Concert review: SCO’s Metamorphosis a harmonious celebration of SG60

Metamorphosis

Singapore Chinese Orchestra
Singapore Conference Hall
July 19, 7.30pm

The Singapore Chinese Orchestra’s (SCO) opening concert for the 2025/2026 season, led by principal conductor Quek Ling Kiong, was a celebration of SG60. Sixty years of Singapore’s nation-building were premised on a multicultural identity and social harmony, all represented in this concert.

The evening opened with SCO composer-in-residence Wang Chenwei’s Lion City Rhapsody, a modern look at the baroque concerto grosso. Its concertino group of soloists played 14 different instruments and covered the five Chinese dialect groups in Singapore, each with its own distinct colour.

Its infectious and kinetic energy founded upon the Nanyin classic Trotting Horses culminated in a greeting for National Day in Hokkien, Teochew, Cantonese, Hakka and Hainanese.

Of a more descriptive nature was Chen Si’ang’s The Grand Canal, which began quietly with serene scenes of quaint river towns on the 2,500-year-old water system. Working itself into a big climax as it empties into the great Yangtze and Yellow Rivers, the quasi-cinematic work was symbolic of longevity and endurance.

Former SCO composer-in-residence Law Wai Lun’s The Stories Of Singapore highlighted landmarks in the nation’s history as viewed in the pages and photographs of local Chinese-language newspapers.

The accompanying images to the music’s optimistic and self-congratulatory tone have been updated to include defeating the Covid-19 pandemic and the ascensions of Prime Minister Lawrence Wong and President Tharman Shanmugaratnam.

There were two concertante pieces, both featuring Young Artist Award-winning percussionists.

India-born tabla player Nawaz Mirajkar was soloist in his Soul Of Damaru, a raga-based work where he performed on six tablas. The hypnotic spell generated was most magical when heard in counterpoint with Benjamin Boo’s xylophone.

A quite different atmosphere came with Riduan Zalani helming no less than eight frame drums (including tambourines) in Taiwanese composer Chang Yung-chin’s Within And Beyond. In its sequence of increasingly exuberant dances, there were spots for ad libbing and even audience interaction, which kept the episodic work edgy and absorbing.

Then came the world premiere of Wang’s Converging Resonances, which commemorated 60 years of the Singapore Conference Hall’s history. Its metamorphosis from National Trades Union Congress headquarters to SCO’s performing home unfolded in the form of a passacaglia, an inventive series of short variations on a ground bass.

While its inspiration came from Johannes Brahms’ Fourth Symphony, the immaculate execution with numerous instrumental solos was wholly Chinese in character and feel.

Closing the concert was Felix Phang’s Pasat Merdu, translated as “melodious marketplace”, another concerto grosso-like work where diverse cultures and ideas are welcome. This adaptation by Germaine Goh for Chinese orchestra placed four members of The Straits Ensemble – Govin Tan (tabla), Nizar Fauzi (rebana), Azrin Abdullah (oud) and Phang (double bass) –  centre stage in a raucous and colourful melange.

This and the encore of Tamil song Iyarkaiyin Kaatchi, which included guest-of-honour President Tharman in a clap-along, were enjoyable reminders that multiculturalism in harmony is what makes Singapore tick.