Thursday, February 7, 2013

Some thoughts on the 'Les Miz' Movie


So I was finally able to catch the Les Miz movie! Unlike Singaporeans which got to see it during Christmas, the movie will only open in Taiwan during CNY holidays. Thank goodness there are still theatres screening it here. By now I suppose everyone who has wanted to see it has already done so and have read all the publicity about it: how all the singing is done live, how wonderful Anne Hathaway was and how much Russell Crowe sucked, so I'm not going to write a review, but here are some thoughts that crossed my mind:

1) Victor Hugo wasn't kidding about the 'Miserables' bit, its not 'Les Somewhat Depressed' or 'Les Having a REALLY Bad Day'. No, these characters are truly as miserable as anyone can be!

2) That cup of teh-peng before the movie was not a good idea. I thought I wouldn't miss much if I made a quick trip to the washroom during Drink With Me, only to return and find Hugh Jackman/Valjean halfway through Bring Him Home. Arggh!

3) The musical director and his team deserve every award they can get for creating a coherent musical soundtrack from all that rhythm-free sprechgesang / speech-singing. A lesser accompanist would have had a stroke if his singer were to pull such tricks with the musical lines as they did.

4) It was wonderful in the way that only a movie version of the musical could be, and every bit as heart-rending (bring tissues). Still the production team has pulled every stop to ensure a classic in the making: investing in huge sets, CGI effects and a truly all-star cast: when even the Thenadiers are played by such marquee names as Helena Bonham Carter and 'Borat' Sasha Baron Cohen, you know the creative team is not doing things half-heartedly.

5a) Now I've already shed enough tears at Fantine's tragic fate over the years, so I wasn't going to get all maudlin this time round (Anne Hathaway is fantastic as always even when playing such diverse but equally iconic roles such as Fantine and Catwoman), but what hit me unexpectedly was the new song for Valjean, in which he ponders his new life as an adoptive father to young Cosette while on the run as a fugitive  Also strangely enough, Do You Hear the People Sing got me quite emotional too, the way everyone starts singing simultaneously, a capella, which then builds up into the great anthem that we are all familiar with.

5b) Fantine had to sell her TEETH!?!? Eeewww!!!

6) Grown-up Cosette is such a bimbotic role! Really her purpose to the plot is simply to fall in love with Marius so that Valjean would save him. Huh!?

6) I love the new arrangement to Stars! It has a subtly sinister quality that gave an edge to Jarvert's 'aria' that wasn't in the original. Too bad Russell Crowe had to croon his way through like a choirboy. This was the only misstep in casting but a great one, since we see Jarvert right from the start of the movie/musical. Someone should have told him that being in a band does not necessarily make you a good singing-actor.

7) Prior to watching I've read that Colm Wilkinson makes a cameo appearance, so throughout the movie I kept wondering where he was and whether I have missed it. And there he was at the very last scene, all decked out in religious wear and ready to welcome Hugh Jackman into the hallowed hall of great Valjeans. He has already made two videos and two recordings of his portrayal so I guess he's not even slightly bitter for not being considered this time round. I read that the original Eponine also made an appearance as one of the whores, but since I don't know who she is I don't really care about that (yeah I admit it! Lea Salonga is the original Eponine as far as I'm concerned).

Here's Anne Hathaway promoting Les Miz on talkshow Chelsea Lately, where she discusses how making the film almost drove her husband crazy, and why she said the 'F' word to Daniel Craig:




Wednesday, February 6, 2013

Off-Broadway Musical - The Last Five Years


This looks like a great minimalist production to check out; an award-winning piece by off-Broadway wunderkind Jason Robert Brown, produced by a new local theatre group Yellow Chair Productions with participation from the composer. Here's more information:


The Last Five Years is a powerful and intimate musical about Jamie (Jonathan Lum) and Cathy (Ethel Yap) who experience the trials and tribulations of falling in and out of love in New York City over the span of five years.

This Drama Desk Award winning musical for Outstanding Music and Lyrics employs a unique storytelling concept of having Jamie telling his story in chronological order while Cathy tells hers in reverse chronological order.

Yellow Chair Productions presents the Singapore premiere of this Off-Broadway musical sensation by Tony Award winning composer, Jason Robert Brown.


Cast:
Jonathan Lum
Ethel Yap

Director:
Mohamad Shaifulbahri

Evening Shows:
Thursday, 14th February - 8pm
Friday, 15th February - 8pm
Saturday, 16th February 8pm

Matinee Shows:
Saturday, 16th February - 3pm
Sunday, 17th February - 3pm

Tickets:
General - $25
Student - $18
Package of 4 General - $88 ($22 per ticket)

We are also having a Special Launch Promotion. A one-time offer of cheaper tickets and it lasts till 1st January 2013!
General - $20
Student - $15

More information available at the Events Page

Sunday, February 3, 2013

Saturday, February 2, 2013

A Chat about the SLO 2013 'Madama Butterfly'


Ah how time flies… it seemed like only yesterday (actually 2004) when I was an innocent young man sobbing away at Nancy Yuen’s portrayal of Butterfly, then only my second experience with the opera (the first was on videotape). Now that I am older and wiser (or just more cynical), the tears just don’t come as fast, but I’m glad to report that this production is an absolute success, with unreserved praise for both leads and the entire cast and crew. So I went online and had a discussion with Hawk, here’s what went down.

(SPOILER ALERT: If you are not familiar with the opera and watching the SLO production is your first experience with it, its best that you skip this review until you’ve seen the show. You can still preview by looking at production pictures on our Facebook Group).


Thursday, January 31, 2013

Interview with Israel Lozano


Because the Singapore Lyric Opera's new production of Madama Butterfly is opening tomorrow, here's more information about tomorrow's Pinkerton, followed by an exclusive interview with The Mad Scene:

Tenor Israel Lozano, from Madrid, Spain, started his studies with soprano Emelina Lopez and tenor Alfredo Kraus. Studying at the Superior School of Music and Queen's Superior School of Music in Spain, Mr Lozano made his operatic debut at the age of 22 as Count Almaviva in Rossini’s Il Barbiere di Siviglia at the National Symphony Auditorium of Madrid. He holds a Graduate Performance Diploma in Opera from Peabody Conservatory where he studied with tenor Dr Stanley Cornett. In 2002/04, he completed the Domingo‐Cafritz Young Artist Program and prepared, covered and sang roles at the Washington National Opera under the artistic direction of Plácido Domingo. Mr Lozano has received support from "La Fundación y Protección del Arte" in Spain.

Lozano sang in a televised gala concert with tenor Plácido Domingo in the Isle of Mainau, Germany, after receiving an unprecedented three prizes (Opera, Zarzuela and Audience Prizes) in the Plácido Domingo International Operalia Competition 2003.

His repertoire includes roles in La Traviata, Manon, L’elisir d’Amore, The Magic Flute, Lucia di Lammermoor, Die Fledermaus, Don Giovanni, La Bohème and Rigoletto, in addition to roles in Zarzuela, a Spanish form of operetta, and he has sung at the Baltimore Opera, Washington National Opera, Los Angeles Opera, Palm Beach Opera, Opera Carolina, Carnegie Hall with the National Symphony Orchestra, Teatro Real in Madrid, Ludwigsburg Festival in Germany, Sarasota Opera, Teatro Liceu of Barcelona, Theater an der Wien in Vienna and Bangkok Opera.



Monday, January 21, 2013

"Voices" by Jayanthi Siva-Lecolley and Michael Corbidge - 1 and 2 Feb 2013

I would like to bring your attention to this production opening on 1 February 2013 at Drama Centre: Voices is a production by local theatre practitioner Jayanthi Siva-Lecolley and British Michael Corbidge, featuring a a cast of artists from many disciplines including the vocalisms of bellepoque diva Sabrina Zuber. More information below:




Jayanthi Siva-Lecolley, Singaporean producer, director and choreographer, together with writer and poet Michael Corbidge, presents VOICES, a dynamic collaboration with 9 other multi-disciplinary artists, coming from Singapore, Australia, Malaysia, the West Indies and Europe, on 1 and 2 February at the Drama Centre, Black Box.

Synopsis

VOICES is an authentic production which explores hybridity with various performing art-forms while integrating traditional and contemporary dimensions, thanks to the presence of 11 artists coming together from very diverse training backgrounds.

Voices is made up of several short journeys, which will be weaved together by a thread, that is the poetic text of Michael Corbidge.

Each story explores and presents the respective artist’s personal perspective of identity and realization in response to the concept of voice. On this collaborative platform, these professionals play and devise their ideas, together with director Jayanthi, and take on the challenge of juxtaposing surrealism and naturalism on the same stage.

The stories told are about a woman whose voice is lost due her circumstances, a man and his encounter with the voices that are judging him, a young man and his head full of voices from the past, present, future and his dead wife, a ‘clairvoyant’ woman confused by the voices she hears and the voice of a Mother and the cries she hears.

A segment of Voices has been invited to both The Castlemaine State Festival and Queesnland University of Technology in March 2013.

The Cast
The uniqueness of this production is the involvement of a multi-disciplinary and multi-ethnic cast, with artists coming from Singapore, Australia, Malaysia, the West Indies and Europe. Voices adds an additional layer of diversity with the inclusion of various languages in the performance, including French and Italian.
Conceptualized and directed by Jayanthi Siva-Lecolley (Singaporean), written by Michael Corbidge (British), in collaboration with:
• Bhagya Murthy (Singaporean) – Indian Classical Vocalist
• Sabrina Zuber (PR-Italian) – Opera Singer/Actress
• Pavan J Singh (PR-Malaysian) – Movement Artist/Actor
• Sharon Frese (British) – Actress
• Hayley Gerrard(Australian) – Dancer/Actress
• Quentin Bernard (French) – Actor
• Sara Lenzi – (Italian) Sound Designer
• Marco Galardi (Italian) – Sound Designer
• Bill Fisher (Australian/British) – Technical Director/Lighting Designer

Fast facts
Title: VOICES

Date: 1 and 2 February 2013

Venue: Drama Centre, Black Box

Time: 1 February: 8pm
2 February: 3pm and 8pm

Duration: 70 minutes (with no intermission)

Ticket price: 25S$ /18S$ (for students with passes, senior citizens and NS men)

Tickets
available at: Ticket Booth Hotline: 6296 2929
www.ticketbooth.com.sg

Saturday, January 19, 2013

Interview with Mako Nishimoto


In the first part of our two-part SLO Madama Butterfly exclusive, we bring you an exclusive interview with Japanese soprano Mako Nishimoto, an outstanding young Japanese soprano who will bring her unique take of the role to Singapore. Here's more information about her:
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Mako Nishimoto was born in Shizuoka, Japan. From her  childhood,  she  received  training  in  a  wide variety  of  musical  instruments  and  she  completed  her  Bachelor’s  and  Master’s  degrees  in  Vocal 
Performance  at  the  Musashino Academy  of  Music, where she graduated at the top of her cohort. 

Mako  was  First‐Prize  winner  of  the  56th  Student Music  Contest  of  Japan,  and National  Champion of both  the  Tuzuki  Music  Awards  and  the  NHK awards. 

She  has  portrayed  a  variety  of  roles  such  as Susanna in Le  Nozze  di Figaro,  Donna  Anna  in  Don 
Giovanni, Fiordiligi in Così fan tutte, Adina in L’elisir d’amore,  Mimì  in  La  Bohème,  Liù  in  Turandot, Angelica  in  Suor  Angelica,  Giorgetta  in  Il  Tabarro,  Nedda  in  Pagliacci,  Térèse  in  Le Mamelles de Tirésias and Micaëla in Carmen

Her  solo  symphonic  repertoire  comprises  major  works  such  as  Vivaldi’s  Gloria, Händel’s  Messiah,  Haydn’s  Missa  in  Augustinis,  Mozart’s  Requiem,  Beethoven’s  9th Symphony, Schubert’s Messe in G‐dur and Mendelssohn’s Lauda Sion