Opera in the Park 2017: Interview with Conductor Joshua Tan

With this year being the tenth iteration of Opera in the Park, Singapore Lyric Opera (SLO) has curated a programme which celebrates the talent and energy of our youth. Featuring winners from the Open and Junior categories of the SLO-ASEAN Vocal Competition 2016, together with the SLO Chorus and Children’s Choir, Opera in the Park promises a selection of classical favourites that will entertain and delight the whole family. 

I contacted conductor Joshua Tan to find out more about this year’s programme. 

Joshua Tan

Could you explain the process of coming up with the programme for Opera in the Park?

Ms Nancy Yuen (Hon. Artistic Director) spoke to the singers, and discussed what will be suitable for their voices. Then we came together and agreed on the overall suitability of the program.  

With this being your seventh Opera in the Park, how has the show evolved over time? Any fond memories that stand out?

The SLO has always tried to showcase young talents for Opera in the Park, and my fondest memories or experiences have always been marvelling at how far all the previous singers have come.  

If you could only pick one favourite piece from this year’s programme, which one would it be and why? 

That’s an extremely difficult question! I like all of them. It’s almost impossible to choose a favourite. I love Puccini so you can put O Mio Babbino Caro on the list. At the same time, I love listening to other genres, so the selection from Phantom of the Opera also features. The Verdi selections showcase wonderful chorus writing, so that has to be in too!

You were one of the judges for the SLO-Asean Vocal Competition 2016. What are your impressions of the winners? Is there anything interesting that you’ve learnt about music from rehearsing with them? 

They were all very deserving winners, but it’s a long arduous road ahead for all of them. I did not rehearse with them for the competition, but listening to such fresh interpretations of familiar works certainly gives me some other ideas!

With this iteration being geared towards a celebration of youth, what do you think are some of the promises and challenges that the future will hold for upcoming opera singers and orchestra players? 

I don’t think that the challenges have changed so much throughout the years. There has always been immense competition for orchestral jobs, and professional engagements for opera singers are hard to come by for anyone who’s just starting out. For those on the cusp of a professional career, there are many sacrifices to be made since the very nature of the job demands one to be constantly on the move. 

Opera in the Park 

Conductor   Joshua Kangming Tan

Featuring winners from the Open and Junior categories of the SLO-ASEAN Vocal
Competition 2016

Open Category Winner    Izen Kong
Open Category Winner     Zhang Jie
Junior Category Winner    Lauren Yeo
Junior Category Winner    Melissa Hecker

With the Singapore Lyric Opera Orchestra, Chorus and Children’s Choir

Chorus Master    Terrence Toh

Children’s Choir Mistress    Rose Loh

Programme

Donizetti’s L’elisir d’amore
Overture
Bel conforto al mietitore

Rossini’s La Gazzetta, O lusinghiero amor

Bellini’s La Sonnambul , Ah! Non credea mirarti

Mozart’s Le Nozze di Figaro, Voi che sapete

Donizetti’s Don Pasquale, Com’è gentil

Puccini’s Gianni Schicchi, O mio babbino caro

Verdi’s Aida
Gloria all’Egitto
Egyptian March (Overture)
Vieni, o guerriero vindice

This concert is subject to weather conditions. Programme may not be in order of performance. Artistes and Programme are subject to change.

Opera in the Park is on Saturday, 17 July 2017, 6 p.m., at Singapore Botanical Gardens. Free admission. For more details, please visit Singapore Lyric Opera

Interview with Lucas Ho on his new play, Frago

Photo: Joel Lim @ Calibre Pictures

Fresh from its successful re-staging of Faith Ng’s Normal, Checkpoint Theatre continues its 15th anniversary celebrations with Frago, a new play by associate artist Lucas Ho. 

Inspired by his reservist experiences, and billed as “a timely look at [an] intergral rite of passage for Singaporean men and the forging of bonds between those not bound by blood,” I caught up with Lucas to find out more about the play.

What inspired you to write the play? Was there a specific incident that happened in your life that compelled you to write it?

There wasn’t a specific incident that led to my writing of the play. But as I returned for reservist year after year, I observed some changes and shifts that men in my unit were undergoing as they began to make their way through their 20s into their 30s.  Some were getting married and settling down; some were contemplating career changes and further studies; and some were simply trundling along. I was fascinated by the different ways in which each of them grappled with adulthood and manhood.

Other playwrights such as Michael Chiang and Chong Tze Chien have also set their plays within the context of National Service to explore societal issues. What is it about the military context that makes it a fertile ground to explore such issues?

Tze Chien’s Charged used national service to examine uncomfortable truths about race relations in Singapore, while Michael Chiang’s Army Daze focused on enlistment as a rite of passage, and the confounding and absurd ways boys stumble into manhood. I love both plays dearly, and I think what drew them to write about national service is that it gathers men with apparently very little in common in the same space. And then these men have to go through some very intense experiences together, which brings certain things into sharper focus: their values systems, their long-held beliefs, their fears and their joys. And those things can greatly cleave people together or apart.

What happens when those men—who have had these very intense shared experiences —are made to come together and re-live them over and over again? How does age lead them to perceive their youth? How does their perception of each other shift? Those were things I was interested to explore. Frago is focused on the reservist experience. Reservists essentially do exactly what the full-time NSmen have to do in terms of physical activities and operational exercises, but in a very compressed amount of time every year, over a period of 10 years.

Are you very involved with the rehearsal process? Having watched the actors bring your script to life, has it made you see your own reservist experience in a different light?

We only just started rehearsals, but Huzir has requested that I be present especially during the early phases to serve as a “technical advisor” to the cast because the play is set specifically within an armoured infantry unit. After listening to the actors at our first table read, I found myself wishing that my reservist mates and I could have had deeper conversations, instead of skirting around talking about the things that truly mattered to us.

What advice would you give to someone who is about to enlist, or about to go through reservist for the first time?

NS is a rare opportunity to meet people you normally wouldn’t, beyond your socio-economic circle. So seek to get to know and understand those around you as much as possible. In this day and age, we really do need to listen to each other more, and if men put aside the anger and frustration so often associated with NS, we can pave the way for a more empathetic version of ourselves.

Frago runs from 13–23 July 2017 at Drama Centre Black Box. Tickets at $45 from Sistic