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The
Philharmonic Chorus seems to be on the verge of a much larger involvement
in the local choral scene. Launching its 1999 programme with an
all-Asian programme, this 40-member chorus has lined up two more
concerts for 1999 while hosting the Shanghai Philharmonic Chorus
come August and singing supporting roles in Opera Atelier's production
of Dido and Aeneas for the June Arts Festival 1999.
Formed in 1994 by friends who shared a vision for a Singapore choir
that would perform a vast a capella repertoire while showcasing
Asian and Singaporean music, The Philharmonic Chorus (TPC) has grown
steadily under the directorship of Singapore's Lim Yau. In 1998,
it won both the Gold and Silver Diplomas at the 5th International
Choir Competition in Riva del Garda, Italy (in action on the right).
Tonight,
Lim Yau brought out an affordably lush albeit uneven sound from
this group of competent singers. But sadly, they were plagued by
uncontrollable vibrato. Lacking in numbers required to even out
the wavering sound, the Philharmonic Chorus was extremely difficult
to sit through in the first half of the programme when insufficient
warm-up and high tessitura made the a capella sound a hair-raising
ordeal. I found both the blend and equality between the female and
male voices lacking and in general, the men were a lot more secure
in both tone and projection. Exceptions include the straight-forward
but effective solo of Danielle Tylke in Diu Diu Dang Ah.
Lim Yau was struggling somewhat with the chorus in the first half
as the music just failed to come through. One of the saving graces
which deserves mention was the evocative Geteran Jiwa, P.
Ramlee's memorable tune.
Audiences
were nevertheless patient and appreciative of their efforts and
an altogether more acceptable performance was tabled in the second
half. I was thankful I stayed to savour such delights as the resplendent
Sing Sing So, in which the greatest asset of this choir -
the men, made an impact with their heavy duty voices. Other jewels
included the mellow Bhatiyali whose tessitura I found most
suitable in bringing out the best in this chorus. Ignoring William
Lim's disturbing vibrato, this song was captivating and evoked the
feeling of the River of Life. Indeed, this was the best section
in the night's offering - it included the evergreen folk number
which evoked the most emphatic audience response, the arrangement
of Usuli Boat Song. Tian Shui Jiang's heartwarming
tenor boat cry was most suitable in this arrangement and made me
sit up to listen.
At
other times, common problems of intonation and ensemble work variously
troubled The Philharmonic Chorus' offerings. I seriously think this
concert is under-rehearsed. I have heard Tthe Philharmonic Chorus
previously and I believe that they were singing under par tonight.
Nevertheless, this chorus has consistently supported local composers
and tonight, a commissioned work: Ho Chee Kong's arrangement of
Saeya Saeya, a Korean children's song, was premiered. Singapore
composer Leong Yoon Pin's most successful Asian song, When will
the flower bloom?, which this concert takes its name, was also
given an airing.
Supporters
of The Philharmonic Chorus should look forward to the Quatre
motets pour le temps de Noël by Francis Poulenc which they will
be performing in December 1999. This year is the 100th birth anniversary
of the French composer and the Philharmonic Chorus proves itself
capable of interesting and sensitive programming.
NG
YEUK FAN looks faraway to see not the
Gui flower blooming, but two papayas ripening on his papaya
tree...yum.
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Reviewed
467: 28.4.1999 © Ng
Yeuk Fan
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