A Gala for Creation

A Gala for Creation

Looking Back & Moving Forward 8 A P R I L 2 0 2 3 , 7. 3 0 P M Y S T C ONC E RT H A L L

Looking Back, Moving Forward

02

Programme YST ORCHESTRAL INSTITUTE YST VOICE DEPARTMENT YST CHAMBER SINGERS WITH JASON LAI, CONDUCTOR JEONG DAEGYUN, BARITONE ZACHARY SINGSON DOMINGUEZ, TENOR TAN SEE HUEY, SOPRANO KIRA LIM, SOPRANO JASON SURYAATMAJA, BARITONE CHONG WAI LUN, CHORUS MASTER FRANZ JOSEPH HAYDN DIE SCHÖPFUNG (THE CREATION), HOB. XXI:2 PART I – Intermission (20 minutes) – PART II PART III

03

Message from Dr Tony Tan Keng Yam I extend my heartfelt congratulations to the Yong Siew Toh Conservatory of Music (YST), National University of Singapore on its 20th anniversary. Since its inception, YST has TPE]IH E WMKRMƼGERX VSPI MR EHZERGMRK XLI QYWMG WGIRI MR 7MRKETSVI 3ZIV XLI ]IEVW MX LEW produced talented performers, composers and producers who have gone on to achieve national and international success. Beyond the stage, Conservatory graduates are making a difference as leaders of arts organisations, innovators and community engagers. Further, YST creates rich musical avenues for the community through its youth outreach platforms, continuing education programmes and public concerts, to nurture practitioners and enthusiasts.

I am heartened to see the Conservatory’s multi-faceted contributions to Singapore’s cultural ecosystem, working alongside other arts institutions to co-create a vibrant city for the arts.

I wish YST every success in the years ahead as the Conservatory keeps on inspiring and enriching the lives of many through the power of music.

Looking Back, Moving Forward

MESSAGES

Looking Back, Moving Forward

04

MESSAGES

Message from Mr Teo Chee Hean Senior Minister and Coordinating Minister for National Security This year marks 20 years since the founding of the Yong Siew Toh Conservatory (YST). How XMQI LEW ƽS[R WMRGI [LIR - LEH XLI TPIEWYVI XS [MXRIWW XLI WMKRMRK SJ XLI EKVIIQIRX XS set up the Conservatory as then-Minister for Education.

YST has grown from strength to strength and established itself as a dynamic institution with a reputation for excellence. It has nurtured a pipeline of outstanding musicians who are developing the Singapore artistic landscape through their passion and talent. Its students and graduates bring the vibrancy of music to Singapore’s top stages as well as community settings. Its faculty are active as educators, leading artists and researchers. Through its wide MRXIVREXMSREP RIX[SVO EGVSWW XLI %WME 4EGMƼG VIKMSR )YVSTI ERH XLI %QIVMGEW =78 ƽMIW XLI 7MRKETSVI ƽEK LMKL MR XLI KPSFEP LMKLIV QYWMG IHYGEXMSR WIGXSV FVMRKMRK E GVIEXMZI FPIRH SJ musical and cultural traditions.

These achievements are testament to the hard work of YST’s leadership, faculty and staff.

My heartiest congratulations on YST’s 20th anniversary, and I look forward to more exciting developments to come.

05 Looking Back, Moving Forward

Message from Ms Chong Siak Ching Chair, Yong Siew Toh Conservatory of Music Governing Board 3R FILEPJ SJ XLI =SRK 7MI[ 8SL 'SRWIVZEXSV] SJ 1YWMG +SZIVRMRK &SEVH E [EVQ [IPGSQI to the Conservatory’s 20th anniversary celebrations! We are delighted to be celebrating YST’s big 2-0 with friends and showcasing the rich talents of YST musicians in tonight’s +EPE 'SRGIVX TVIWIRXIH F] XLI 'SRWIVZEXSV]ƅW 3VGLIWXVEP -RWXMXYXI :SMGI (ITEVXQIRX ERH Chamber Singers.

In the 20 years since its founding, the Conservatory has had a remarkable journey characterised by continued growth and evolution. Beginning as an undergraduate-focused institution, it has since broadened its reach, nurturing musical passions and talents of youths and adults, and offering new learning and development opportunities for professionals and enthusiasts alike. Its educational offerings prepare students to excel not only onstage, but as well-rounded leaders who will set new standards for the industry.

As we mark this milestone, we express our sincere gratitude to benefactors of YST, who enable the Conservatory to advance its artistic and educational mission through their generosity, and to all of you for celebrating this milestone with us tonight.

As the Conservatory moves ahead in its exciting trajectory, excellence and innovation will continue to be key drivers in its work, and we look forward to your continued support of YST in the years ahead.

Looking Back, Moving Forward

06

MESSAGES

Message from Prof Tan Eng Chye President, National University of Singapore My heartiest congratulations to the Yong Siew Toh Conservatory of Music (YST) on its 20th ERRMZIVWEV] Ɓ E XVYP] WMKRMƼGERX QMPIWXSRI ERH NS]SYW SGGEWMSR In terms of its status as a conservatory, YST is relatively new, but it has charted a distinctive and impactful journey of growth and development, and established a unique identity as a vibrant centre of musical excellence and exploration at the heart of 7MRKETSVIƅW H]REQMG ERH HMZIVWI GYPXYVEP PERHWGETI =78ƅW VITYXEXMSR ERH TVSƼPI MW KPSFEP while also remaining deeply engaged with the local community, through its many outreach and engagement programmes and activities.

YST is also pioneering new pathways in musical education, with the launch of lifelong education programmes for working professionals. Looking ahead, we are excited that the Conservatory is boldly pushing new frontiers in health and well-being through the newlylaunched Centre for Music and Health, and strengthening its leading role as a driving force for talent cultivation and musical appreciation across the NUS community.

As YST’s journey continues to unfold, the University wishes it every success in the years ELIEH ERH [I EVI GSRƼHIRX =78 [MPP GSRXMRYI XS WGEPI RI[ LIMKLXW ERH GSRJIV VMGL musical resonance in all its endeavours.

07 Looking Back, Moving Forward

Message from Prof Peter Tornquist Dean, Yong Siew Toh Conservatory of Music A warm welcome to YST’s 20th anniversary gala concert - thank you for being here with us this evening! ]IEVW MW E WMKRMƼGERX QMPIWXSRI JSV XLI 'SRWIVZEXSV] [LMGL [I GIPIFVEXI [MXL TVMHI Since its founding, YST has built an extensive presence in the Singapore ecosystem and E HMWXMRGX TS[IVJYP GSRXIQTSVEV] ZSMGI MR XLI KPSFEP LMKLIV QYWMG IHYGEXMSR WIGXSV 3YV deepest gratitude goes to all who have enabled the Conservatory to come to where it is today – our donors, partners, leaders past and present, faculty and staff, students and alumni. Looking back on our journey thus far, it truly takes a village, and we are grateful for all the support and faith we have received, that has enabled us to continually advance our mission.

At the same time, 20 is a young age for a Conservatory, and we are boldly moving forward.

There is much that we want to achieve, and we are well-positioned to amplify our impact across our academic offerings, community outreach, research, and wider partnerships in music and education.

Just as we are excited to share this evening’s concert with you, we are eager to share our developments with you through our programmes and initiatives across this year and beyond. We look forward to staying connected and wish you an enjoyable evening ahead.

Looking Back, Moving Forward

08

ABOUT YST -RWTMVEXMSREP PMJI EƾVQMRK QYWMG QEOMRK MW EX XLI LIEVX SJ XLI =SRK 7MI[ 8SL 'SRWIVZEXSV] SJ Music (YST) at the National University of Singapore. Centred in one of the world’s most dynamic countries, the Conservatory is uniquely placed to offer a distinct and powerful contemporary Asian voice.

Founded in 2003, YST quickly established a reputation as Asia’s most exciting international conservatory by bringing together a world-class faculty and facility to develop excellence in instrumental performance and composition. Building on this strong foundation, the Conservatory has evolved over the past decade to become one of the world’s most distinctive music schools through diversifying its offerings and connecting more authentically with its WYVVSYRHMRK GSQQYRMX] 7TIGMEPMWEXMSRW EHHIH WYFWIUYIRXP] MRGPYHI :SMGI %YHMS %VXW 7GMIRGIW 'SRHYGXMRK 1YWMG 7SGMIX] ERH 1YWMG 'SPPEFSVEXMSR 4VSHYGXMSR %PSRKWMHI students from Singapore, the Conservatory community is internationally diverse, with VITVIWIRXEXMSR JVSQ SZIV GSYRXVMIW ERH ƼZI GSRXMRIRXW Keenly focused on nurturing identity as a driver for excellence, YST’s Bachelor of Music programme originally formed its core focus. The Conservatory’s continuum of offerings has since expanded substantially to include the Master of Music and Master of Music Leadership HIKVIIW 297 JEGMRK 7IGSRH 1ENSVW 1MRSV ERH QSHYPIW 'SRXMRYMRK )HYGEXMSR 8VEMRMRK courses for adult learners, and a Young Artist programme, with the ambition to reach further into the University to establish linkages with other performing and creative arts. More broadly, the Conservatory’s extensive concerts and events calendar welcomes the wider public to engage in music.

1ENSV KMJXW JVSQ XLI =SRK 0SS 0MR 8VYWX IREFPI XLI 'SRWIVZEXSV] XS SJJIV JYPP ƼRERGMEP WYTTSVX for all its undergraduate students. Educational opportunities made possible by other donors MRGPYHI EGGIWW XS ƼRI WXVMRK MRWXVYQIRXW SR KIRIVSYW PSER JVSQ XLI 6MR 'SPPIGXMSR 8LVSYKL XLI 3RK 8IRK 'LISRK 4VSJIWWSVWLMT MR 1YWMG XLI 'SRWIVZEXSV] LEW FIIR EFPI XS IRKEKI eminent musicians such as Nobuko Imai, Paul Lewis, Shlomo Mintz, Jorma Panula, András 7GLMJJ 1EWEEOM 7Y^YOM ERH +ʛFSV 8EOʛGW 2EK] 8LEROW XS E VERKI SJ SXLIV XEVKIXIH KMJXW SYV students can access funding to forge their own distinctive pathways through participating in international festivals, competitions and projects.

Beyond Singapore, YST holds many bilateral relationships with music schools around the world.

It is active in numerous international music education alliances including the ConNext Network,

09

As part of one of the world’s most highly-ranked research-intensive universities, YST is also steadily building its presence in research. Faculty are engaged internationally as performers and composers as well as in a range of research and research-equivalent activity. The Conservatory has hosted several international symposia including Performers(‘) Present and Mathemusical 'SRZIVWEXMSRW TVSZMHMRK E KEXLIVMRK TPEGI EW [IPP EW TVIWIRXEXMSR ERH TYFPMWLMRK platform for Conservatory and international scholars alike.

With excellence, inclusion, community, agency and identity as key drivers, the Conservatory seeks to nurture aspirant professional musicians while giving greater musical resonance in the broader ecosystem. Holding “Listen in New Light” as a core guiding principle connecting its past, present and future endeavours, YST is well-positioned to lead change in music and higher QYWMG IHYGEXMSR MR XLI WX GIRXYV] VI MQEKMRMRK RI[ TSWWMFMPMXMIW EW MX GSRXMRYIW XS IZSPZI E unique trajectory.

ABOUT NUS 8LI 2EXMSREP 9RMZIVWMX] SJ 7MRKETSVI 297 MW 7MRKETSVIƅW ƽEKWLMT YRMZIVWMX] [LMGL SJJIVW a global approach to education, research and entrepreneurship, with a focus on Asian TIVWTIGXMZIW ERH I\TIVXMWI ;I LEZI GSPPIKIW JEGYPXMIW ERH WGLSSPW EGVSWW XLVII GEQTYWIW MR 7MRKETSVI [MXL QSVI XLER WXYHIRXW JVSQ GSYRXVMIW IRVMGLMRK SYV ZMFVERX ERH HMZIVWI GEQTYW GSQQYRMX] ;I LEZI EPWS IWXEFPMWLIH SYV 297 3ZIVWIEW 'SPPIKIW TVSKVEQQI MR QSVI XLER GMXMIW EVSYRH XLI [SVPH 3YV QYPXMHMWGMTPMREV] ERH VIEP [SVPH ETTVSEGL XS IHYGEXMSR VIWIEVGL ERH IRXVITVIRIYVWLMT enables us to work closely with industry, governments and academia to address crucial and complex issues relevant to Asia and the world. Researchers in our faculties, research centres of excellence, corporate labs and more than 30 university-level research institutes focus on themes that include energy; environmental and urban sustainability; treatment and prevention SJ HMWIEWIW EGXMZI EKIMRK EHZERGIH QEXIVMEPW VMWO QEREKIQIRX ERH VIWMPMIRGI SJ ƼRERGMEP W]WXIQW %WMER WXYHMIW ERH 7QEVX 2EXMSR GETEFMPMXMIW WYGL EW EVXMƼGMEP MRXIPPMKIRGI HEXE science, operations research and cybersecurity.

Looking Back, Moving Forward

-RXIVREXMSREP &IRGLQEVOMRK +VSYT 4EGMƼG %PPMERGI SJ 1YWMG 7GLSSPW ERH 7SYXLIEWX %WMER (MVIGXSVW SJ 1YWMG EW [IPP EW LSPHMRK EWWSGMEXI QIQFIVWLMT MR XLI )YVSTIER %WWSGMEXMSR SJ Conservatoires (AEC). Alongside extensive student exchange partnerships, these relationships further enhance our work and energise our continued growth.

Looking Back, Moving Forward

10

As the Yong Siew Toh Conservatory of Music enters our next 20 years, our vision is ambitious and seeks to reimagine what a 21st-century conservatory can be and contribute in the world.

From excellent to exceptional YST will continue to be recognised as a leader in higher music education, nurturing accomplished musicians who are known for their exceptional skills and artistic expression.

At the Conservatory, students are challenged to grow as artists and individuals, supported in exploring new frontiers, and given platforms to showcase their talents to the world.

Well-positioned within the dynamic and ever-evolving world of music, YST will continue to equip students with the capacities they need to succeed in the industry.

Advancing higher music education YST will be at the forefront of innovation in music and music education, exploring new technologies and approaches. We seek to push the boundaries of what is possible, and partner other institutions within and beyond NUS to develop exciting new initiatives.

The Conservatory will continue to expand its offerings, nurturing music enthusiasts and professionals through our courses across pre-college, undergraduate, postgraduate and continuing education.

Engaging the community YST will continue to be a vital and active part of the local ecosystem, offering a wide range of concerts and educational programmes that are accessible to all members of the community.

The Conservatory will work closely with schools, healthcare institutions and other community partners to provide targeted music education and immersion opportunities for people of all ages.

We will also continue to harness music in promoting physical, mental, and emotional wellFIMRK MR XLI TVSGIWW FIRIƼXMRK XLI GSQQYRMX] ERH IRLERGMRK FIWX TVEGXMGIW JSV QYWMG and wellness activities.

Looking Back, Moving Forward

12

CONDUCTOR Jason Lai is the Principal Conductor at the Yong Siew Toh 'SRWIVZEXSV] 4VMRGMTEP +YIWX 'SRHYGXSV EX XLI 3VGLIWXVE of the Swan, and former Associate Conductor of the 7MRKETSVI 7]QTLSR] 3VGLIWXVE ERH ,SRK /SRK 7MRJSRMIXXE ,IƅW FIIR E TVSQMRIRX ƼKYVI MR 7MRKETSVIƅW QYWMGEP PMJI WMRGI LMW EVVMZEP MR FYX EPWS EGXMZI internationally giving masterclasses in Europe and China.

He has also guest conducted the Adelaide Symphony 3VGLIWXVE 2I[ .ETER 4LMPLEVQSRMG 4SHPEWMI 3TIVE 4LMPLEVQSRMG MR 4SPERH 1EGES 3VGLIWXVE ,SRK /SRK Sinfonietta, and Hong Kong Philharmonic.

Intent on broadening the appeal of classical music to audiences who would not normally think of going into a concert hall, Jason has built a unique reputation as a communicator with mass appeal through his television appearances in both the UK and Asia. He has appeared on the BBC as a judge in both the BBC Young Musician of the Year competition and the classical talent show Classical Star. He was also a conducting mentor in the series Maestro and won the competition with his celebrity protégé.

Since settling in Singapore he has continued with his television work and was presenter and conductor for Project Symphony, an eight part series which followed him in his quest to set YT E GSQQYRMX] SVGLIWXVE 3XLIV WLS[W JSV &&' ;SVPH 2I[W MRGPYHI Heart of Asia exploring the contemporary arts and culture scene in Thailand, Indonesia, Korea and the Philippines, and Tales from Modern China, a voyage through contemporary China. Most recently in Singing to Remember for Channel News Asia, Jason set out to test the theory that regular group singing in choirs helps slow down the damaging effects of dementia.

Jason’s roots lie in Hong Kong but he was born in the UK and was a pupil at the prestigious specialist music school in Manchester, Chetham’s, where he studied the cello. %X 3\JSVH 9RMZIVWMX] LI WXYHMIH FSXL GIPPS ERH GSQTSWMXMSR ERH [IRX SR XS XLI +YMPHLEPP 7GLSSP SJ 1YWMG ERH (VEQE MR 0SRHSR [LIVI LI [EW E[EVHIH E *IPPS[WLMT MR 'SRHYGXMRK (IWTMXI LEZMRK XSYVIH EW E GIPPMWX [MXL XLI %PPIKVM 7XVMRK 5YEVXIX ERH LEZMRK FIIR E ƼREPMWX in the BBC Young Composers Award, Jason gravitated increasingly towards conducting after he won the BBC Young Conductors Workshop in 2002. This led to his appointment as Assistant Conductor to the BBC Philharmonic with whom he made his BBC Proms début in 2003. Following his work with various British orchestras, he was appointed Artist Associate to the Hong Kong Sinfonietta and became their Associate Conductor in 2009. Jason most VIGIRXP] LEH HIFYXW [MXL XLI %HIPEMHI 7]QTLSR] ERH 1EGEY 3VGLIWXVE ERH QEHI VIXYVR ZMWMXW XS GSRHYGX XLI ,SRK /SRK 7MRJSRMIXXE ERH 3VGLIWXVE SJ XLI 7[ER Education is an important part of Jason’s work in Singapore. At the Yong Siew Toh Conservatory he trains the next generation of conductors, many of whom have had many WYGGIWWIW FSXL EX LSQI ERH EFVSEH ERH [MXL XLI 773 LI WTIEVLIEHIH XLI IHYGEXMSR and outreach programme, helping the orchestra reach new audiences notably through his Discovering Music and children’s concerts.

13

Lyric baritone Daegyun Jeong (Raphael) studied singing at the Yong Siew Toh Conservatory SJ 1YWMG MR 7MRKETSVI YRHIV XLI XYXIPEKI SJ 4VSJ %PER &IRRIXX JVSQ *VSQ XS LI GSQTPIXIH LMW QEWXIVƅW HIKVII EX XLI ,SGLWGLYPI JʳV 1YWMO YRH 8ER^ /ʯPR -QQIHMEXIP] EJXIV[EVHW MR LI TYVWYIH XLI GSRGIVX I\EQ GSYVWI [MXL E JSGYW on opera and concert under Prof. Mario Hoff and Prof. Johannes Martin Kränzle. He has TEVXMGMTEXIH MR RYQIVSYW QEWXIVGPEWWIW [MXL VIRS[RIH EVXMWXW ,IPQYX (IYXWGL 6SKIV :MKRSPIW 'PEYHME &EVEMRWO] 0SXLEV 3HMRMYW &S 7OSZYW )HMXL ;MIRW ERH 0YGMS +EPPS -R XLI WIEWSR LI QEHI LMW HIFYX EX XLI 8LIEXIV %EGLIR EW *SVIWXIV MR .EREGIOƅW The Cunning Little Vixen ERH MR LI ETTIEVIH EX 1YRMGLƅW 'YZMPPMʣWXLIEXIV EW +YKPMIPQS in Così fan tutte *VSQ XS (EIK]YR .ISRK [EW E QIQFIV SJ XLI 26; 3TIVE 7XYHMS ERH GSYPH FI WIIR MR RYQIVSYW VSPIW WYGL EW (SVXQYRH 3TIVE EW )HPIV Lohengrin), ;YTTIVXEP 3TIVE EW 7GLEYREVH La Bohème), Messenger (Stravinky’s Oedipus Rex), Samuel (Sullivan’s Pirates of Penzance ERH (YTLSP La Traviata). He embodied Marullo (Rigoletto) at the Aalto-Theater Essen and Yamadori (1EHEQE &YXXIVƽ]) at the Musiktheater im Revier +IPWIROMVGLIR 7MRGI LI LEW FIIR E QIQFIV SJ XLI 3TIVE *YSGS MR 4EVMW JSYRHIH F] (EZMH 7XIVR ERH QEHI LMW HIFYX EW +YKPMIPQS Così fan tutte EX XLI 0E +VERKI EY\ 4MERSW *IWXMZEP MR *VERGI %PWS WMRGI XLI WIEWSR LI LEW FIIR ER %VXMWX MR 6IWMHIRGI EX XLI 5YIIR )PMWEFIXL 1YWMG 'LETIP YRHIV XLI HMVIGXMSR SJ .SWʣ ZER (EQ ERH 7STLMI /SGL ,I MW RS[ E WSPSMWX SJ XLI IRWIQFPI EX XLI (SVXQYRH 3TIVE WMRGI XLI WIEWSR ERH [MPP QEOI LMW HIFYXW EW Papageno ((MI >EYFIVƽʯXI), Chou En lai (Nixon in China), Marcello (La Boheme) and Albert (La Juive).

Tan See Huey (Gabriel), a Malaysian-born soprano, is a graduate of the YST Conservatory of Music where she studied voice with Prof. Alan Bennett. While at the conservatory she GSPPEFSVEXIH [MXL XLI =78 'SRWIVZEXSV] 3VGLIWXVE 6IH (SX &EVSUYI ERH VIRS[RIH musicians such as Masaaki Suzuki, Miah Persson, Paul Weigold, Jonas Nordberg, and Allen Henderson.

She recently made her opera debut in February 2023 as Belinda in Purcell’s Dido and Aeneasɸ[MXL 8LI 3TIVE 4ISTPI 3XLIV RSXEFPI TIVJSVQERGI LMKLPMKLXW MRGPYHI E WSPS VSPI MR Saint-Saëns’ Christmas Oratorio (IGIQFIV 4SYPIRGƅW Airs ChantésɸEX =78 3VGLIWXVEP -RWXMXYXIƅW GSRGIVX %TVMP ERH EW E WSTVERS WSPSMWX MR &EGLƅWɸJohannes Passionɸ %TVMP 2022).

She was also soprano soloist in Bruhns’ Muß nicht der Mensch auf dieser Erdenɸ[MXL 6IH (SX &EVSUYI 3GXSFIV ERH ,ERHIPƅW Messiahɸ[MXL 8LI 3TIVE 4ISTPI ERH 6IH (SX &EVSUYI (IGIQFIV 7LI MW GYVVIRXP] E 8IEGLMRK %WWMWXERX MR XLI :SMGI (ITEVXQIRX [LIVI WLI XIEGLIW (MGXMSR JSV 7MRKIVW WIGSRHEV] ZSMGI PIWWSRW ERH TVSZMHIW WYTTSVX JSV XLI department.

Looking Back, Moving Forward

SOLOISTS

Looking Back, Moving Forward

14

SOLOISTS Zachary Singson Dominguez (Uriel) FIKER LMW JSVQEP ZSMGI WXYHMIW MR [LIR LI [EW EHQMXXIH MRXS 7GLSSP SJ XLI %VXW 7MRKETSVI 738% [LIVI LI WXYHMIH [MXL .ISRK %I6II -R LI KVEHYEXIH JVSQ 738% [MXL XLI -RXIVREXMSREP &EGGEPEYVIEXI 'IVXMƼGEXI 4VSKVEQQI I\GIPPIRGI E[EVH EW [IPP EW XLI 738% 2KII %RR /SRKWM 7XYHIRX %VXMWX SJ XLI =IEV E[EVH (bestowed to one student of the graduating cohort, who demonstrates both academic and artistic excellence). A third year student at YST he currently he is a student of Prof. Alan Bennett. He has also participated in various masterclasses in Europe with professors 1EVOYW 7GLʞJIV :PEHMQMV 'LIVRSZ ERH 'VMWXSTL 7XVILP ERH SXLIVW ,I QEHI LMW )YVSTIER HIFYX MR WMRKMRK +IVQER EVX WSRKW SJ 7GLYQERR ERH 7GLYFIVX ,I LEW TEVXMGMTEXIH MR ZEVMSYW GSQTIXMXMSRW WYGL EW XLI 0PERKSPPIR )MWXIHHJSH XLI 7]HRI] )MWXIHHJSH [LIVI LI [SR RH TPEGI MR XLI *VIRGL 7SRK GEXIKSV] ERH XLI 4IVJSVQIVW *IWXMZEP [LIVI LI VIGIMZIH 4PEXMRYQ WXERHMRK

Kira Lim (Eve) is a second year undergraduate student in the Yong Siew Toh Conservatory SJ 1YWMG QENSVMRK MR :SMGI 4IVJSVQERGI ERH WXYH]MRK [MXL 4VSJ %PER &IRRIXX -R /MVE KVEHYEXIH JVSQ 0EWEPPI 'SPPIKI SJ 8LI %VXW [MXL E (MTPSQE MR 4IVJSVQERGI 8LIEXVI 7LI has participated in some notable singing performances including: Hansel and Gretel EW +VIXIP Mass of The Children and New York Sounds of Summer, Carnegie Hall (Soloist, 0SW %RKIPIW -RXIVREXMSREP 1YWMG *IWXMZEP 7SPSMWX %QIVMGER 4VSXIKI :SGEP 'SQTIXMXMSR EX 'EVRIKMI ,EPP *MVWX 4VM^I JSV EPP GEXIKSVMIW Carmina Burana (Soloist, Der Zwerg [MXL 8LI 3TIVE 4ISTPI EW *MVWX 1EMHIR &EF] 7LEVO 0MZI 8LI ,MHHIR 8VIEWYVI QYWMGEP EW 7LMQQIV In Our Manner of Speaking performing RI[ PSGEPP] GSQQMWWMSRIH TMIGIW [MXL 8LI 3TIVE 4ISTPI 7SPSMWX Come, Ye Sons of Art, Away! [MXL XLI 6IH (SX &EVSUYI 7SPSMWX CabaRED [MXL 2I[ 3TIVE 7MRKETSVI (Soloist, 2023) and most recently as Luisa in The Fantasticks.

Jason Suryaatmaja (Adam) MW GYVVIRXP] E RH ]IEV :SMGI 4IVJSVQERGI 1ENSV WXYH]MRK EX XLI Yong Siew Toh Conservatory. Jason’s passion for music began when he joined the Sinlui ,MKLWGLSSP 'LSMV GSRHYGXIH F] 3RR] 4VMLERXSRS [LMPI WXYH]MRK EX 'EXLSPMG ,MKL 7GLSSP 7X 0SYMW 7YVEFE]E %JXIV EXXIRHMRK LMKL WGLSSP .EWSR WXYHMIH WSPS WMRKMRK [MXL =SWEJEX 6ERRY 0ITTSRK (YVMRK LMW WXYHMIW EX XLI =SRK 7MI[ 8SL 'SRWIVZEXSV] SJ 1YWMG 7MRKETSVI Jason has performed numerous times.

15

Welcome to our gala performance this evening, and thank you for joining us in celebrating YST’s very own creation with Franz Joseph Haydn’s masterwork of the same name! As we explore this wonderful oratorio, we will look at the many threads which came together at just the right time to make (MI 7GLʯTJYRK a reality. Likewise, tonight is also about recognising the many threads that came together to bring this conservatory into existence, and encouraging those here now, and who will come later, to contribute their own unique threads as we move forward. %TVMP Ɓ RIEVP] ]IEVW EKS XS XLI HE] Ɓ QEVOW XLI ƼVWX TIVJSVQERGI SJ ,E]HRƅW masterpiece, (MI 7GLʯTJYRK ,E]HR LEH GSQTPIXIH XLI [SVO MR EX XLI EKI SJ LEZMRK turned to larger-scale religious works such as masses and oratorios late in life. Within a few years of premiering, it became the most celebrated and performed oratorio in Europe, and Haydn himself considered it to be his highest achievement in vocal music. ‘Papa Haydn’ (b.

LEH FIKYR LMW GEVIIV EW E GLSMVFS] EX 7X 7XITLIRƅW 'EXLIHVEP :MIRRE EX XLI ZIV] LIMKLX of the Baroque period, was teacher to Beethoven, friend to Mozart, and lived through nearly XLI IRXMVIX] SJ XLI 'PEWWMGEP TIVMSH FIJSVI TEWWMRK E[E] MR ZIV] RIEV XLI IRH SJ XLI %KI SJ Enlightenment. His deep understanding of Baroque music, choral traditions, symphonic style, chamber music and opera are all apparent in the music we have before us tonight. +VIEX GVIEXMSRW SJXIR GSQI JVSQ XLI NY\XETSWMXMSR SJ WIIQMRKP] YRVIPEXIH IZIRXW ERH XLMW MW certainly true of the genesis of (MI 7GLʯTJYRK. After spending many years at the Esterházy 4EPEGI ,E]HRƅW X[S I\XIRHIH XVMTW XS 0SRHSR MR XLI IEVP] W LEH E TVSJSYRH MQTEGX ,I [EW celebrated in the musical life of the city, mingled among society’s elite, attended and performed at concerts, and was exposed to all things English. This included the remarkable oratorio tradition as represented by Handel and his immensely popular Messiah. Performances of this work were typically grand spectacles with hundreds of performers held in secular venues such as theatres and schools. These performances made a deep impression on Haydn, who expressed his HIWMVI XS FI EFPI XS GSQTSWI WSQIXLMRK SJ IUYEP MQTSVXERGI ERH HITXL MR LMW REXMZI +IVQER language. %PXLSYKL YWYEPP] GIRXIVIH EVSYRH VIPMKMSYW XLIQIW XL GIRXYV] SVEXSVMSW [IVI EGXYEPP] intended more as ‘theatrical’ works and usually presented in periods of the church year (Lent ERH %HZIRX [LIR STIVEW ERH TPE]W [IVI HMWGSYVEKIH %YWXVME HYVMRK XLI W WE[ E KVS[MRK MRXIVIWX JSV SVEXSVMSW MR +IVQER WS QYGL WS XLEX +IVQER XVERWPEXMSRW SJ JSVIMKR SVEXSVMSW [IVI FIMRK GSQQMWWMSRIH ERH TVSHYGIH [MXL XLI IRGSYVEKIQIRX ERH WYTTSVX SJ XLI &EVSR +SXXJVMIH ZER 7[MIXIR 1S^EVX LMQWIPJ [EW GSQQMWWMSRIH XS VI SVGLIWXVEXI +IVQER XVERWPEXMSRW SJ Handel’s more famous oratorios (his arrangement of “All we like sheep” from Handel’s Messiah is a real treat to the ears with its humorous use of bassoons and clarinets imitating sheep [ERHIVMRK JVSQ XLI JSPH 7YGL [EW XLI IRZMVSRQIRX MR :MIRRE XLEX ,E]HR VIXYVRIH XS MR bringing with him the original English libretto of (MI 7GLʯTJYRK that had been presented to him by his friend and key to London society, Johann Peter Salomon.

The author of this libretto remains unknown, but what we do know is that the work was compiled from Milton’s Paradise Lost and had been offered to Handel as a subject for GSQTSWMXMSR ]IEVW TVMSV &EVSR ZER 7[MIXIR [SVOIH GPSWIP] [MXL ,E]HR MR TVITEVMRK E +IVQER XVERWPEXMSR SJ MX IZIR KSMRK WS JEV EW XS QEOI QYWMGEP WYKKIWXMSRW %XXIQTXW [IVI QEHI XS GSSVHMREXI XLI ƽS[ SJ XLI SVMKMREP )RKPMWL [MXL XLI +IVQER XVERWPEXMSR WS XLEX ,E]HRƅW HIWMVI JSV E FMPMRKYEP IHMXMSR QMKLX FI JIEWMFPI ;LMPI LI GSQTSWIH YWMRK XLI +IVQER ZIVWMSR Haydn also hoped to present a convincing English version so as to gain recognition in the

Looking Back, Moving Forward

PROGRAMME NOTES

Looking Back, Moving Forward

16

PROGRAMME NOTES (Continued) )RKPMWL SVEXSVMS XVEHMXMSR [LMGL LI KVIEXP] EHQMVIH %JXIV XLI TMIGIƅW ƼVWX TIVJSVQERGI ZER Swieten began work in earnest to underlay the English text for publication. But achieving a smooth setting of both languages was not an easy task, and the efforts did not yield a ‘happy pair’. Many ‘improved’ English versions of this work have since appeared in publication, but YRJSVXYREXIP] RSRI GSQTEVI XS XLI IPIKERGI SJ ZER 7[MIXIRƅW +IVQER PMFVIXXS (MI 7GLʯTJYRK MW HMZMHIH MRXS XLVII PEVKI TEVXW 4EVX STIRW [MXL XLI HITMGXMSR SJ GLESW [LMGL represents the absence of everything (including light and dark) and eludes tonality, form and WXVYGXYVI 8LMW MW JSPPS[IH F] XLI ƼVWX JSYV HE]W SJ GVIEXMSR ERH 4EVX [LIVI XLI VIQEMRMRK X[S HE]W EVI TVIWIRXIH 4EVX MW WXVMOMRKP] HMJJIVIRX JVSQ XLI ƼVWX X[S ERH MRXVSHYGIW YW XS XLI TEWXSVEP [SVPH SJ XLI +EVHIR SJ )HIR [LIVI [I ƼRH %HEQ ERH )ZI IEKIVP] TVSJIWWMRK XLIMV PSZI SJ +SH ERH XLIMV HIZSXMSR XS IEGL SXLIV -R XLMW XLMVH TEVX ,E]HR LEW WLMJXIH YW MRXS E FVMKLX RI[ XSREP VIKMSR JSV XLI +EVHIR SJ )HIR XS LMKLPMKLX MXW QEKMGEP FIEYX] Indeed, the overall tonal plan of the work is very carefully crafted. Heavenly texts such as Die Himmel erzählen (The Heavens are telling) and Mit Würd’ und Hoheit (In native worth, which announces the creation of man in a ‘divine image’) are delivered in C major, while pastoral texts such as Nun beut die Flur das frische Grün ;MXL :IVHYVI GPEH EVI TVIWIRXIH HS[R ƄSR XLI ground’ in Bb major. In playful contrast, the creation of birds in Auf starkem Fittige 3R QMKLX] wings) soars above the earth in F major, and the variety of key and structure continues with all of the creatures and wonders.

8LI XLVII WSPSMWXW MR 4EVXW ERH VITVIWIRX XLI ERKIPW +EFVMIP 6ETLEIP ERH 9VMIP XLI] alongside the chorus, give voice to the six days of creation. Uriel remains in Part 3 to extol the wonders of the garden, introduce the happy pair, and admonish them in the end to do as they are told and not to ‘wish for things they do not have, nor long for knowledge they should not know’. However, this is conveyed in a humorously exaggerated upbeat recitative which condenses this warning into something so brief and perfunctory that it could almost go unnoticed. Haydn was required to offer the warning, but he evidently did not feel the need to browbeat and spoil the mood! )ZIV WMRGI MXW ƼVWX TYFPMG TIVJSVQERGI MR 1EVGL (MI 7GLʯTJYRK has been recognised as an acknowledged masterwork. The many threads which came together at the right time to make it possible are fascinating to ponder: Haydn’s visits to London and exposure to Handel ERH )RKPMWL SVEXSVMS XLI REXMSREP ERH TIVWSREP HIWMVIW XS SJJIV SVMKMREP +IVQER PERKYEKI oratorio in Austria; Salomon’s gift of a libretto which had direct links to Handel; Baron van Swieten’s eagerness and skills as a translator; and Haydn himself who, at the height of his skill, was eager to explore new challenges and to open new possibilities for his craft at home and abroad.

Eagerness to explore new challenges and to open new possibilities for our craft in Singapore and abroad are ideals that we at the YST Conservatory embrace as well. We have come a long [E] MR SYV ƼVWX ]IEVW ERH EVI I\GMXIH XS QSZI JSV[EVH MRXS SYV XLMVH HIGEHI XSKIXLIV [MXL you, our supporters and friends. Thank you for sharing your evening with us and we hope that ]SY IRNS] SYV TIVJSVQERGI SJ XLMW QEKRMƼGIRX [SVO

Programme notes by Prof Alan Bennett, Head of Vocal Studies

17

Soprano Ang Jody Hong Ying :EP 'LSRK 7LYFLERKM (EW +YER 6YM .MRK 6IKMRE :ERIWWE -V[ERXS Kira Lim Leanne Reese Tavita Alice Putri Alison Wong

Tenor Alan Bennett (ERMIP 'LSRK Benjamin Harris /MQ 3L =ISR Ted Ngoo Park Minjun Teo Hsin Yeong

Alto Samiksha Argal %PMGME (MZE 'LERHVE Chen Ching-Yu Shim Fine Cindy Honanta Zoe Hong Kim Min Kuah Hui Min Stephanie Joshvin Sandhya Ramachandran

Bass Harris Ang Bennett Clement 0EQ 1YR 3RR 7LIV[MR 3L =YWLMR Chong Wai Lun /IERI 3RK ;IM 7LIR /IRR 3RK /I =SRK Shin Cong Zhe Jason Suryaatmaja

Rehearsal Pianist Koh Kai Jie

Alumni Faculty/Staff

Looking Back, Moving Forward

CHORUS

Looking Back, Moving Forward

18

ORCHESTRA First Violin %P]WWE +SL ,YM =M concertmaster 1E 5MGSRK Chan Wai Mun Joanne Zou Zhang Shim Fine +YQ 7IRK %YRK (Y Chien Chin Second Violin Komila Izatulloyeva, principal Zou Meng Foo Yue Ning Kuo Fang-Chen Bakhodir Rakhimov Viola Hsu Min Joelle, principal Martin Peh Renyu Zeng Ziyan Liu Le Cello Cao Huiying, principal Ho Chien-Yu Saran Charoennit Sherzod Bakhtiyorov Double Bass Khee Yu Hang, principal Shohei Yoshihara

Flute Weng Yi-Chian, principal 5YIO .YR ,ES .YPMIR Lee Minjin Piccolo Lee Minjin Oboe Soniya Rakhmatullina, principal 5YIO .YR 6YM Clarinet Lee Pin-Yi, principal Chen Yan-Rung Bassoon Shi Jiaao, principal 1YLEQQEH %ƼU FMR ,YWWEMRM Contrabassoon Xu Zixuan French Horn Chiu Hsuan, principal /EPME (MERI 'VEMK Trumpet Chen Hung-Shun, principal Loi Chiang Kang Trombone Huang Shao-Wei, principal Yee Choon Yong William Bass Trombone Ng Jun Jie Timpani 3VEXLEM 7MRKLEEVX Fortepiano +IVEPH 0MQ

Guest musician/Alumni YST Orchestral Institute coach/YST Artist Faculty

19

Producer Shridar Mani

ORCHESTRAL INSTITUTE

Technical Director Wan Zhong Hao

Vice Dean of Ensembles Brett Stemple

Lighting Designer Alberta Wileo

Faculty Mario Choo Brett Stemple Leslie Tan * Wang Zihao Yang Shuxiang Zhang Jin Min Zhang Manqin

Stage Manager Cindy Sng Videography (ERGMRK 0IKW 4VSHYGXMSRW Audio Team YST Audio Arts and Sciences Sound Installation =78 'SQTSWMXMSR (ITEVXQIRX

PROGRAMMING AND PRODUCTIONS Tang I Shyan Alison Wong Benny Lim Mike Tan Wah Peng

* Continuo coach Orchestra Manager =ET >M 5M Assistants Foo Yue Ning Hoi Khai-Weing Soniya Rakhmatullina Edgar Javier Lucena Rodriguez Nestor Jose Solorzano Mejias 5YIO .YR 6YM 5YIO .YR ,ES .YPMIR Sho Yong Shuen

Looking Back, Moving Forward

PRODUCTION

Looking Back, Moving Forward

20

MANAGEMENT TEAM Prof Peter Tornquist Dean Assoc Prof Ho Chee Kong Vice Dean (Academic Programmes & Quality Enhancement) Assoc Prof Chan Tze Law Vice Dean (Career Orientation & Community Engagement)

Rachel Tang Associate Dean (Administration) Tan Wei Boon Deputy Director (Student Life) Tang I Shyan Associate Director (Programming & Productions)

Assoc Prof Brett Stemple Vice Dean (Ensembles, Research & Professional Awareness)

DEAN’S OFFICE Ong Shu Chen Manager (Communications & Engagement)

Kenny Ooi Executive Assistant & Project Manager

21

There are many ways of supporting the Conservatory. Whether through attending one of our many concerts, making a gift towards student bursaries and scholarships, donating towards key strategic initiatives or professorships, offering sponsorship for concerts or instruments, or enabling outreach and engagement activities, your gift will enable us to continue to offer distinctive educational opportunities for students while also contributing to the ever-evolving musical canvas of Singapore.

Join a loyal group of annual fund supporters who, together, energise the YST Conservatory in continuing its world-leading work in the contemporary professional music training landscape.

Learn more about tiers for making a gift to YST below.

DEAN’S CIRCLE Lifetime Ambassador – S$50,000 and above - Lifetime recognition on Conservatory publications and website - Lifetime invitation to key concerts and Dean’s Circle receptions/interactions - Complimentary parking (NUS Carpark 3) when attending YST events, upon request Gifts above $50,000 can be recognised more distinctively.

If you would like to pledge a gift at this level, please email musgiving@nus.edu.sg.

Annual Member – S$2,000 and above annually - Recognition on Conservatory publications and website for the year - Invitation to key concerts and Dean’s Circle receptions for the year - Complimentary parking (NUS Carpark 3) when attending YST events, upon request

YST FRIENDS S$200 and above annually - Recognition on Conservatory website for the year

Make a gift to the Conservatory via the QR code or URL below:

bit.ly/givetoyst For queries, please write to us at musgiving@nus.edu.sg.

Looking Back, Moving Forward

GIVING TO YST

Looking Back, Moving Forward

22

Our Benefactors

Ministry of Education For their support in the establishment of a conservatory of music in Singapore.

Yong Loo Lin Trust Yong Siew Toh Endowment and Scholarship Fund The late Mr Rin Kei Mei and Mrs Rin Rin Collection String Instruments Shaw Foundation The Ones to Watch Concert Series Singapore Totalisator Board Lee Foundation Ong Teng Cheong Professor of Music Friends, faculty, students, alumni of YST Conservatory Steven Baxter Memorial Scholarship Fund The Community Foundation of Singapore S R Nathan Music Scholarship Endowment Fund Prof Kwa Chong Guan & Ms Kwa Kim Hwa Mabel and Soon Siew Kwa Scholarship Mdm Yong Liew Chin Yong Liew Chin Music Scholarship Mr Goh Geok Khim Madeline Goh Professorship in Piano Chenter Foundation Chenter Foundation Cathy and Tony Chen Community Outreach Fund Kris Foundation Kris Foundation Viola Masterclass Fund Ms Ong Su Pin & Mr Mervin Beng OKK Wind Prize Mr Geoffrey Yu Guy Hentsch Prize for Piano Performance Ms Vivien Goh Goh Soon Tioe Leadership Award

23 Looking Back, Moving Forward

Dean’s Circle LIFETIME AMBASSADORS

ANNUAL MEMBERS

Ms Gao Jun Mr Geoffrey Yu Mr Goh Geok Khim Mr Goh Yew Lin Mr Hamish McMillan Dyer Ms Ong Su Pin & Mr Mervin Beng Ms Phalgun Raju & Mr Nicholas A. Nash Mr Rin Kei Mei & Mrs Rin* Mr Tan Kah Tee Ms Vivien Goh Mr & Mrs Willy Tan Kian Ping Mr Whang Tar Liang Dr & Mrs Yong Pung How BinjaiTree CapitaLand Chenter Foundation The Community Foundation of Singapore Far East Organisation* Hong Leong Foundation* Keppel Corporation Limited Kris Foundation Lee Foundation* National Arts Council Shaw Foundation Singapore Airlines Ltd Singapore Pools Singapore Technologies Electronics Ltd Singapore Technologies Engineering Singapore Technologies Pte Ltd Singapore Technologies Telemedia Singapore Telecommunications Ltd Singapore Totalisator Board Yong Loo Lin Holdings Anonymous donor

Bowen Enterprises Pte Ltd Prof Bernard Lanskey Prof Christopher Cheng Dr Dang Vu and Ms Oanh Nguyen Dr Guy Hentsch Dr James C M Khoo Ms Kyin Nwe Moong Prof Lee Eng Hin Dr Paolo Adragna Dr Robert Teoh

* Founding Partners of the Singapore International Violin Competition

Other donors and supporters for their generous contribution towards scholarships and artistic development.

INSTRUMENT DONORS Mr Goh Yew Lin Paul McNulty fortepiano Mr Tan Kah Tee Bösendorfer Imperial Model 290 Bösendorfer Johann Strauss

MUSIC COLLECTIONS Family of the late Mr Leong Yoon Pin Leong Yoon Pin Manuscripts The late Mr SR Nathan Digital Music Resources from the Madras Music Academy Mr Nicholas Zaklama Oboe Resources