In The Media

Sunday Star, 9 April 2000
World-class treat for choral music lovers
By Veronica Shunmugam

THE Arena Stars at the Genting Highlands Resort recently played host to a gathering of children’s choirs. These were the Tarcissian Convent Choir (TCC) from Perak, the Prague Philharmonic Children’s Choir (PPCC) of Czechoslovakia and Malaysia’s very own Operafest Children’s Choir (OCC). As the latter two are choirs of world class standing, the event was rare opportunity for choral music lovers.

The TCC, comprising 35 secondary schoolgirls under the guidance of Suzanna Saw, presented a varied repertoire of easy listening tunes. These ranged from a medley of English folk and Malay patriotic hymns to jazz compositions.

The most impressive performer was the choir’s pianist who played with confidence. She handled varying tempos and layered verses of pieces like Waltzing Matilda with a skill that outshone the other musicians.

Her stagemates rendered an entertaining mix with clear diction. However, breathy delivery indicated the need for improvement in voice support, polishing in tone and a focus for sustained alertness that would have ensured an energetic performance till the final jazz scores.

The Prague Philharmonic Children’s Choir, conducted by Professor Jiri Chvala, was next on stage. It became immediately clear why they were considered a world-class choir.

With a similar number of singers, which included two boys, their performance had support, volume and a resulting intensity.

Understandably, they had a better pick of sopranos and a range of abilities that allowed for steady as well as vibrato phrases.

Theirs was a wide repertoire ranging from linear melodies of Korean folk to the call-and-respond traditionals of South Africa.

Through these songs, the young Czech singers displayed an impressive ability to sing double notes as well as discordant highs, apparent in yodeling phrases, which are a feature of their country’s traditional tunes.

They also sang B. Jayatilaka’s four-part arrangement of Chan Mali Chan. Here, their exactness in dynamics was admirable.

It was not surprising, though, since they were accompanied by pianist Bozena Kronychova whose skill showed as she balanced even her most difficult notes so that they did not drown the choir.

Nevertheless, the PPCC lacked expression in their singing. It seemed that they lacked an understanding of their repertoire’s largerly foreign lyrics.

Outshining them, especially in the showmanship department, were the Operafest Children’s Choir. Marching in, these petite singers never halted in choreographed movements and formations that made full use of the stage, their voices holding steady throughout.

Considering their ages and build, this was a feat.

The OCC sang excerpts from their recent performance of Sigmund Romberg’s The Student Prince.

In tribute to Mario Lanza, they sang the challenging Serenade. Accompanied by pianist Khong Choy Yuet, a student of Professor Snezana Panovska, OPC gave inspiring performances of Mascagni’s prayer excerpt from Cavaliera Rusticana and the patriotic Catalan National Song.

As the choir had a near equal number of basses and tenors next to altos and sopranos, they had by far the best vocal variety that was spice to their performance.

There was a balance and clarity to their voices that reflected the dedication of their conductor Kam Sun-Yoke and patron Datuk Siew Nim Chee.

The OCC’c performance was then fitting end to an impressive concert of children’s voices.