Latest news with #VictoriaConcertHall
Straits Times
28-06-2025
- Entertainment
- Straits Times
Concert review: Kyoko Hashimoto's recital a masterclass in sound, colour and nuance
Pianist Kyoko Hashimoto played at the Victoria Concert Hall on June 27 as part of the Singapore International Piano Festival. PHOTO: CLIVE CHOO 31st Singapore International Piano Festival: Kyoko Hashimoto In Recital Victoria Concert Hall June 27, 7.30pm Japanese pianist Kyoko Hashimoto, originally listed to perform at the Singapore International Piano Festival in 2022 but had to cancel because of Covid-19, finally made her belated debut here. Her recital, comprising mostly short 20th-century works and reminiscent of Frenchman Pierre-Laurent Aimard's recital in 2023, was a revelation. The first half was wholly devoted to preludes by French composers, beginning with three of Gabriel Faure's Nine Preludes (Op. 103) dating from 1909 to 1910 . The rarity of these miniatures was matched by the masterclass of sound, colour and nuance provided by Hashimoto. Late Faure is elusive because of chromaticisms and paucity of outright melody, but she made one listen with intent. Following these, three of Olivier Messiaen's Eight Preludes ( 1928 to 1929 ), each carrying descriptive French titles, became far less forbidding. These were essentially extrapolations of Claude Debussy's sonic palette into the future, and with the imagination piqued, Instants Defunts (Departed Moments) simply evoked sorrow and regret. Bell-like registers and frequently altering rhythms in Les Sons Impalpables Du Reve (Impalpable Sounds Of A Dream) were made to sound catchy and inviting, while Cloches D'Angoisses Et Larmes D'Adieu (Bells Of Anguish And Tears Of Farewell) took hurt feelings and frazzled emotions to another level. The selections from Debussy's First Book Of Preludes (1909 to 1910 ) were the evening's most familiar music. Most impressionist and atmospheric was Sounds And Scents Mingle In The Evening Air, its feel of mysticism contrasted with the infectious tarantella rhythm of The Hills Of Anacapri. The build-up for The Engulfed Cathedral was epic in Hashimoto's hands, while The Dance Of Puck provided moments of comedy which considerably lightened the proceedings. The recital's second half opened with Japanese composer Toru Takemitsu's most famous piano work, Rain Tree Sketch II (1992), composed in memory of Messiaen. Hashimoto's very deliberate approach to this tribute strongly aligned with the earlier idioms encountered. Coming as a jolt to the system was iconoclastic French modernist Pierre Boulez's 12 Notations (1945), atonal aphorisms 12 bars long and each lasting less than a minute. Extremes of dynamics were exploited, including fists slamming clusters on the keyboard, all guaranteed to shock but not long enough to cause lasting offence. All this made Polish composer Karol Szymanowski's early Etude In B Flat Minor (Op.4 No.3) sound old-fashioned which, like Sergei Rachmaninov's Prelude In C Sharp Minor (Op.3 No.2), chagrined the composer with its over-popularity. The recital's only extended and earliest work was Russian Alexander Scriabin's First Sonata In F Minor (Op. 6) from 1892 . Hashimoto was the ever-resourceful guide through its four movements, which headed inexorably to ultimate tragedy, with a plodding a funeral march as its conclusion. The pleasing symmetry forged with American pianist Kate Liu's performance of Frederic Chopin's Funeral March Sonata the previous evening was purely coincidental. Hashimoto's two encores provided pure respite: the lyricism of Scriabin's Prelude In C Sharp Minor (Op.11 No. 9) and melancholic lilt of Chopin's Mazurka In A Minor (Op. 17 No. 4). Join ST's Telegram channel and get the latest breaking news delivered to you.
Vogue Singapore
19-05-2025
- Entertainment
- Vogue Singapore
Grace Roberts on growing up in Singapore and playing Christine Daaé in the ‘The Phantom of the Opera'
When The Phantom of the Opera arrived on our shores earlier this month, it was a homecoming for Grace Roberts. While the musical theatre performer is British, her family moved to Singapore when she was six weeks old, and she spent the first 18 years of her life growing up in the city. It was also here that she first started doing theatre. 'I started out doing choir when I was younger, and started to do plays and musicals when I was old enough to audition at school. I also took part in school concerts at the Victoria Concert Hall and the Esplanade when I was in junior and senior school. I honestly thought those amazing buildings were something else, and it was an incredible introduction to theatre,' she thinks back fondly. Grace Roberts plays Christine and Ben Forster plays the Phantom for the Singapore run of the musical. Courtesy of Base Entertainment Asia As she returns to Singapore this time, it is in one of the most beloved and iconic roles in musical theatre: Christine Daaé, the beautiful soprano that becomes the obsession of the mysterious musical genius that haunts the Paris Opera House. In the midst of the sheer grandeur of the musical—the swelling score, the magnificent costumes and the unbelievably spectacular sets—Christine is the show's tender heart, and it is a role that Roberts is absolutely magnetic in. From her quiet bravery to her deep compassion, Roberts brings a depth to Christine that turns an already technically brilliant performance into one that feels like a revelation. Here, she opens up on discovering her love for theatre, stepping into the role of Christine and what it has been like to perform in the place where she grew up. Grace Roberts as Christine Daaé. Courtesy of Base Entertainment Asia When did your love for theatre begin? Is there a particular production that inspired your decision to go into musical theatre? I've loved theatre since I was a little girl. My grandmother introduced me to films like Seven Brides for Seven Brothers , Carousel , and Oklahoma! when I went to visit and we'd play everything on loop. I also vividly remember watching a taped version of Joseph and the Amazing Technicolor Dreamcoat on VCR and being totally enthralled when I was about five. So I was introduced to music and theatre through film pretty early, but I'd say the major turning point was seeing Wicked when I was around 11. I was just taken aback by the sheer scale of it all, and I knew I wanted to be involved with something as magical as that. What is it like to perform back here in the place where you grew up? I can't really describe how special it is. I've always wanted to perform in Marina Bay Sands, and being able to stand on that stage is quite incredible. It's also amazing to have my parents able to see me perform in such an iconic Singapore landmark. It's really a combination of things that makes this so incredibly special. 'Masquerade' in The Phantom of the Opera . Courtesy of Base Entertainment Asia What was your introduction to The Phantom of the Opera? I've known the music for years . I was introduced to the music when I was much younger, but I didn't see the show until it came to Singapore in 2013. I watched Claire Lyon as Christine and Brad Little as the Phantom, and I was just mesmerised by the production value and the incredible music. As soon as the chandelier rose, I just knew it was something I had to do one day. What about Christine's character were you most drawn to? I love how compassionate she is, but I also appreciate how brave the character is. Although she's a woman living in the Victorian era, she's incredibly headstrong and resilient. I like to think that she's seriously ahead of her time and is somewhat constricted by the period she's living in. What is the most challenging part about playing Christine? I'd say the sheer amount of stage time. I'm quite lucky that Christine is in my wheelhouse vocally, so I don't find the singing too challenging. However, Christine just doesn't really leave the stage, especially in act two. Having enough stamina and fitness to keep up with the role is something I had to find quite early on in my journey. Grace Roberts as Christine in 'Wishing You Were Somehow Here Again'. Courtesy of Base Entertainment Asia What has it been like to perform alongside Ben Forster as the Phantom and Matt Leisy as Raoul? It's wonderful, I absolutely adore them both! They bring such life and uniqueness to the roles, and it's truly a pleasure to work alongside them every night. We're having the time of our lives up there. Do you have a favourite scene or song to perform in the show? I love doing the graveyard scene—that's 'Wishing You Were Somehow Here Again' through to 'Wandering Child'. I find that it's incredibly layered, and it's the culmination of everything Christine has learned in the show so far. It gives her some resolution and direction to take her through the rest of the show. Do you have a dream role you would like to play in the future? I'd absolutely love to play Glinda from Wicked . It's the only other role on my theatre bucket list, aside from Christine. The Phantom of the Opera runs until 22 June 2025.
