A fascinating rehearsal directed by Eddie Yap

A rehearsal can be more fascinating and illuminating than the actual performance itself. Upon my request, Eddie H. Yap, financial wizard and astonishing authority on classic music, sent me a report on the final rehearsal of the JSSP Opera Ball concert which he had imaginatively conceptualized and directed. Here is his account, condensed.

For the first time, Rachelle Gerodias sang in the original German Guidita’s aria “My lips kiss with such fire” and “Love Unspoken” from The Merry Widow, both by Lehar. With some gentle urging and encouragement from me, Rachelle gamely agreed to learn both arias in German although they were not in her repertoire. This, to me, is a credit to her professionalism and a reflection on her admirable dedication to music.

Maestro Hoetzl kindly offered his wife Marianne to coach Rachelle on her German diction, proper enunciation providing authenticity to the rendition of both arias.

As Guidita is a passionate, fiery woman who takes up with an Army captain, Rachelle agreed to wear a long gown with a low-cut neckline. With that and her curly tresses, Rachelle really looked her role, giving life to the waltz aria, singing in a provocative manner, confidently rendering the beautiful melodic lines in impeccable German. Her swirling skirt accentuated her movement as she swayed and danced while singing. You know my style. Whenever appropriate, I urge the singers to move rather than be stationary as they are in a recital.

For “Love Unspoken”, I took advantage of the presence of Andrew Fernando, a superb baritone now US-based. I requested him to sing the role of the male suitor to give the audience a baritone version of this romantic Lehar duet. Lemuel, who is such a kind person, agreed instead to take the part of Rodolfo in the duet with Mimi (Rachelle) — O Soave Fanciulla (“Oh, sweet little lady”) from La Boheme.

Andrew easily executed directions. “Love Unspoken” being a courtship song, I had him draw close to Rachelle, looking over her shoulder lovingly. From his conductor’s stand, Hoetzl smiled approvingly, saying with great encouragement, “Yes, of course!” With such urging, the duo flawlessly portrayed their roles.

Marianne Hoetzl’s flute solo, generously offered by her husband, provided a tender, enjoyable break.

Rachelle and Lemuel were the perfect lovers Mimi and Rodolfo (La Boheme). To me, the poignant and defining moment in the courtship is when Mimi overcomes her resistance and succumbs to Rodolfo’s entreaties of love. Rodolfo, with an endearing smile and encouraging wink, holds out his arm to his piccina, Mimi, saying: Dammi il braccio, mia piccina, to which she responds Obbedisco, signor! (No translation needed. R.L.O.)

Guess how the duet ended? Before the concert I asked JSSP President Olga Martel to choose between two possible endings. As expected, she chose the kiss, which was my own preference, with Rodolfo and Mimi kissing instead of drifting off the stage, their voices trailing behind them as they do in the opera.

The concert concludes with the drinking song Brindisi. Champagne glasses in hand, members of the ensemble leave the microphones, approach and sing directly to the audience.

This finale was consistent with the theme I chose (with the board’s approval) — a celebration of life, love and romance. Hence the concert opened with the “Champagne Song” from Die Fledermaus, the three singers alternately facing the microphone to sing his/her solo, ending on a high note as an ensemble.

“With her peace” from Mozart’s Don Giovanni was a last-minute replacement for “Why Wake Me” from Massenet’s Werther. Hoetzl told me he looked forward to playing Massenet but some parts of the score in the PPO library were “missing”. He probably was not aware that in our country we can easily borrow or rent music scores. That aside, Lemuel interpreted “With her peace” very well, the pianissimos delicately sung. A concert hall audience, without the noise in a dinner setting, would have better appreciated the aria.

Before her untimely demise, Chit Gohu, who was in the program committee with me, made clear that although the Opera Ball is of Viennese origin, it has evolved since the 1930s, and the prevailing view (mine included) is that no strict formula governs it; it should merely reflect Viennese culture. In fact the 2009 Opera Ball in Vienna had O mio Babbino caro (Oh, my beloved papa) from Gianni Schicchi by the Italian Puccini.

How I wish Chit had lived to see her wish — and mine— granted! The widely diverse concert consisted of best-loved classical music by Austrian and Italian composers — and French, too, if Massenet had not been replaced.