools & Singapore Turf Club)
MAESTRO CIRCLE
Mr & Mrs Goh Yew Lin
Stephen Riady Group of Foundations
Estate of Tan Jiew Cheng
Temasek Foundation
The HEAD Foundation
SYMPHONY CIRCLE
Dr & Mrs Antoine & Christina Firmenich
Holywell Foundation
Lee Foundation
Lee Li Ming
Paige Parker & Jim Rogers
Jacqueline Yeh
Yong Hon Kong Foundation
Anonymous (2)
CONCERTO CIRCLE
Prof Chan Heng Chee
Cara & Tamara Chang
Geraldine Choong & Dennis Au
Elaine and Eduardo Saverin Foundation Ltd
Embassy of France in Singapore
Far East Organization
Christopher Fussner
Geh Min
Miriam & Merle Hinrich
IMC Group Asia (S’pore) Pte Ltd
Karim Family Foundation
Kris Foundation
Frans & Marie-Pierre Mol
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GU BING JIE FIXED CHAIR VIOLA
OVERTURE PATRONS
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In Memory of Timothy Kok Tse En
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Anonymous (6)
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CP
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In memory of 黄招娣 (Huang Zhao Di)
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Khim
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Anonymous (41)
This list reflects donations that were made from 1 Oct 2023 to 30 Sep 2024. 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
How can you help?
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.
COMPLIMENTARY TICKETS*
Subscription/ Chamber and Organ /Family/ SIPF Gala/Christmas/ Pops
SSO Special Gala Concerts
DONOR RECOGNITION & PUBLIC ACKNOWLEDGEMENT
Concert booklets and website
Patron of the Arts Nomination
Donors’ Wall at VCH
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
SPECIAL RECOGNITION
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.
Mr Igor Yuzefovich was the inaugural GK Goh Concertmaster Chair. The position is currently vacant. JIN TA
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 Chelsea Zhao at chelsea.zhao@sso.org.sg.
NG PEI-SIAN
MANCHIN ZHANG
CORPORATE PATRONAGE
GAO JIAN ASSOCIATE PRINCIPAL HORN
HEARTFELT THANKS TO OUR CORPORATE PATRONS
Temasek Foundation
The HEAD Foundation
Stephen Riady Group of Foundations
Holywell Foundation
Lee Foundation
Yong Hon Kong Foundation
Aquilus Pte Ltd
Elaine and Eduardo Saverin Foundation Ltd
Embassy of France in Singapore
IN-KIND SPONSORS
Raffles Hotel Singapore
SMRT Corporation
Singapore Airlines
Steinway Gallery Singapore
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 Sarah Wee at sarah.wee@sso.org.sg.
BOARD OF DIRECTORS & COMMITTEES
CHAIR
Goh Yew Lin
BOARD
OF DIRECTORS
Chang Chee Pey
Chng Kai Fong
Andress Goh
Kenneth Kwok
Clara Lim-Tan
Jesher Loi
Lynette Pang
Prof Qin Li-Wei
Jovi Seet
Farhana Sharmeen
Doris Sohmen-Pao
Prof Peter Tornquist
Geoffrey Wong
Andrew Yeo Khirn Hin
EXECUTIVE & NOMINATING COMMITTEE
Goh Yew Lin (Chair)
Chng Kai Fong
Lynette Pang
Geoffrey Wong
HUMAN RESOURCES COMMITTEE
Doris Sohmen-Pao (Chair)
Jesher Loi
Prof Qin Li-Wei
Heinrich Grafe*
Carmen Wee*
FINANCE & INVESTMENT COMMITTEE
Geoffrey Wong (Chair)
Andress Goh
Chua Keng Hong*
Alex Lee*
AUDIT & RISK COMMITTEE
Jovi Seet (Chair)
Prof Peter Tornquist
Andrew Yeo Khirn Hin
Ryan Siek*
COMMUNITY & YOUTH ENGAGEMENT COMMITTEE
Clara Lim-Tan (Chair)
Chang Chee Pey
Farhana Sharmeen
Asst Prof Kat Agres*
Cecilia Pang*
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
Prof Arnoud De Meyer
Dr Geh Min
Heinrich Grafe
Khoo Boon Hui
Liew Wei Li
Lim Mei
Sanjiv Misra
Paige Parker
Dr Stephen Riady
Priscylla Shaw
Prof Gralf Sieghold
Prof Bernard Tan
Dr Tan Chin Nam
Wee Ee Cheong
Yong Ying-I
*co-opted member
SINGAPORE SYMPHONY GROUP ADMINISTRATION
CHIEF EXECUTIVE OFFICER
Kenneth Kwok
DEPUTY CEO, PROGRAMMES & PRODUCTION
Kok Tse Wei
CEO OFFICE
Shirin Foo
Musriah Bte Md Salleh
ORGANISATION DEVELOPMENT
Lillian Yin
ARTISTIC PLANNING
Hans Sørensen (Head)
Artistic Administration
Jodie Chiang
Terrence Wong
Jocelyn Cheng
Michelle Yeo
OPERATIONS
Ernest Khoo (Head)
Library
Lim Lip Hua
Wong Yi Wen
Adlina Bte Ashar
Cheng Yee Ki
Orchestra Management
Chia Jit Min (Head)
Charis Peck Xin Hui
Kelvin Chua
Production Management
Noraihan Bte Nordin
Nazem Redzuan
Leong Shan Yi
Asyiq Iqmal
Khairi Edzhairee
Khairul Nizam
Benjamin Chiau
Digital Production
Avik Chari
DEPUTY CEO, PATRONS & CORPORATE SERVICES
Jenny Ang
COMMUNITY IMPACT
Community Engagement
Kua Li Leng (Head)
Samantha Lim
Whitney Tan
Lynnette Chng
Choral Programmes
Kua Li Leng (Head)
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
PATRONS
Development
Chelsea Zhao (Head)
Nikki Chuang
Sarah Wee
Brandon Lim
PATRONS
Communications, Digital & Marketing
Cindy Lim (Head)
Communications
Elliot Lim
Elizabeth Low
Clairene Tan
Digital & Marketing
Chia Han-Leon
Calista Lee
Myrtle Lee
Hong Shu Hui
Jana Loh
Kashmira Kasmuri
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
The vision of the Singapore Symphony Group is to be a leading arts organisation 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
SEASO N P A R T N E R S
SEASO N P A T R ON S
Mr & Mrs Goh Yew Lin
Estate of Tan Jiew Cheng
Official Outdoor Media Par tner
Official Community Par tner
Official Hotel
Stephen Riady Group of Foundations