Be Comforted Now: Bach Cantatas | Singapore International Festival of Arts 2021

14–30 MAY

BE COMFORTED NOW: BACH CANTATAS Red Dot Baroque featuring Joyce Lee Tung and John Lee (Singapore) 16 May Sun, 5pm Victoria Concert Hall

MESSAGE FROM THE FESTIVAL DIRECTOR The world has changed dramatically in the last year. This is an extraordinary time for artists, where we have been asking ourselves: how can we still bring you great art and recreate the magic of the live experience? This is an enormous challenge, one which requires creativity, boldness and determination.

With over 60 productions and over 300 performances, SIFA 2021 has been curated as a direct response to the here and now.

It is a response to the care and compassion we need for ourselves, our community and our environment. It features exceptional artistes and companies who have learnt to adapt and present work that can reach audiences around the world, using a variety of technologies.

And it will feature a record number of Singaporean commissions and collaborations.

Besides shows that will take place in theatres and unique spaces around Singapore, SIFA 2021 will allow you to interact with artists “live” from around the world. There won’t be any shows that you watch passively on a screen. You can also expect the return of festival favourites such as our popular film offering, Singular Screens, as well as Festival House – the epicentre of the festival.

It’s been an honour to helm our national festival and see it grow in stature, both at home and internationally, over the past four years.

None of this would have been possible without the support of the incredible team at Arts House Ltd who have worked tirelessly to make this happen, and especially their Herculean efforts of mounting a festival of this scale during a pandemic.

In a time where most of us can’t travel, SIFA looks forward to bringing the world to you, and Singaporean artists to the world.

See you at SIFA 2021.

Gaurav Kripalani Festival Director

MESSAGE FROM RED DOT BAROQUE Dear audience, Red Dot Baroque was in the midst of preparing for our USA concert tour – which would have featured appearances at the Kennedy Center and the Indianapolis Early Music Festival – when Covid-19 struck and upended our lives.

Unfazed by the setback, we continuously strove to turn this adversity into opportunities. In the past year, we have produced our first digital concerts (two of them), our first music videos (five of them), commissioned our first local work (Barojak Suite by Phang Kok Jun) and made appearances on Channel NewsAsia (CNA) and the Singapore-France vOilah!

Festival. For those of you who have been journeying with us through 2020, a big thank you; and if you are here with us for the first time, a very warm welcome!

Today marks the first time Red Dot Baroque returns to the concert stage, and we are very excited to bring you quality live music. This year is turning out to be a busy one for us: At the outset, we were recently named as an ensemble-inresidence at Yong Siew Toh Conservatory of Music – an immense honour for an

ensemble barely three years of age. We also welcome Rui Qing on the baroque oboe, who will be performing with us for the first time today. Barely three days from this concert, we will be collaborating with organist Isaac Lee in the VCHpresents series. Other highlights in our calendar includes Handel’s Alcina with The Opera People in August, and an exquisite concert of Vivaldi’s Four Seasons in September, with a specially-commissioned poem by Dr. Sara Florian to accompany the music.

There are other concerts in the pipeline, so please follow us on our social media accounts on Instagram and Facebook (@ reddotbaroque) to get the latest updates.

Also, head to our YouTube channel at www.youtube.com/reddotbaroque to watch more videos, and if you are curious about us, please visit our revamped website at www.reddotbaroque.com.

Have a wonderful evening!

Best Wishes, Gerald Lim Ensemble Manager

ABOUT THE PROGRAMME Bach once declared that the aim of music was the refreshment of the soul. In times of distress, we seek comfort in music as a means of connecting with something larger than ourselves. In this special programme, join Singapore’s only baroque ensemble as they bring a selection of Bach’s solo cantatas that explore the struggles and trials of carrying our burdens alone, and the solace that the soul finds in sharing those afflictions with each other. This concert features soprano Joyce Lee Tung and bass-baritone John Lee. Johann Sebastian Bach (1685-1750) Ich habe genug, BWV 82 Ich will den Kreuzstab gerne tragen, BWV 56 Ach Gott, wie manches Herzeleid, BWV 58

INTERVIEW Red Dot Baroque (RDB), the musicians performing this programme, shares:

How do you feel about being part of SIFA 2021?

RDB: We are thrilled to be part of SIFA 2021! Red Dot Baroque was only able to participate in a vodcast last year due to the Covid-19 pandemic, so we are definitely looking forward to presenting our music live this year to the local community.

What can audiences look forward to for your programme?

RDB: We will be performing three cantatas by Bach, which basically are music he had composed for weekly Sunday church services. One of our personal favourites on the programme is “Ich habe genung”, which translates to “I have enough” or “I am content”. The text of this cantata is particularly apt in the light of the current pandemic, which deals with Death as deliverance from the earthly sufferings and the expectation to be reunited in peace with the Creator.

Bach’s melodic writing in this cantata is at his finest, painting a backdrop of melancholic lullaby to remind us of the fragility of life.

PROGRAMME NOTES The music of J. S. Bach continues to hold a visceral, mystical sway over us in a way that few composers do. 250 years after his death, Bach’s works have transcended the often-quotidian natures of their creations to become some of the most venerated works in the Western classical tradition.

While all of the cantatas on this programme were written for specific liturgical occasions, they offer for us today, in these trying times, glimpses into the duality of bearing our own burdens in search of a higher purpose, but also in finding comfort and reliance in each other and a mutual spirituality that show us a way forward when the path seems desolately obscure.

There are few cantatas as profoundly intimate, or as regularly performed as Ich habe genug. It was composed for The Feast of the Purification, which commemorates the presentation of the baby Jesus at the Temple, and was first performed in 1727. Four years later, Bach made a version for Soprano, swapping the original solo instrument, the oboe, for a flute, and this is the version of the cantata heard today.

The text for the cantata is based on Nunc Dimittis, or Simeon’s Song of Praise, referencing the old man who recognised the baby Jesus as the Messiah and burst into song that he could now die in peace.

The view of death the cantata takes is distinctly that of the 18th century, where death was seen as the transcendence of the soul from the suffering of earthly life to the eternal joy of reuniting with the divine.

There is a sensuality and corporeality to the poem of the opening aria, which gives the cantata its title, that betrays the intimacy between the lone soul and its Creator. After a short recitative, we get the great central lullaby of the cantata, which Bach’s biographer Albert Schweitzer called ‘the lullaby for eternal sleep’. The second recitative foreshadows with impatience the joyful dance of the final movement.

Ich will den Kreuzstab gerne tragen was composed in 1726 for the nineteenth Sunday after Trinity, and compares life’s trials to carrying a cross and to sailing on rough seas, a common allegory in the medieval tradition.

The opening aria and its following arioso set up these two images of burden and journey that follow from this tradition. In the arioso, the undulating cello arpeggios give us the impression of being adrift on sea and there is a feeling of endless desolation that builds to the short recitative at the end, marking a moment of arrival at the gates of heaven.

The joyful third aria is accompanied by an oboe obbligato with the ecstasy of the pilgrim finding the end of his journey. The cantata ends on a calm note with a short recitative where the pilgrim describes his readiness to accept the end of his journey in death and be reunited with the divine.

The final cantata on this programme was first performed on 5 January 1727 to mark the Massacre of the Innocents. It takes the form of a dialogue between a distressed soul (soprano) and a guardian angel, or perhaps Christ himself.

The centrepiece of this cantata is an extraordinary aria for soprano, accompanied by an equally radiant violin obbligato in which the tormented soul comes to terms with its suffering. The cantata comes to a symmetrical close with a chorale fantasia, an exuberant finale in which the soul revels in the consolation that its trials and tribulations will soon be at an end.

TRANSLATIONS ICH HABE GENUG, BWV 82 1. Aria

3. Aria

It is enough.

Close in sleep, you weary eyes,

I have taken the Saviour,

fall soft and blissfully to!

the hope of the devout,

World, I shall dwell no longer here,

into my longing arms;

since I have no share in you?

it is enough!

that might avail my soul.

I have gazed on Him,

Here it is misery that I must tend,

my faith has pressed Jesus

but there, there I shall behold

to my heart; I would now, even today,

sweet peace, silent repose.

gladly leave this world.

4. Recitative 2. Recitative My God, when wilt Thou It is enough.

utter fair word: Now!

My hope is this alone:

When shall I journey in peace?

that Jesus should be mine

and rest in the soil of cool earth

and I His.

and there at your bosom too?

In faith I cling to Him,

My leave is taken, world, good night!

and like Simeon, I already see the joy of that life beyond.

Let us go with this man!

5. Aria

Ah! If the Lord would only free me from the bondage of my body;

I look forward to my death,

ah! if only my departure were nigh,

ah, would that it were already here.

with joy I’d say to you, O world:

Then shall I escape all the affliction

It is enough.

that confined me here on earth.

ICH WILL DEN KREUZSTAB GERNE TRAGEN, BWV 56 1. Aria

3. Aria

Gladly shall I bear the cross;

At last, at last my yoke shall

it comes from God’s beloved hand,

fall from me again.

and leads me, after my torments,

Then shall I find strength in the Lord,

to God, into the promised land.

then shall I, like an eagle,

Then into my grave

rise up from this earth without

shall I place all my grief,

ever growing weary.

that shall my Saviour

O may it come to pass today!

wipe the tears from my eyes.

4. Recitative 2. Recitative I stand here ready and prepared, My life on earth

to receive my heritage of bliss

is like a voyage at sea:

with yearning and desire

sorrow, affliction and distress

from the hands of Jesus.

engulf me like waves

How happy I shall be,

and daily frighten me

when I behold the harbour of rest.

to death;

Then into my grave

my anchor, though, which sustains me,

shall I place all my grief,

is God’s mercy,

than shall my Saviour wipe the tears

with which He often gladdens my heart.

from my eyes.

He calls out to me: I am with you, I shall never leave you

5. Chorale

nor forsake you!

And when at length the raging

Come, O death, brother of sleep,

foam is calmed,

come now and lead me away;

I shall step from my ship into my own city,

loosen now my small bark’s rudder,

which is the kingdom of Heaven,

bring me safely into port.

where I with all the righteous

Let them who wish to, shun you;

shall enter out of so great tribulation.

you can all the more delight me.

For it is through you that I shall enter, to be with my sweetest Jesus.

ACH GOTT, WIE MANCHES HERZELEID, BWV 58 1. Aria with Chorale

3. Aria

Ah God, what deep affliction

I am content in my suffering,

Patience, patience, O my heart,

for God is my reassurance.

befalls me at this time!

I have a trustworthy seal and charter,

these are bad times!

and this is the solid bolt

The narrow path is full of sorrow

that Hell itself cannot break.

Yet the path to salvation on which I must go to Heaven. leads to joy after pain.

4. Recitative

Patience, patience, O my heart, these are bad times!

Though the world cannot refrain from persecuting and hating me, God’s hand reveals to me

2. Recitative

another land.

Ah, could it but come to pass today

Though the wicked world persecutes you,

that I might behold my Eden!

you still have God as a friend, who, in the face of your foes, will always support you.

5. Aria with Chorale

And even though furious Herod sentenced our Saviour

I have a difficult journey to go

to shameful death,

Be consoled, consoled, O hearts,

there came an angel in the night

to reach Thee in heaven’s paradise;

and sent a dream to Joseph,

here is fear, there glory reigns!

that He should escape the butcher

that is my true fatherland,

and flee into Egypt.

And the joy of that day

God’s Word gives you confidence.

for which Thou hast shed Thy blood,

He saith: when hills and mountains crumble,

outweighs all pain.

when flood waters submerge you,

Be consoled, consoled, O hearts,

I shall neither leave you

here is fear, there glory reigns!

nor forsake you.

that Hell itself cannot break.

MUSICIAN LIST Joyce Lee Tung Soprano

Placida Ho Baroque Viola

John Lee Bass-baritone

Leslie Tan Baroque Cello

Cheryl Lim Traverso (BWV 82 only)

Edmund Song Baroque Double Bass

Leow Rui Qing Baroque Oboe (BWV 56 and 58 only)

Gerald Lim Organ

Brenda Koh & Gabriel Lee Baroque Violins

BIOGRAPHIES Joyce Lee Tung Soprano

Soprano, Joyce Lee Tung graduated from the Nanyang Academy of Fine Arts, studying piano. At the same time, she studied voice privately with Lim Shieh Yih. Later, she graduated with Master of Arts in Voice under KS Joanna Borowska-Isser; and Masters in Concert Singing under Christine Whittlesey and Robert Heimann from the University of Music and Performing Arts Graz, Austria.

Joyce was finalist and winner of several international singing competitions, including the 2nd International Singing Competition, Maribor, Slovenia (2018) - 2nd Place (1st Prize).

She was heard on several occasions on the European radio with music ranging from the early to new music repertory, including the premiere of Americ Goh’s composition.

Joyce has sung numerous Telemann and Bach cantatas with early music ensembles. One of her more notable performances with early music ensembles was Charpentier’s Te Deum, singing Dessus 1 at the 50th Anniversary of Institute for Music Aesthetic and Institute for Early Music & Performance Practice at the University of Music & Performing Arts, Graz. She was also semi-finalist of the 4th International Early Vocal Music Competition “Canticum Gaudium” (2017) in Poznan, Poland.

Joyce is also co-founder of the collective, The Art Song Consortium, which is dedicated to promoting the art song and its refined performance. Her professional operatic engagements include Frasquita (Bizet’s Carmen) and Zerlina (Mozart’s Don Giovanni – abridged version) with Singapore Lyric Opera; Queen of the Night (Mozart’s The Magic Flute) with Kuala Lumpur City Opera; Marzelline (Beethoven’s Fidelio – abridged version) and Elettra (Mozart’s Idomeneo – film version) with The Opera People.

Currently, she is adjunct principal study lecturer for voice at Nanyang Academy of Fine Arts and adjunct voice teacher at School of The Arts Singapore.

John Lee Bass-baritone

Singaporean bass-baritone John Lee was a semi-finalist at the International Handel Singing Competition 2020 and made his Wigmore Hall debut as Marte in Handel’s Parnasso in festa for the London Handel Festival later that year. He was a Voces8 Scholar, St Martin’s Voices Fellow, Brighton Early Music Festival (BREMF) Young Artist, Iford Arts New Generation Artist, and member of Genesis Sixteen. John received his Master of Music degree with Distinction from the Royal College of Music (RCM), London, where he was the Sheila Saam Memorial Scholar. He owes much to his singing teachers Alison Wells, Justin Lavender and Toh Ban Sheng.

A lover of early music, John studied lute song with master lutenist Jakob Lindberg and has performed as a soloist in Handel Apollo e Dafne (BREMF), Bach B Minor Mass / Handel Messiah (Armonico Consort), Bach St John Passion (Somerville College Choir, Oxford), Ich habe genug / Peasant and Coffee cantatas (New Chamber Opera, Oxford), and numerous Bach cantatas (with the RCM Baroque Orchestra, City Music Society, and Oxford Bach Soloists).

John’s operatic roles include Pluto in Il ballo delle ingrate (BREMF), Superintendent Budd Albert Herring (St Peter’s College Opera, Oxford), Martin Candide (Oxford Playhouse), Aide The Tsar Wants His Photograph Taken (UCL Culture, Bloomsbury Theatre), and Sebastian in Toby Young’s Witch!

(Faculty of Music, Oxford University). Ensemble work includes Offenbach’s Robinson Crusoe (RCM Opera Studio) and Donizetti’s L’elisir d’amore (Iford Arts). He has worked with directors Tom Guthrie, Bill Bankes-Jones, and James Hurley.

At the RCM, John worked regularly with his coaches Andrew Robinson and John Blakely, as well as with guest coaches Iain Burnside and Roderick Williams. In his final year, with the assistance of English song specialist Stephen Varcoe and the RCM library, John undertook a project to research, transcribe and perform the unpublished songs of Samuel Liddle, for which he was highly commended. He has sung in masterclasses with Roderick Williams, Rachel Nicholls, Julian Perkins, and Katie Mitchell.

ABOUT

RED DOT BAROQUE Inspired by the richness of Baroque music and close friendships, Red Dot Baroque (RDB) was formed by a group of Singaporean musicians dedicated to bringing out the essence and spirit of the Baroque on period instruments. Since its sold-out debut in August 2018, RDB has presented another six critically-acclaimed programmes locally, and collaborated with guest soloists from The Netherlands for their first international tour to Malaysia in July 2019.

The COVID-19 pandemic led to the postponement of RDB’s USA concert tour in June 2020, which would have featured appearances with the Grammy Award-winning Apollo’s Fire Baroque Orchestra, Indianapolis Early Music Festival, Kennedy Center and more.

Nevertheless, the group stayed busy in Singapore with the production of four high-quality music videos, the commission of A Barojak Suite from composer Phang Kok Jun, vodcasts with the Singapore International Festival of Arts, Reflections Arts Festival and MapleTree Arts in the City, and an appearance on Channel NewsAsia.

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As the COVID-19 situation in Singapore evolves, these measures will be updated in accordance to the latest advisories issued by the Singapore Government. For the latest advisories, please visit sifa.sg All information is correct at the time of print. Every reasonable care has been taken to ensure the accuracy of information within, hence, Singapore International Festival of Arts (SIFA) cannot accept responsibility for errors and/or omissions however caused. Every effort has been made to identify copyright holders. We deeply regret that if, despite our concerted efforts, any copyright holders have been overlooked or omitted. Opinions expressed in this publication do not necessarily reflect the views of the editor or the official policy and position of SIFA and their related corporations. Any reproduction, retransmission, republication, or other use of all or part of this publication is expressly prohibited, unless prior written permission has been granted by SIFA or the appropriate copyright owner. SIFA reserves the right to make changes and modifications to the programme without prior notice. For updates, please visit our website at sifa.sg

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ABOUT ARTS HOUSE LIMITED

Arts House Limited (AHL) is a not-for-profit organisation committed to enriching lives through the arts. AHL manages two key landmarks located in the heart of Singapore’s Civic District – The Arts House, a multi-disciplinary arts centre with a focus on literary programming, and the Victoria Theatre & Victoria Concert Hall, a heritage building that is home to the Singapore Symphony Orchestra. It also runs the Goodman Arts Centre and Aliwal Arts Centre, two creative enclaves for artists, arts groups and creative businesses, and performing arts space Drama Centre. AHL presents the Singapore International Festival of Arts, the annual pinnacle celebration of performance and interdisciplinary arts in Singapore commissioned by the National Arts Council.

AHL was set up in 11 December 2002 as a company limited by guarantee (CLG) under the National Arts Council and was formerly known as The Old Parliament House Limited. It was officially renamed Arts House Limited on 19 March 2014.

In 2020, AHL was appointed cultural place manager of the Civic District.

ABOUT SIFA

As Singapore’s annual pinnacle performing arts festival, the Singapore International Festival of Arts (SIFA) presents captivating and diverse works across theatre, music, dance, film and visual arts. First launched as the Singapore Festival of Arts in 1977, the festival has gone through several evolutions and inspired generations of arts lovers and practitioners. Today, the highly anticipated festival is a high point on Singapore’s arts and cultural calendar. SIFA continues its festival mission to champion the creation and presentation of Singaporean and international works.

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DON’T MISS THESE OTHER SHOWS IN COMPASSION: CHAMBER MUSIC SERIES THE CONSOLER

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20 May Thu, 7.30pm Esplanade Concert Hall

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BEFORE LIFE AND AFTER

Felicia Teo Kaixin, Jonathan Charles Tay and Jonathan Shin

ALONE TOGETHER

BE COMFORTED NOW: BACH CANTATAS

Ensemble Æquilibrium

SIFA On Demand 5 — 12 June

HEALING RHAPSODY 回疫录

Churen Li, Yang Shuxiang and Leslie Tan

22 May Sat, 7.30pm Chamber, Festival House

SIFA On Demand 5 — 12 June

ECHOES OF FIRE AND WATER

Morse Percussion

Red Dot Baroque featuring Joyce Lee Tung and John Lee

16 May Sun, 5pm Victoria Concert Hall

Ding Yi Music Company 鼎艺团

SIFA On Demand 5 — 12 June

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