New Dam Helps Farmers Shake Off Poverty

Exquisite Opera “Mae Naak” captures the exoticism of Thai culture.

Thanks to the efforts and abundant energy of Somtow Sucharitkul we now have our own Thai operas that reflect our cultural identities, even though they are written and sung in English. Moreover, Somtow's operas are not just elite revelries; they can be enjoyed by the general public.

"Mae Naak", Somtow's latest operatic offering was performed over three nights from January 6 to 8 at the Thai Cultural Centre, by the Bangkok Opera Foundation.

While his previous piece, "Madana", dealt with heavenly and mythological components, "Mae Naak" involves ghosts and folktales. Both these operas are not just adaptations of well-known stories but also tales of unfulfilled romance. While "Madana", originally penned by King Rama VI, follows in the footsteps of Indian myths, "Mae Naak" is based on events that took place in Pra Khanong district almost 200 years ago, and is very Thai.

Somtow's "Mae Naak" is entertaining to Thais and perhaps intriguing to international audiences for its exoticism. Thai audiences enjoyed the haunting scenes of the famous Mae Naak ghost while westerners were captivated by the combination between the spooky tale and the western musical score. The three act opera is easy-to-digest. It is not high art but a popular piece, which can even be enjoyed by youngsters.

The opera does not follow the classical pattern of musical and lyrical composition, but is rather experimental and contemporary. The sweet serenades are reminiscent of Gershwin's melody lines.

Still, Somtow being Somtow, he doesn't obey any artistic convention.

He is always ready to switch melodic phrases abruptly from one emotion to another. Unfortunately, apart from the music the production is badly flawed.

Sumet Jumsai na Ayudhya's set design is based on the German expressionist movie "The Cabinet of Dr Caligari" - relying heavily on red and green. However, without supplementary colours and a sophisticated lighting design, the stage looked rigid and was lacking in visual diversity. Sound was another area that did no service to the production, particularly in terms of the balance between the voices and orchestra.

The cast brings together professional, amateur, and multinational artistes. The loudest applause must go to Nancy Yuen for the perfect portrayal of her role. Her amazing vocal range had the audience spellbound. This Hong Kong-born soprano can accomplish high and low pitch within the same phrases, which Somtow specifically composed for her.

Ralph Schatzki should be appreciated for his enthusiasm and spirit in joining this production. Nevertheless, his ageing physical appearance is at odds with the young hero of this romantic tragedy. At least, his grey hair could have been dyed black.

Frankly speaking, without Somtow and Nancy, this production is at the level of community theatre.

However, this quasi-amateurish performance should be seen as an impressive stepping stone to a more advanced and professional level.

The production foreshadows the coming collaboration between opera artists in the region whom Somtow has invited to join his alliance.

Their Tosca production, scheduled for the end of 2003, will be undeniably a major event. Sadly, most of the leading vocalists are foreigners. We can only hope that the Thai children behind the chorus lines in this production will one day become opera singers in their own right. Thailand used to have Chinese opera sung in Thai libretto many years ago. Why doesn't Somtow compose a Thai version?

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Adding a touch of regional flavour to the recent performances of “Mae Naak – A Love Story” was the heartfelt singing of Vietnamese opera singer Nguyen Bich Thuy.

“Both my parents were soldiers, so I love revolutionary and pre-war songs, as their singing technique is a bit similar to operas,” says the 24-year-old.

Thuy continued to stretch her singing range with the show at the Bangkok Opera Centre, which fused Western rock and pop influences with classical Asian opera styles.

“However, arias in the show do not require as difficult as singing technique as in classical opera. Plus, I listen to pop and rock music so I have a good understanding about these genres,” she says. “It’s difficult, but I think I can do it.”

As the show is also a musical, Thuy was able to test both her dancing and singing skills.

“I found the temple dancer a difficult role because I had not taken any dance lessons, but instead listened to the choreographer’s guidance,” says Thuy, who won the first prize at the Asean Opera Competition in Bangkok last October.

And she is still in training. Thuy is a fourth-year student at the Hanoi National Conservatory’s Vocal Music Department. She entered the Hanoi Conservatory in 1995, and has remained committed to her love for opera by the guidance of her teacher, My Binh.

She is now studying under the guidance of a People’s Artist, professor Trung Kien, who is helping Thuy focus on classical masterpieces.