There’s an old expression amongst white wine lovers that the last glass of white wine constantly tastes the very best. While this might or might not hold true, the entertainers at the current performance at Ben’s Theater, to my mind a minimum of, definitely conserved the very best till completion. The entertainers consisted of 5 trainees of Teacher Nancy Tsui-Ping Wei, voice instructor at the College of Music, Mahidol University. They’re likewise members of Nancy’s Voice Studio in Bangkok and their program included eighteen products, the majority of them arias from popular operas.
The performance started with a duet for soprano and mezzo-soprano, explained in The Grove Book of Opera as “among the world’s most popular tunes”; the Barcarolle from Offenbach’s opera “The Tales of Hoffmann”. A barcarolle is a serenade generally sung by Venetian gondoliers or in this case, a tune made up because design. Pichamon Mookmaneekun (Kaimook) and Chanakan Amarangkun (Midday) provided a beautiful lilting efficiency with great singing mixing, efficient close consistency and safe and secure articulation.
Midday was signed up with by Jatuphol Nuanjan (James) for the Mozart duet Là ci darem la mano from “Don Giovanni” in which both vocalists showed exceptional stage-presence, audience-contact and characterization. Jatupol Pinthip (Ohm) has actually sung at Ben’s Theater in the past however I discovered that his design and self-confidence have actually established immensely ever since. The tune he selected, Mattinata (” Early Morning”) by Leoncavallo is intriguing traditionally, due to the fact that it was the first-ever tune composed specifically for The Gramophone Business (the contemporary EMI). Made up in 1904, it has actually considering that ended up being a preferred performance piece for tenors. Ohm provided an engaging efficiency with an excellent vibrant variety and exceptional stage-presence.
Mozart’s Caro mio Druck und Schluck is a comic tune for 4 voices from 1789. Approximately equated, the macaronic title indicates– rather suggestively– “My dear, capture and sip”. The vocalists provided a well-dramatized efficiency with great ensemble singing in which Kaimook was superb, while Ohm and James supplied an entertaining double-act. Rossini’s La Regata Veneziana (” The Venetian Regatta”) is an entertaining duet in which the 2 vocalists are viewing a boat race. Lila and Midday provided a wonderfully animated and well-staged efficiency. Their singing was flawless– great diction, a sense of ensemble and a complete series of characteristics. I was likewise impressed with the efficiency of Mozart’s Soave sia il vento (” Might the wind be mild”) from Act I of the opera “Così fan tutte” in which the 3 vocalists want the leaving soldiers safe journeys as their ship sails. Carried out by Kaimook, Lila and James, their voices mixed magnificently and their articulation was spot-on. James sang the rather challenging baritone part especially well.
Author Francesco Tosti is popular for his tunes and he’s an interesting person in his own right. In 1875 he took a trip from his native Italy to London. There he joined the cream of English society and was singing master to the Royal Household. He ended up being friendly with King Edward VII who later on honoured him a knighthood. Tosti’s tunes were significantly popular in Britain at the time. Midday and Ohm provided a meaningful and delicate efficiency of the lovely La Serenata and truly highlighted the lyrical quality of the music. Lila provided a meaningful efficiency of Claude-Michel Schönberg’s tune I Dreamed a Dream from “Les Misérables” and her phrasing, articulation and existence were good. She had plainly put a good deal of work into this tune, however I felt it required a bit more forecast.
Throughout the performance, the piano accompaniment was supplied by Siri Sranoi (Kwan) who had fun with exceptional ability, level of sensitivity and outstanding musicianship. I was advised of the British accompanist Gerald Moore, whose 1962 book entitled “Am I too loud?” shows a continuous issue of the accompanist. Often, the piano part is not a simple “backing-track” however an important part of the music however when you’re playing a digital piano with the speakers dealing with far from you, it’s tough to evaluate the relative volume. I felt that Siri’s superb playing was typically not loud sufficient More volume may have assisted the vocalists too, due to the fact that they count on the repaired pitch of the piano as a referral. However, Siri’s playing was excellent throughout with a great sense of design. He studied at the College of Music, Mahidol University, there he finished with both Bachelor’s and Master’s degrees and he’s presently a full-time collective pianist there.
The vocalists likewise study at the College of Music of Mahidol University and have actually currently won rewards for their accomplishments. Both Kaimook and Midday started research studies there in 2019. Lila was born in Washington U.S.A.. Later on, she studied viola however is now in her 2nd year at Mahidol studying singing efficiency. Ohm is from Rayong and very first studied saxophone prior to he began concentrating on voice. James initially studied classical trumpet however in 2020, moved his significant to singing efficiency.
The 2nd half of the performance started with among those tunes that everybody acknowledges however couple of can call the author. The tune was O Sole Mio (” My Own Sun”) composed in 1897 by the Neapolitan author Eduardo di Capua. Carried out by the complete ensemble, there was a common sense of design though the louder areas struck me as a bit over-dramatic. Lila and Midday provided a remarkable efficiency of Sous le dôme épais, much better called the “Flower Duet” from the 1883 opera “Lakmé” by Léo Delibes. The duet is sung by Lakmé and her servant Mallika as they go to collect flowers. In Britain it attained popularity in the 1980s thanks to its usage in British Airways tv commercials. Lila and Midday sang magnificently with a convincing phase existence. Kaimook was exceptional in Es lebt’ eine Vilja from Franz Lehár’s “The Merry Widow” in which the off-stage vocals included a touch of drama.
Paul Abraham’s operetta “Victoria and Her Hussar” was very first carried out in 1930 and the tune Goodnight is a bitter-sweet tune, offered a delicate and thoughtful efficiency by Lila and Ohm. The voice-blending was ideal and Lila appeared at her finest in this piece.
Throughout the 2nd half of the performance, there were numerous minutes when the vocalists’ articulation was insecure, particularly in the louder ensemble passages however his might have been just due to tiredness.
Ohm sang La donna è mobile, that popular display for tenors from Verdi’s “Rigoletto”. Verdi needs to have understood he had a prospective hit on his hands due to the fact that the aria was practiced in overall secrecy. Ohm provided a passionate efficiency with great diction and a sense of design, which likewise came through in his singing of Lehar’s Lippen Schweigen (” Quiet Lips”) later on at night. Lila and Midday showed superb ensemble singing in their well-dramatized efficiency of Humperdinck’s Sandmännchen und Abendsegen from “Hänsel und Gretel”.
The last product on the program was the popular drinking tune Brindisi from Verdi’s “La Traviata”. Carried out by 4 of the vocalists, it was an energetic efficiency which created passionate applause from the audience. Throughout the night, I could not assist seeing that the louder the singing, the louder the audience praised, which should suggest something, though I am not totally sure what.
For the repetition, the complete ensemble carried out the wistful tune Sure on this shining night composed in 2005 by the American author Morten Lauridsen. It’s a tranquil, ageless setting of a reflective brief poem by James Agee. The efficiency was moving, mentally charged and completely determined with outstanding ensemble singing. For me a minimum of, it was among the highlights of the whole night.