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PRODUCED BY SINGAPORE LYRIC OPERA
MOZART’S COSÌ FAN TUTTE Directed by Tang Xinxin
Accompanied by Aloysius Foong on Piano Sung in Italian with English and Chinese Surtitles Approximately 80 minutes with no intermission. Late-comers will only be admitted at suitable breaks. Please remember to switch your devices to silent mode. Only non-flash photography is allowed.
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SINGAPORE LYRIC OPERA
ACKNOWLEDGEMENTS SUPPORTED BY
ABOUT The Singapore Lyric Opera (SLO) is the flagship company of western opera in Singapore. As of the longest established in this sector of the Arts,
Patron-in-Chief
Auditor
Mr. S R Nathan
KPMG
(2007 - 2016)
we engage renowned international and local performers and musicians under our repertoire.
Patron
We aim to promote and present western operas and
Dr. Ng Eng Hen
concerts not frequently performed in Asia-Pacific
Minister for Defence
for communities from all walks of life in Singapore.
Chairman Arthur Fong
Solicitors Low Yeap Toh & Goon LLP Management Manager
OFFICIAL AIRLINE
Gena Ng
VISION
Board of Directors
SLO strives to contribute to the development of
Lee Suan Hiang
the opera scene in Singapore by playing a key role in identifying, encouraging, developing and nurturing current and future generations
Executives
Hiroshi Kimura
Administrative
Evelyn Sam
Jamaliah Zin
Rolv Stokkmo
Christine Lim
Andrew Mak
of young artists and other musical talents. SLO also champions the professional growth of production and technical personnel, by whom a performance’s foundation is rooted.
Joseph Kuah
Production
Marco Low
Tan Jia Hui
Artistic Director
Marketing
Nancy Yuen
Consultant Erika Kesuma
MISSION
Artistic Committee
Build and present a repertoire of works that
William Lim
Intern
will expand the length and breadth of the
Terrence Toh
Sabrina Kwee
Dr. Jessica Chen
Marketing
DONORS J U N YA MA ZA K I J OSE P H K U A H
company artistically, yet immerse the audience in the expanding aesthetics of western theatrical
Company Secretary
interaction, without compromising the artistic
Steven Luk
integrity and passion rooted in the heart of SLO.
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PRODUCTION CREDITS
DIRECTOR’S NOTES Così fan tutte is the most absurd yet
STAGE DIRECTOR
melodic of Mozart’s operas. How could Tang Xinxin
any man in the world be so foolish as to
STAGE MANAGER Mirabel Neo
not hesitate to put his sweetheart to a test
SEAMSTRESS
Theresa Chan
of her sincerity, and what woman could
HAIR AND MAKE UP ARTIST
Sha Shamsi
withstand such bombardment of love? Only in Mozart’s music can we rationalize
SURTITLE TRANSLATOR & OPERATOR Kester Tay PIANIST
these impossible elements. Così fan
Aloysius Foong
tutte expresses the true feelings of men and women in love in an absurd and funny way. The two lovers are constantly battling between love and devotion, and eventually, succumb to the love given. The entire opera is nearly 3 and a half hours long and the biggest challenge this
CAST LIST
time is to reduce it to 80 minutes. Sadly, we had to remove a lot of beautiful arias and scenes. To add to the challenge is how we can showcase the two sisters’ change of feelings within the timeframe! I tried my best to keep the narrative as complete and as comedic as possible when choosing the scenes, and I also tried my best to keep most of the popular arias such as “Come scoglio” and
F I ORDI L I GI
Zhang Jie
D ORA B EL L A
Chieko Sato
D ES PINA
Wang Tong
Once again, I felt Mozart’s music is full of magic during our rehearsal. Those
F ERRA NDO
Jonathan Mark MacPherson
scenes that have been preserved can fill the gaps left by the deletions as if they
GUGLI EL M O
Daniel Fong
D ON A L FO NSO
David Tao
“Un’aura amorasa” in the play.
were alive, and the actors have become more passionate because of this. I can feel them cherishing and interpreting each musical notation. Let us all cherish every opportunity to appreciate Mozart’s music and hope that time can stop for a moment for that heavenly music.
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SINGAPORE LYRIC OPERA SE MI - STA GE OP E R A : MOZA RT’S C OSI FA N TU TTE E P R OGR A MME NOTE S
May 1786 saw one of the greatest moments in operatic history – the premiere of The Marriage of Figaro. With this work, we see Mozart reach his maturity as a composer of opera, not just in terms of music, but also as a dramatist. His use of the music as an expressive tool for characterisation and story-telling was bold, spontaneous and masterly, and more importantly it was something no one else had ever done before; it is without doubt the work of a genius and not just the product of a tunesmith. Audiences and critics loved it then, as they do now, and so popular was the work that Mozart was commissioned soon after its premiere to compose another opera. This resulted in Don Giovanni, which premiered 15 months later. With this opera, Mozart surpassed his previous achievement, creating a work that is complex and mesmerising, all with his trademark wealth of musical inventiveness. It is not difficult to see why this work was a complete success right from its premiere in 1787.
Cosi Fan Tutte 2014.
SYNOPSIS & PROGRAMME NOTES Così fan tutte was the third and final collaboration between Mozart and librettist Lorenzo da Ponte debuted in 1790.
This abridged version of Così fan tutte will be around 80 minutes complete with all the musical highlights. SLO has been producing abridged operas, sung in the original language with English dialogues since 2019 to great critical delight. Being
This comic opera explores the complexity of love with deceptions and laughter. The show begins with a philosopher’s bet with the two soldiers that their fiancées will be fickle and unfaithful and that he can prove his point that very same day. What follows is a host of tricks and disguises. The two sisters are then to go through a roller coaster of emotions: from being broken-hearted as they bid farewell to their lovers (who are supposedly being summoned by the army) to their hearts fluttering incessantly as they meet two amorous strangers trying to win them over.
short and sweet, it is certainly an easy way for music lovers and in particular, firsttime opera-goers, to have a taste of this special art form. It also provides golden opportunities for Singaporean artists to showcase their talents and gain valuable stage experience, fulfilling one of SLO’s missions of nurturing and developing local future stars.
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Cosi Fan Tutte 2014.
1786 was also a significant year for one other reason; it marked the first collaboration between Mozart and librettist Lorenzo Da Ponte. Like Gilbert and Sullivan, or Hammerstein II and Rodgers, the two names of Mozart and Da Ponte will forever be linked. In fact it is unlikely we will even remember the Italian librettist if not for this particular partnership; we do not hear of Da Ponte’s other works do we? Their collaboration resulted in the two great operatic pinnacles mentioned above and would culminate in another work three years later, forming a trilogy that is not just musically important, but socially and philosophically significant as well. With the success of The Marriage of Figaro and Don Giovanni, one would expect another commission to come hot on their heels. This was however not the case. It was not until 1790 that Mozart and Da Ponte would work on another opera together. The resulting work, Cosi fan tutte, is arguably the best of the lot. Indeed it is difficult to doubt its genius musically and dramatically. Beethoven quotes it in his opera Fidelio, and we hear echoes of it in other works by Rossini, Meyerbeer, Liszt, Weber and Mendelssohn.
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Cosi Fan Tutte 2014.
In fact, this work seemed set to take the western world by storm, had not the death of Mozart’s employer Emperor Joseph II put a halt to the opera’s performance. The opera opened to a packed house, and this was followed by four more well attended performances before Joseph II tragic death. When it was revived later, we see 19th and 20th century audiences finding the plot hard to swallow, with the work’s uncompromising view on morality and hard-biting social commentary. It was not until after the Second World War that the work regained its popularity, and thus took its rightful place as a creation of sheer genius, and it is now standard repertoire in opera house all over the world. After the success of Don Giovanni, Mozart travelled to Prague and engaged in negotiations for a new commission. This did not result in anything concrete, and Mozart composed no other operas until 1790, when Joseph II commissioned Cosi fan tutte. During this three-year period, Mozart kept himself busy, both as a composer as well as on the concert platform. He still had his subscription concerts, and this period also saw the composition of his last 3 symphonies, the quartets commissioned by the King of Prussia, as well as various other works. During this period, The Marriage of Figaro and Don Giovanni were also successfully revived in Vienna. Mozart was y now a celebrity, and was hugely popular in Vienna, but mor so in other countries. The enlightened Joseph II, who had a soft spot for the composer, knew this full well, and one of the reason he gave Mozart the part time position of composer of chamber music to his court was to keep him in Vienna so that he would not be enticed to leave the city in search of greener pastures.
Cosi Fan Tutte 2014.
Cosi fan tutte saw Da Ponte and Mozart work together for the last time. Unlike the previous two operas, this libretto was an entirely original work as opposed to an adaptation. The libretto was originally given to Salieri to set to music, but for whatever reason, Salieri gave up the project after composing only two numbers, and the libretto fell into the hands of Mozart. A good thing it did as well, for there is no way Salieri could have done the text justice the way Mozart could. The text has often been criticised for its ludicrous scenario, lack of any sense of reality, and its overt misogyny. Yet, below this veneer, we find a libretto that sparkles with wit, and in its implausible setting, Da Ponte creates a blank state on which he makes a very shrewd and enlightened analysis on social norms, morality and the human psyche, this is part of the problem as to why this opera found popularity so late; it is unsettling, and relentless in its honesty. It speaks of the fickleness of love and the brevity of happiness, difficult things for us to admit, when we have been socially conditioned to think otherwise. The questions raised in this opera remains just as relevant and uncomfortable today.
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Mozart is in full command of this text, and like the other two collaborations, his music skilfully imbues the characters with humanity. With his mind and through his hands, the singers are no mere two-dimensional characters singing lovely tunes, and what a wealth of melodies this opera contains, but also become human beings who feel and who make the audience feel with them. For example, in the arcadian bubble that is the first act, we see the lovers singing duets very often in intervals of third and sixths, the very paragon of harmony and idealism. As the opera moves on, and as the lovers find their own voices and allowed themselves to leave their realm of comfort, we find the melodies becoming more individual and wayward. Another example can be seen in the famous trio when the sister bid calm seas and sweet airs throughout this whole number, until Do Alfonso’s wayward melodic line towards the end of the trio, clashing with the two sisters’ congruent interval of a third. Here is a man that is so full of cynicism he is unable to contain his negativity for very long, and Mozart’s skilful writing aptly bring this out. Mozart mocks his characters, but he also loves them completely. Who else could have written such a sensuous aria for his starry-eyed, love struck tenor, or the equally sensuous duet the men sing to serenade their lovers? As much as he parodies Fiordiligi’s anger in her first aria, giving her no instrumentation in the lower register as she sings of her steadfastness, we are in no doubt of her anguish in her second aria, when she finally recognises her fickleness and pleads to be released from her torment. As a musical genius, the reputation that Mozart possesses is second to none. His works are universal in their appeal, popularity and acclaim, and his name is synonymous with the world of classical music. This genius sems to go against the grain of his somewhat flighty and flippant character as a human being; yet underneath this is a man whose worldview and understanding of human nature and the society in which they existed is acute, aware and inspired. This is most obvious in his operas. Not only are they marvels of classical beauty, temperament and control, they are also excellent studies in the human condition, and Mozart’s musical acumen is on full display in these spectacular works of art, and perhaps most acutely in his last collaboration with Da Ponte.
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BIOGRAPHIES TANG XINXIN
BIOGRAPHIES
ALOYSIUS FOONG P I A NI ST
STA GE DIREC T O R
Aloysius started his classical music training at LASALLE. He was awarded the prestigious McNally Award for Excellence in the Arts as well as a Bachelor in Arts (Classical Music Piano Performance) with First Class Honors. He later went on to Birmingham Conservatoire in the United Kingdom, from where he graduated with a Masters in Music with Distinction and was awarded the MMUS Prize Award for Excellence in Academics.
Tang Xinxin is a renown opera director, who graduated from the National School of Music and Drama in Hamburg, Germany. In 2007 she directed opera “Li Bai” at the American Opera Art Center. In 2009 she was Executive Director of the Opera ‘Tea’ by Chinese composer Tan Dun. From 2010, she was invited by the famous Director, Ms. Chen Xinyi, to co-direct the Peking Opera ‘Zeng Houyi’, Cantonese Opera ‘The Merchant of Venice’, and the Northern Shaanxi Opera ‘Mizhipoyi Suidehan’.In 2011, she directed ‘Turandot’, to celebrate the 19th anniversary of the establishment of diplomatic relations between China and South Korea, which was staged at the Seoul Opera House. From 2011 to 2015, she worked as resident director at the National Centre for the Performing Arts (NCPA), Beijing. At the NCPA, she directed more than 20 repertory operas such as ‘La boheme’, ‘Turandot’, ‘Tosca’, ‘L’elisir d’amore’, ‘Il trovatore’, ‘Nabucco’, ‘La traviata’, ‘Un Ballo in Maschera’, ‘Otello’, ‘Il Barbiere di Siviglia’, ‘La Cenerentola’, ‘L’italiana in algeria Der Fliegende Hollaender’, ‘Lohengrin’, ‘Der Rosenkavalier’, ‘Cavalleria rusticana’, and ‘Pagliacci’, among others. In 2014, she was invited by the Czech Ostrava Modern Music Festival to direct the opera ‘Encounter’ to great success. Local media heaped high praises and gave positive critique on the opera performance. In 2017, she directed a new version of ‘Turandot’ which was well received at both the Tianjin Grand Theatre and the Lanzhou Concert Hall Theatre. She was later invited back in 2019 to direct “La Traviata” at the Lanzhou Concert Hall Theatre. Tang Xinxin has since moved to Singapore and has directed Donizetti’s “Don Pasquale” for the Arts Place which was nominated by the Singapore media as one of the best classical music events of 2019. Subsequently, she directed Mozart’s “Don Giovanni” for the Singapore Lyric Opera, Menotti’s “The Telephone” and Puccini’s “La Boheme” for the Musicians’ Initiative in 2021. She also directed dramatic representations of Zemlinsky’s “Sechs Lieder auf Gedichte von Maeterlinck” and Mahler’s “Lieder Eines Fahrenden Gesellen” with the Wayfarer Sinfonietta.
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Aloysius won the first prize in the Edward Brooks English Song Prize 2012 accompaniment category held in Birmingham. Aloysius is also a frequent repetiteur for opera productions such as Singapore Lyric Opera’s Don Giovanni (2021), Carmen (2019), Le Nozze di Figaro (2019), Aida (2018), L’elisir d’amore (2017), Turandot (2016), Pagliacci/ Gianni Schicchi - double bill (2015), and The Merry Widow (2014), Opera Viva’s The Flying Dutch- man (2016), Orchestra of Music Makers’ Die Walküre (2020) and Hansel and Gretel (2017) and Musician’s Initiative’s Double Bill: The Pursuit of Happiniess – The Telephone/La Bohème (2021). He performs with choirs such as Singapore Lyric Opera Children’s Choir and various school choirs. He has also acted as musical director for opera company L’Arietta in The Silent Voice (2021), All Dressed Up No Place to Go (2020) The Three Feathers (2019), Fantasy Cruise (2019) Singapore Trilogies (2018), Alice in Wonderland (2018), The Four Note Opera (2017), Purgatory (2017), and Zombie Operacalypse! (2016). He is also active in the musical theatre scene, having worked in several productions including Into the Woods (2022), The Spitfire Grill (2021), It Shoulda Been You (2021)Chicago (2020), Seussical (2019), Aida (2019), The Fiddler on the Roof (2018), The 25th Annual Putnam County Spelling Bee (2017), Fun Home (2017), The Great Wall – A Woman’s Journey (2017), A Chorus Line (2017), The Last Five Years (2013), Man of Letters (2006)and The Forbidden City (2003) for various organisations including Singapore Repertory Theatre, Pangdemonium and LASALLE College of the Arts. He currently works as a full-time Lecturer for the School of Musical Theatre and School of Contemporary Music in LASALLE College of the Arts, helping to mould the next generation of musicians and musical theatre actors/singers.
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BIOGRAPHIES
MIRABEL NEO
BIOGRAPHIES
CHIEKO SATO
STA GE MA NA GER
FI OR DI L I GI
Mirabel Neo is a Producer, Production and Stage Manager who is based in Singapore. She is well-versed in various arts forms such as, drama, musical theatre, classical opera and theatre for the young, as well as commercial events. In recent years, she also travelled internationally and production managed for The Mysterious Lai Teck (2018-2020). As well as co-producer in Imaginique Children’s Festival.
Japanese Mezzo Soprano, Chieko has lived for more than 20 years as a Permanent Resident of Singapore, where her music journey began 10 years ago. After performing for a few years with the Singapore Lyric Opera adult chorus, she was accepted into the SLO Leow Siak Fah Artists Programme. She has performed the roles of Marcelina and Donna Elvira in their semi-staged opera productions, and has sung in numerous concerts. She has also appeared in concerts and operas with other opera companies, and recently sang Das Lied von der Erde by Gustav Mahler with Singapore Repertory Opera Ensemble. She has been studying voice with Soprano, Wendy Woon for the last two and a half years, and is currently preparing the role of Ortrud in Wagner’s Lohengrin for a performance in June. (April 2022)
ZHANG JIE FIO RDILIGI Soprano Zhang Jie graduated from the Xinghai Conservatory of music where she studied voice as her major. She was taught by Professor Li Ning and Professor Zhou Xiao Yin. In recent years, she has also continued her studies with Professor Nancy Yuen in Singapore. Zhang Jie took part in competitions. She received second price in open category of the SLO -ASEAN Vocal Competition held in 2016. She has also won awards in the Singapore Vocal Competition and the Singapore-Malaysia Vocal Competition in 2004. Zhang Jie has performed in various concerts and performances including her recent performances with Singapore Lyric Opera, in Mozart’s Le Nozze Di Figaro in 2019, she sung the role as Countess Almaviva and in 2020 as Donna Anna in Mozart’s Don Giovanni. Other performances including “SLO Opera in the Park 2017”. “SLO gala Concert 2017”, “ Esplanade Voice-A Festival of Song “, “ Lion City Nostalgia Gala Concert “ in 2018.
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WANG TONG DE SP I NA Wang Tong graduated with a Master’s in Music from the Royal Danish Academy of Music Copenhagen Denmark and her Bachelor’s in Music from the Nanyang Academy of Music Singapore. Besides solo performances, she has made many appearances on the stage in Asia and Europe in opera productions such as Ortlinde in Die Walkure, La Princesse in L’enfant et Les Sortileges, Zerlina in Don Giovanni, Virtu in L’incoronazione di Poppea, Mozart’s Missa Brevis to name a few. She was awarded prizes at many competitions including the Trinity College of London Music Comprtition, Sin Tai Vocal Competition and the 6th Asian Youth Music Competition.
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BIOGRAPHIES
BIOGRAPHIES
DANIEL FONG
JONTHAN MARK MACPHERSON
GU GL I E L MO
Daniel Fong (Baritone) is a scholarship Graduate of the Royal Academy of Music (London), receiving both his Master’s and Bachelor’s degrees from the Academy.He also received the Licentiate of the Royal Academy of Music (LRAM) in 2012. Daniel had also gone on to further graduate with the Post-Graduate Professional Diploma in Song and Lieder in 2016. As an active performer, Daniel has sung in notable
FERRA NDO Jonathan Mark Macpherson began his music education at the age of 7 when he learned to played the cornet in his primary school brass band. He has both a Diploma in Music from the Nanyang Academy of Fine Art and a Bachelor’s of Music with First Class Honours from the Royal College of Music.He has performed in several opera productions, such as New Opera Singapore’s Die Fledermaus, Orfee aux enfer, SSO’s concert production of Carmen, NAFA’s vocal department production of Offenbach’s Les Deux Avuegles as Giraffier, Lîle de Tulipatan as Romboïdal, in Haydn’s La Canterina as Don Pelagio as well as the Singapore Lyric Opera’s productions of: Le Nozze Di Figaro as Don Basilio,Don Giovanni as Don Ottavio and Die Schauspieldirektor as Monsieur Vögelsang . In 2015, he sang the tenor solo in the Orchestra of the Music Maker’s outreach performance of Mahler’s 8th Symphony at Paragon and in 2018 was a Finalist in the Open category of the ASEAN Vocal Competition organised by the Singapore Lyric Opera.In 2020, he founded the new Early Music Acapella group “5AM”.Having studied with Soprano Dr Jessica Chen at NAFA, Tenor David Rendall at the Royal College of Muisc and is trainee in the Singapore Lyric Opera’s Leow Siak Fah Young Artist Training Program, Jonathan is lyric tenor who has been described as an “Intelligent and expressive singer.”
places such as Colston Hall (Bristol), The Austrian Cultural Forum (London), The Holywell Music Room (Oxford), King’s Place (London), The Art’s House Singapore, Victoria Theatre and the Esplanade, Singapore. Recent performances include the Composer in SLO’s Double Bill of Salieri/Mozart, Don Giovanni in SLO Young Artist’s production of Mozart’s Don Giovanni, Dr Blind in Nanyang Academy of Fine Art’s production of Strauss’s Der Fledermaus, and a recital of Finzi’s ‘Before and after summer’ at the Lee Foundation Theatre. Daniel is also the winner of the Marjorie Thomas Song competition at the Royal Academy of Music, runner-up at the Elena Gerhardt Lieder Prize, highly commended at the prestigious Mozart Singing Competition and highly commended in Major Van Someren-Godfrey English Song Prize.
Cosi Fan Tutte 2014.
DAVID TAO A LFO NSO David is an actor, singer, musician and educator who graduated from Nanyang Academy of Fine Arts with a Diploma in Vocal performance and has since performed in various opera, musical and theatre productions. He is a member of the Singapore Lyric Opera Artists’ Training Programme. Prior to the career switch in 2010, he worked professionally as chef before joining the Singapore Armed Force Band as a Military Musician. When not performing, David enjoys teaching flute and voice both privately and in music schools.
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BIOGRAPHIES
SLO ADULT CHORUS
The Singapore Lyric Opera’s Adult Chorus, the backbone of the company’s productions, is a leading chorus in Singapore, endeavouring to be a chorus of excellent grade and going the mile to set the bar of standard and quality. Since its establishment in 1990 and its first appearance in SLO’s inaugural production Die Zauberflote in 1991, the Chorus has actively performed in the company’s productions, concerts, engagement programmes as well as outreach programmes. Most recently in 2018, the Chorus staged their first Chorus Concert, under the direction of our Chorus Master, Terrence Toh. The Chorus Concert was a showcase a culmination of years of experience performing opera chorus masterpieces by Verdi, Puccini, Mozart, Rossini, Donezitti, Gounod, Mascagni, and many more. Although the Chorus is not considered a full-time occupation, our passionate Chorus members commit to understudy and playing roles in our performances.
MARIA PAULA OLIVA WAN CHNG CHNG MUN WYE FEROZ JAAN MALIK FUMIKO KORIYAMA ZHOU MANQI PAUL DOMINIQUE JUAN PAULO AZUL LAURENCE BIARD PATRICIA TENG XIAO CHUN YUAN LAURENCE BIARD TERTOIS
SLO is always keen to explore new opportunities and welcome new members to share the art and joy of music making with like-minded individuals who are passionate about the opera and choral singing artform.
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WE WANT TO HEAR FROM YOU Thank you for attending this event, we hope you enjoyed the evening! Your response is important to us, do take a few minutes to provide your honest feedback! All information collected will be used to understand our audience better, it will be kept confidential. Thank you!
DONATION E V E RY DO NAT IO N MAKE S A DIF F E R E NCE To our friends and supporters of the Singapore Lyric Opera, The box office takings cover less than 40% of the total cost of our productions. Thus, we rely on government grants, sponsorships, and donations to bridge the gap. Support from individuals like yourself is crucial to help us stage quality opera experiences that are accessible to everyone. This is also for us to identify, nurture, and develop local talents. To make it possible for us to continue staging this art form, we would like to appeal to you to help us meet the cost of productions by giving us a donation. Your donation will qualify us for the “dollar for dollar” Cultural Matching Grant initiated by the Ministry of Culture, Community and Youth (MCCY), and will certainly help to boost our resources and fund new projects. Also, you earn tax exemption at 2.5 times the donation amount. Besides individuals, we are also open to corporate sponsorships and donations. For more information, please contact us.
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FR IENDS OF LYRI C (A S O F 31 M A R C H 2 0 2 2 ) Opera Benefactor Mr Dorian Goh Mr Robert Khan Opera Patron Mr Barry John Boyle Mr Guy Wachs Mr Hilary Miles Sixtus Kevin Mr Kosaku Narioka Mr Robert Hunziker Opera Buff Mr Liew Wei Yen Ashley Opera Duet Mr Mark Edward Hansen Ms Teo Hwee Ping
The Singapore Lyric Opera Limited 90 Goodman Road, Blk B #01-07 Goodman Arts Centre Singapore 439053 facebook/insta/telegram: sglyricopera www.singaporeopera.com.sg
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