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The Singapore Lyric Theatre |
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GIUSEPPE VERDI (1813-1901) La Traviata An opera in 3 acts after Alexandre Dumas |
This is Page 2 of a 2-page review | Click here for Page 1
Reviewed by Ng Yeuk Fan
Nancy Yuen (left), a lyric soprano with a more than proficient technique, did a
mostly competent job in her role of Violetta. She chooses correctly to
tackle her role of Violetta with less hysterics and moderated madness,
the way that her instrument is most suited. Detractors may argue for a
Violetta with magnified madness, pureness, tenderness, nobility and
histrionics all rolled into one. However, though literature is abound
with letters discussing why Fanny Salvini-Donatelli, who premiered the
role of Violetta Valery had not been the prima donna to Verdi's liking,
the events occuring on the premiere night on the whole bore comment that
was generally not as bad as Verdi had assumed it would be. Verdi had
insisted, in reference to the role of Violetta, that "to sing Traviata
(the fallen woman), one must be young, have a graceful figure and sing
with passion". Nancy Yuen may not be that which Verdi might have
intended, but in every sense, she is more like Fanny Salvini-Donatelli,
a prima donna forza - and, just as the audience in the premiere night
found favour in Salvini-Donatelli's singing, so too did we at the
Victoria Theatre.
Obvious intonation problems were heard in Act 1, such as in the aria "Un dì felice", she could be heard straying off by at least a tone at her duet "Dimenticarmi allor...". Also, Yuen's account of "E strano!..Ah! fors'è lui" up to and including "Follie!...delirio vano è questo!" was very slow, and without superb acting, it became laboured. On the other hand, "Morro!...La mia memoria" was certainly rushing and the orchestra is heard failing to keep up with Lim Yau.
It is completely obvious that Yuen has not been sufficiently prepared to act with her hands - an issue that Callas makes many subjects about. Little direction can be seen throughout the opera. Violetta does not pace on the beats of her music, she does not walk, move or turn musically. Intended nuance embedded in the pulse of Verdi's music, such as in "Non sapete" that has been employed by leading directors to mesmerizing effect is not seen here in this stage account directed by Leow Siak Fah. I have implied in my ink-troduction that being of Verdi's second period, La Traviata has less 'posturing' (except Alfredo's unlikely aria "O mio rimorso!") and takes on a freer structure. Nevertheless, Leow is not aware of this and the result is a static Violetta in her Act 1 final big aria. What is the use of a happy and joyfully mad soprano posturing to sing "Sempre libera degg'io?". Further, Mr Leow does not make it obvious enough that Violetta has been reading the letter from Germont the umpteenth time already and has become completely despaired.
Special note, however, must be mentioned regarding Yuen's excellent duet
with Willam Lim (right) at the point of "Dite alla giovine". Though not
beginning quite pitifully enough, both (William) Lim and Yuen worked towards a
very heart wrenching "Piangi, piangi, piangi, o misera,". Both were
first class in this evocative tear-jerking moment and with compelling
support from conductor Lim Yau, this was the best moment in the night.
David Quah (left) does not have a large enough voice for the opera stage, even
one as small as the Victoria Theatre. As such, though with a sweet tone and
executing major arias competently, he is convincing only in my
imagination. Further, his Italian in between arias will need polishing
for him to achieve a believable accent. Nevertheless he shows great
promise in his acting despite the lack of direction and in Act 3,
delivers another star moment in the night's offering in "Parigi, o cara"
together with the tireless Yuen.
William Lim has a very disturbing vibrato. It has been reported in studies that anything more than 5-7 Hz per second will grate on refined ears and here is proof of this. Lim's vibrato distracts from the huge resonance in his voice that is beautiful, luscious and extremely apt for Germont and further, it confuses his portrayal of a stoic father that is moral in every sense. It does not help that an utter characterisation disaster occurs here: Lim was seen to put his walking stick down in Violetta's house - being a symbol of his unmovable proposition and stoic character, there was no attempt by Leow to capitalize on this subtle play on the psychology of his audience.
Further, despite increasing sympathy to Violetta's plight, Verdi reflects (and therefore intends) both in music and in the libretto by way of its words, that Germont does not yield to soppy emotions. This Germont is visibly moved and shaken by the pitiful woman - in fact, William Lim was almost moved to tears, (the surprising thing is that Nancy Yuen was not quite as tearful about her imminent departure, nor was she as convincing in the myriad flights of emotions required of her in Act 2) a show of great acting skill by Lim, but absurdly employed by Leow. To top it all, Germont 'scratches his head', thinking as it were, "Now, how?" when his first attempt to persuade Alfredo to return home fails in "Di provenza".
Though the role of Flora Berviox is that of comprimario, it is effectively and beautifully sung by the young Chinese mezzo Zhang Hao, who, in every sense of the word 'steals' the show whenever she acted or sang. She does not only look superb on stage, she acts her role with great aplomb as well. This is a voice to look out for.
The chorus this night is one of the best that Singapore Lyric Theatre has had. Volume was sufficient up till the split into male and female chorus in Act 2 Scene II. Ensemble work was sometimes messy but this was still acceptable. Choral tone is remarkable. There seems to be at a loss of ideas on how best to move the people around on stage. Leow is not helped by the fact that there is little practical help provided by Justin Hill in his sets. As a result, the chorus members, doubling up as guests, criss-cross the messy stage in haphazard fashion that is distracting and ugly.
Act 2 Scene II's choreography was efficient, suitable and without excess. The Singapore Dance Theatre's messy execution does not conflict with the intention of Verdi, that they are supposed to be Bervoix's guests who have dressed up to entertain. However, Leow did not attempt to involve them as Berviox's guests after the dance and this creates some confusion. Further the very static direction of the audience during the dance lacks the rowdy taunt-and-tease spirit of true 'bordello' entertainment; that which Richard Eyre's version at the Covent Garden so excellently captured.
The NUSS-SLT did a commendable attempt at Verdi's orchestral score. Under
the direction of Lim Yau (right), whose efforts to establish an opera
orchestra in Singapore has not gone unnoticed, the orchestra turned in
full forte tuttis that were palpable and effective. Though mistakes are
many for those intending to pick on them, this orchestra has more than
proved its diligence in this laudable first attempt (officially under this name) at accompanying an
opera. There is no lack of enthusiasm nor is there any carelessness here
- that which some professional (or unprofessional) orchestras may be
guilty of. Their account of the introduction to Act 3, after the
initial warm-up in real time, reveals quietly renewed energetic glow.
The reduced strings, generating a rather shallow violin tone (due to
poor instruments) and given a electric edge by the amplification, plus
some minor intonation problems which caused some shaky tension - somehow
worked to their advantage, creating much disquiet panic, much pity and
great sadness in my heart. Bravo!
Though amplification can beef up a small orchestra to provide effective volume, it is not without problems. Without expensive sonic solutions, feedback can be a problem. The audience was heard signaling its displeasure at a feedback piercing the end of the Brindisi - which sleeping sound engineers were slow to react to. Further, the solo clarinet playing arpeggios, when amplified, competes unfairly with Nancy Yuen for attention in Act 1.
Abeit a young one, the Singapore Lyric Theatre is a professional opera company. What makes me so upset is that it has had successes much greater and far grander than this one. What makes me cry is its lack of ambition and focus to become Singapore's only classical music production company with real potential to rival the Singapore Symphony Orchestra. Nothing can be bigger, more opulent, more lavish, more beautiful or more moving than opera. Opera is a feast for all senses; it is the Art That Combines All Art. The Singapore Lyric Theatre has proved herself worthy to be called 'professional' in past productions such as (Britten's) A Midsummer's Night Dream, Madama Butterfly and Tosca. Why shoot yourselves in the foot now? I do not expect Lyric Theatre to be the best, but this looks like a very silly attempt to 'sustain a viable opera season in Singapore'.
Much of the problems highlighted above were due to carelessness than to the lack of money, and in the arts, that is unforgivable. Singapore may not be all that good in producing operas, but we must make no pretensions and continue to try - just as I can see the orchestra making serious improvement since I last heard them at their inaugural concert - this spirit and enthusiasm to strive should be followed up all round...
No surprises here, Ng Yeuk Fan did see a champagne glass in Violetta's hand during her "Sempre libera".
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