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singaporeair.com First performed on 29 October 1797, Prague, Czech Republic Libretto by Lorenzo Da Ponte

Produced by the Singapore Lyric Opera Artists’ Training Programme

Initiated by the Artistic Director Nancy Yuen in 2016, this performance-based artists' training programme supports the artistic development of talented young singers and provides opportunities for them to hone their skills and gain experience on the professional stage in Singapore.

They have access to coaching in languages, stagecraft and vocal techniques, and weekly rehearsals on popular operatic excerpts chosen by the Artistic Committee, and access to master classes by visiting artists. To date, members of the ATP have appeared on the main stage of the Esplanade Theatre and Victoria Concert Hall as well as performing in many educational outreach programmes as soloists and as members of the ensemble, bringing opera excerpts and songs to unconventional places like the National Library, Esplanade Concourse, Our Tampines Hub amongst others. The singers receive regular coachings by Nancy Yuen and Jessica Chen with assistance from répétiteur Aloysius Foong. In 2019, they performed a 90 minutes Abridged Version of Mozart’s Le Nozze di Figaro at the Victoria Concert Hall to much critical acclaim.

Sung in Italian with English and Chinese surtitles

An approximately 90 minutes Abridged Version with no intermission. Late-comers will only be admitted at suitable breaks.

Please remember to switch your devices to silent mode. Only non-flash photography is allowed. The Singapore Lyric Opera (SLO) is the Patron - in - Chief flagship company of western opera in Mr S R Nathan Singapore. As the longest established (2007 - 2016) in this sector of the Arts, we engage renowned international and local Patron performers and musicians under our Dr Ng Eng Hen repertoire. We aim to promote and Minister for Defence present western operas and concerts not frequently performed in Chairman Asia-Pacific for communities from all Toh Weng Cheong walks of life in Singapore. Board of Directors Lee Suan Hiang Arthur Fong SLO strives to contribute to the Hiroshi Kimura development of the opera scene in Evelyn Sam Singapore by playing a key role in Rolv Stokkmo identifying, encouraging, developing and nurturing current and future Artistic Director generations of young artists and other Nancy Yuen musical talents. SLO also champions the professional growth of Company Secretary production and technical personnel, Steven Luk by whom a performance’s foundation is rooted. Auditor KPMG

Build and present a repertoire of works Solicitors that will expand the length and Low Yeap Toh & Goon LLP breadth of the company artistically, yet immerse the audience in the Management expanding aesthetics of western theatrical interaction, without Manager compromising the artistic integrity Gena Ng and passion rooted in the heart of SLO. Administrative Executive Jamaliah Zin

Marketing Executive Ho Chi Shuan

Production Executive Tan Jia Hui ACKNOWLEDGEMENTS The Singapore Lyric Opera Limited is supported by the National Arts Council under the Major Company Scheme for the period from 1 April 2020 to 31 March 2021.

WITH SUPPORT FROM

OFFICIAL AIRLINE OFFICIAL CREDIT CARD

Donors to the Opening Night | Friday, 12 March 2021 Dorothy Chan Multimetal Resources (Pte) Ltd Resorts World at Sentosa Pte. Ltd Tan Kong Piat Pte Ltd PRODUCTION CREDITS

Nancy Yuen Vocal Coach

Jessica Chen Vocal Coach

Tang Xinxin Director

Mirabel Neo Stage Manager

Andrea Ee Jia Jie Assistant Stage Manager

Theresa Chan Seamstress

Aloysius Foong Piano Accompanist

Chan Kai Song Surtitle Operator & Translator Daniel Fong Zhang Jie Jonathan MacPherson Don Giovanni Donna Anna Don Ottavio

William Lim* Chieko Sato David Tao Commendatore Donna Elvira Leporello & Masetto

Joyce Lee Tung** Wang Tong*** Zerlina Zerlina

* GUEST APPEARANCE

** FRI, 12 FEB 2021, 8:00PM *** SAT, 13 FEB 2021, 8:00PM First performed on 29 October 1797, Prague, Czech Republic Libretto by Lorenzo Da Ponte

Produced by the Singapore Lyric Opera Artists’ Training Programme

Initiated by the Artistic Director Nancy Yuen in 2016, this performance-based artists' training programme supports the artistic development of talented young singers and provides opportunities for them to hone their skills and gain experience on the professional stage in Singapore.

They have access to coaching in languages, stagecraft and vocal techniques, and weekly rehearsals on popular operatic excerpts chosen by the Artistic Committee, and access to master classes by visiting artists. To date, members of the ATP have appeared on the main stage of the Esplanade Theatre and Victoria Concert Hall as well as performing in many educational outreach programmes as soloists and as members of the ensemble, bringing opera excerpts and songs to unconventional places like the National Library, Esplanade Concourse, Our Tampines Hub amongst others. The singers receive regular coachings by Nancy Yuen and Jessica Chen with assistance from répétiteur Aloysius Foong. In 2019, they performed a 90 minutes Abridged Version of Mozart’s Le Nozze di Figaro at the Victoria Concert Hall to much critical acclaim.

Sung in Italian with English and Chinese surtitles

An approximately 90 minutes Abridged Version with no intermission. Late-comers will only be admitted at suitable breaks.

Please remember to switch your devices to silent mode. Only non-flash photography is allowed.

Director’s Notes

Is there anything else that cannot be achieved through Mozart’s music? Don Giovanni premiered at Prague in 1787 was a huge success, with some critics even hailing it as the finest work of all time, making it one of the masterpieces in the operatic repertoire.

Most operas are all about love and that is no exception from Don Giovanni. However, Mozart turned this into a whole new perspective with Don Giovanni, a character full of charisma, fearless, wily, contemptuous of religion, and never repent. In Mozart's days, even at Moliere's, Don Giovanni’s personality was extremely unacceptable in the society. Ironically, it depicts that everyone had this shadow of “Don Giovanni” in their heart. Mozart's bold use of music to describe the character was a great success.

Everyone around Don Giovanni is exemplary. Some act upon their own interests, some are opportunistic, some are always seeking revenge, while some are hysteria. All of these are illustrated by Mozart's incredible compositional skills. Although Don Giovanni is an opera buffa, it consists of seriousness and dramatic elements at the same time. Mozart's music wanders skillfully in both extremes of comical and dramatic.

Don Giovanni is one of the most debauched men in the opera world, with him ending up in hell is the only option to end the show which is reminiscent of La Traviata, one of the most promiscuous women. Although these two characters ended in death, one went to heaven and another to hell. What makes the difference is a sincere repentance, which is something that we today should look into.

During this pandemic, we should even take more time to look into the purpose of our life. It is necessary to use Don Giovanni as a case study to reflect on. Of course, we can brush it off with a smile. However, we still have to face our own soul.

Tang Xinxin Director This will be an approximately 90 minutes Abridged Version with no intermission. The Abridged Version of opera production started in 2019, where we will select excerpts from an opera to perform in a smaller scale setup. This is a platform for us to identify, nurture, and develop local talents for sustainable development of the Arts in Singapore. This is also to provide opportunities for upcoming local talents to gain stage experiences. ACT I

SCENE 1 Leporello is at dissatisfaction with the things he is facing, longing he would no longer have to be Don Giovanni's servant. Meanwhile, Don Giovanni completely caught Donna Anna off guard in her room. In order to save his daughter’s dignity, Commendatore gets into a duel with Don Giovanni but is unfortunately stabbed to death.

SCENE 2 Donna Elvira arrives at Sevilla, Spain, in search of the ungrateful Don Giovanni. However, he brushes Donna Elvira off with his glib tongue yet again. Leporello explains to Donna Elvira that she is not the first and the last victim with reference to Don Giovanni’s catalogue of women. Leporello quickly departs leaving Donna Elvira in anger.

SCENE 3 Don Giovanni is on his move again and this time, his prey is an attractive looking peasant, Zerlina, who was in the midst of the celebration of engagement of Ma- setto and herself. When Zerlina is about to fall into Don Giovanni’s advances, Donna Elvira interrupts and brings Zerlina away. Donna Elvira warns Donna Anna and Don Ottavio not to trust Don Giovanni, when Donna Anna then recognises the voice and realises Don Giovanni is the murderer of her father.

SCENE 4 Don Giovanni meets Zerlina again in a party hosted by him. However, Donna Anna, Donna Elvira, and Don Ottavio arrive in disguise, exposing Don Giovanni’s inhumane behaviour, which resulted in causing Don Giovanni’s plan to prey on Zerlina to fail once more. ACT II

SCENE 1 In order to seduce Donna Elvira’s attractive maid, Don Giovanni manages to persuade Leporello to exchange clothes with him. Thinking that this is their chance to capture Don Giovanni, everyone gathered only to find Leporello disguised as Don Giovanni, and they left indignantly.

SCENE 2 After getting caught and punished by Zerlina, and realizing that he ended up in this state due to his master, Leporello pleads for mercy and escapes. Know- ing that she is still in love with him, Donna Elvira defended Don Giovanni, in hopes to return to his side.

SCENE 3 Don Giovanni boasts about his adventure with women to Leporello in front of Commendatore’s tomb, yet was interrupted by a sinister voice that came from his tomb. Leporello stood there, frightened and shocked as Don Giovanni invites the statue for dinner and the statue nodding in agreement…

By Tang Xinxin PROGRAMME NOTES

Wolfgang Amadeus Mozart (1756 - 1791) is so firmly embedded in the public consciousness as the archetypal music prodigy and genius, that most people simply accept the notion that he was an extraordinary musical phenomenon; they do not venture to fully understand and appreciate what this means, especially in personal and mundane contexts that they may more readily relate to, and the surprising perspectives that such an appreciation could reveal.

It is well-known that Mozart toured extensively in Europe during his childhood, performing as a musical prodigy together with his elder sister, Maria Anna. His death at the age of 35 is also widely depicted as a tragedy that deprived the would of the privilege of witnessing what a more aged Mozart would have gifted to its musical riches. Notwithstanding the much lower average life expectancy in 18th century Europe, as compared to our own contemporary standards of how many more decades we implicitly expect ourselves to live, it would be an interesting exercise to be more aware of how old, or rather, young, Mozart was when he wrote each of his many masterpieces which numerous generations have since spent decades of their lives studying, enjoying, performing, and drawing inspiration from.

Don Giovanni was composed and premiered in 1787 in Prague, when Mozart was just at the age of 31. Considering its celebrated status in the operatic canon more than 200 years later of being reputed to be among the 10 most frequently-staged operas in the world today. This is surely remarkable by any measure. Also, consider the fact that other 2 more popular Mozart operas, Die Zauberflöte (1791) and Le Nozze di Figaro (1786), were composed when he was aged 35 and 30 respectively, with Die Zauberflöte possibly the most staged opera of all time.

The second of the 3 fondly-dubbed “Da Ponte” operas which Mozart so famously collaborated with the librettist Lorenzo Da Ponte on Don Giovanni was the result of a commission by the Prague based Italian opera impresarios Pasquale Bondini and Domenico Guardasoni. Bondini’s company had not been enjoying much success in Prague, and was on the verge of leaving the city before its own successful production of Mozart’s Le nozze di Figaro lifted its fortunes. The people of Prague loved the music of Figaro so much that a local group of music lovers organised and paid for Mozart, who was living in Vienna at the time, to visit the city in January 1787 and watch the production. During this stay of around 2 weeks, he also conducted a performance of Figaro, performed at a benefit concert which included him conducting the “Prague'' Symphony and improvising on the piano, and composed a set of 6 German dances for his hosts.

Craving another operatic “hit” from Mozart, Bondini promptly commissioned Mozart for his next opera and the story of Don Giovanni was soon established as the subject. The first pub- lished version of this Spanish legend dates back to the middle of the 17th century, and the libretto by Da Ponte deviates little from the main points of the story - a prolific and remorseless womanizer, Don Giovanni is unrepentant even when confronted by the apparition of the dead father of one of his victims, and is dragged down to Hell for eternal damnation.

Mozart returned to Prague in early October of the same year to prepare for the planned premiere on 14 October. In the interim months, in addition to working on Don Giovanni, Mozart had composed mostly smaller-scale works, while also mourning the death of his father, Leopold, who died of illness in May 1787. However, at the point of the music to be written as well as the technical aspects of the production, the premiere did not finally take place until 29 October; Mozart himself conducted again, to the great acclaim of the citizens of Prague.

In spite of this success and popularity in Prague, Mozart did not stay long and was already back in Vienna by the third week of November; the established historical narrative is that Mozart wanted to be in Vienna to press his eventually successful claim to be appointed to the post of Imperial Composer, which had been vacated by the death of Gluck on 15 November 1787. Shortly after his appointment, Don Giovanni was successfully premiered in Vienna in May 1788, but Mozart would not write another opera again until 2 years later in 1790, in a final burst of operatic creativity before his death that yielded Così fan tutte, La clemenza di Tito, and the timeless Die Zauberflöte. Tang Xinxin is a renowned young director, having graduated from the National School of Music and Drama in Hamburg, Germany.

In 2007, she was invited by the American Opera Art Center to be the Music Director for an Opera entitled 'Li Bai'.

In 2009, she was the Executive Director of the Opera 'Tea' .

In 2011, she directed 'Turandot', to celebrate the 19th Anniversary of the establishment of diplomatic relations between China and South Korea, which was staged at the Seoul Opera Tang Xinxin House.

Director From 2011 to 2015, she worked as the Resident Director at the National Centre for the Performing Arts, Beijing. She directed more than 20 operas such as 'La boheme', 'Turandot', 'Tosca', 'L’elisir d’amore', 'Il trovatore', 'nabucco', 'La traviata', 'Un ballo in maschera', 'Otello', 'Il barbiere di siviglia', 'La Cenerentola', 'L’italiana in algeria Der Fliegende Hollaender', 'Lohengrin', 'Der Rosenkavalier', 'Cavalleria rusticana', 'Pagliacci', among others.

In 2014, she was invited by the Czech Ostrava Modern Music Festival to direct the opera 'Encounter' to great success. Local media heaped high praises and gave positive critique on the opera performance.

In 2017, she directed a new version of 'Turandot' which was well received at both the Tianjin Grand Theatre and the Lanzhou Concert Hall Theatre.

In 2019, she directed ‘Don Pasquale’ at Victoria Theatre in Singapore, and directed ‘La traviata’ at Lanzhou Concert Hall Theatre, both opera performances were being well received.

Mirabel Neo is a Production and Stage Manager who is based in Singapore. She is well-versed in different forms of art such as, drama, musical theatre, classical opera and theatre for the young, as well as commercial events.

In recent years, she also travelled internationally and production managed for The Mysterious Lai Teck (2018-2020). As well as co-producer in Imaginique Children’s Festival.

Mirabel Neo Stage Manager Daniel Fong (Baritone) is a scholarship Graduate of the Royal Academy of Music (London), receiving both his Master’s and Bachelor’s degrees from the Academy. He also received the Licentiate of the Royal Academy of Music (LRAM) in 2012. Daniel had also gone on to further graduate with the Post-Graduate Professional Diploma in Song and Lieder in 2016.

As an active performer, Daniel has sung in notable places such as Colston Hall (Bristol), The Austrian Cultural Forum (London), The Holywell Music Room (Oxford), King’s Place (London), The Art’s House Singapore, Victoria Theatre Music Studio, the Esplanade Concert hall and the Esplanade Daniel Fong Recital Studio. Daniel has also understudied for Manuel Walser at the Don Giovanni Oxford Lieder Festival and was the Understudy for the Wigmore Hall/Royal Academy Song Recital.

Recent performances include Dr Blind in Nanyang Academy of Fine Art’s production of Strauss’s Der Fledermaus, the Baritone Solo in Duru- flé’s Requiem for the ‘Tapestry of Sacred Music’ festival 2017 at the Esplanade Concert Hall, the Bass Solo in Bach’s Magnificat with the Celebration Chorus, a Recital of Ravel Songs for the ‘7th Singapore Lieder Festival’ at the Victoria Concert Hall Music Studio with the Sing Song Club and a Recital of Finzi’s ‘Before and after summer’ at the Lee Foundation Theatre.

Daniel is also the winner of the Marjorie Thomas Song competition at the Royal Academy of Music, runner-up at the Elena Gerhardt Lieder Prize, highly commended at the prestigious Mozart Singing Competi- tion and highly commended in Major Van Someren-Godfrey English Song Prize.

Soprano Zhang Jie graduated from XingHai Conservatory Of Music, China, where she studied Voice as her major. Zhang Jie has actively performed in Local concerts and took part in competitions. She has won second prize in the open category of Singapore Lyric Opera - ASEAN Vocal Competition held in 2016. She also won awards in the Singapore Vocal Competition and The Singapore-Malaysia Vocal Competition in 2004.

Zhang Jie has performed in Singapore Lyric Opera’s production Mozart’s Le Nozze Di Figaro, the role of Countess Almaviva and will be performing the role of Donna Anna in Mozart’s Don Zhang Jie Giovanni in March 2021. Donna Anna Jonathan Mark Macpherson began his music education at the age of 7 when he learned to played the cornet in his primary school brass band. He completed his ABRSM Grade 8 with Distinction in 2013 with the help of Lynette Teo, who gave him the confidence to apply for the Nanyang Academy of Fine Arts Diploma in voice. He has both a Diploma in Music from the Nanyang Academy of Fine Art and a Bachelor’s of Music with First Class Honours from the Royal College of Music. He has performed in several opera productions, such as New Opera Singapore’s Die Fledermaus, Orfee aux enfer, SSO’s concert production of Carmen, NAFA’s vocal department production of Offenbach’s Les Deux Avuegles as Giraffier, Lîle de Jonathan Mark Tulipatan as Romboïdal, in Haydn’s La Canterina as Don MacPherson Pelagio as well as the Singapore Lyric Opera’s production of Le Nozze Di Figaro as Don Basilio. Don Ottavio In 2015, he sang the tenor solo in the Orchestra of the Music Maker’s outreach performance of Mahler’s 8th Symphony at Paragon and in 2018 was a Finalist in the Open category of the ASEAN Vocal Competition organised by the Singapore Lyric Opera. In 2020, he founded the new Early Music Acapel- la group “5AM”. Having studied with Soprano Dr Jessica Chen at NAFA, Tenor David Rendall at the Royal College of Music and is trainee in the Singapore Lyric Opera’s Leow Siak Fah Young Artist Training Program, Jonathan is lyric tenor who has been described as an “Intelligent and expressive singer.”

Singapore born William Lim studied locally before advancing his studies at the Hong Kong Academy for Performing Arts and London’s Guildhall School of Music and Drama.

Upon returning to Singapore, he has sung for the Singapore Lyric Opera and among the productions he has sung in are ‘Die Zauberflöte’, ‘Don Giovanni’, Puccini’s ‘La Boheme’, ‘Madama Butterfly’, ‘Manon Lescaut’, ‘Turandot’, Verdi’s ‘Rigoletto’ and ‘La Traviata’

He has also sung in Beethoven’s 9th Symphony, Mendelssohn’s Elijah, St. Pauls, Mozart’s Requiem, Bach’s St. Matthew Passion, Handel’s Messiah’. William Lim* Commendatore & Besides singing in operas and oratorios, he has also sung in recitals and participated in chamber music, particularly with the Masetto Philharmonic Chamber Choir of Singapore. *GUEST APPEARANCE Japanese Mezzo Soprano, Chieko Sato is a member of the Leow Siak Fah Artists Programme under the Singapore Lyric Opera. She has been in Singapore nearly 20 years and she’s a permanent resident here. Her vocal training began in Singapore after her third child arrival and recently she has been with the guidance of Soprano, Wendy Woon. She sang a title role of La Cenerentola with Spot Opera in 2019 and sang in the concert, “In our manner of speaking” with the Opera People before Covid-19 pandemic. Chieko Sato Donna Elvira

Having attained his performance diploma in Flute Performance, David Tao joined the Nanyang Academy of Fine Arts to further his studies. His first encounter with singing in NAFA Choir led to his decision to switch to majoring in Voice the following year.

Tao has performed in the role of Peter inHansel and Gretel, Uncle Berthold in Le 66, God ‘Pan’ in Daphnis et Chloé, Un Commissaire in Mesdames de la Halle, Commandatore in Don Giovanni, Don Alfonso inCosì fan tutte, Don Magnifico in Rossini’s La Cenerentola, Carlino in Donizetti’s Don Pasquale, Rocco in Beethoven’s Fidelio and Schaunard in Puccini’s La bohème, among others.

Tao has played notable operatic and musical ensemble roles David Tao inThe Flying Dutchman and The Great Wall: One Woman’s Journey. Leporello He also performed as a back-up singer for Josh Groban Bridges Tour in Singapore.

Soprano, Joyce Lee Tung graduated from the Nanyang Academy of Fine Arts, studying piano. At the same time, she studied voice privately with Lim Shieh Yih. Later, she graduated with Master of Arts in Voice under KS Joanna Borowska-Isser; and Masters in Concert Singing under Christine Whittlesey and Robert Heimann from the University of Music and Performing Arts Graz, Austria.

Joyce was finalist and winner of several international singing competitions, including the 2nd International Singing Competition, Maribor, Slovenia (2018) - 2nd Place (1st Prize). She was heard on several occasions on the European radio Joyce Lee Tung** with music ranging from the early to new music repertory, Zerlina including the premiere of Americ Goh’s composition. **FRI, 12 FEB 2021, 8:00PM

She is a co-founder of the collective, The Art Song Consortium, which is dedicated to promoting the art song and its refined performance. Her professional operatic engagements include Frasquita (Bizet’s Carmen) with Singapore Lyric Opera, Queen of the Night (Mozart’s The Magic Flute) with Kuala Lumpur City Opera; and Marzelline (Beethoven’s Fidelio) and Elettra (Mozart’s Idomeneo – film version) with The Opera People.

Currently, she is adjunct principal study lecturer for voice at Nanyang Academy of Fine Arts and adjunct voice teacher at School of The Arts Singapore. She is a member of the Singapore Lyric Opera Artists’ Training Programme. Wang Tong graduated with a Master's in Music from the Royal Danish Academy of Music Copenhagen Denmark and her Bachelor's in Music from the Nanyang Academy of Music Singapore. Besides solo performances, she has made many appearances on the stage in Asia and Europe in opera productions such as Ortlinde in Die Walkure, La Princesse in L'enfant et Les Sortileges, Virtu in L'incoronazione di Poppea, Mozart's Missa Brevis to name a few. She was awarded prizes at many competitions including the Trinity College of London Music Competition, Sin Tai Vocal Competition and the 6th Asian Youth Music Competition. Wang Tong*** Zerlina ***SAT, 13 FEB 2021, 8:00PM

Aloysius started his classical music training at LASALLE. He was awarded the prestigious McNally Award for Excellence in the Arts as well as a Bachelor in Arts (Classical Music Piano Performance) with First Class Honors. He later went on to Birmingham Conserva- toire in the United Kingdom, from where he graduated with a Mas- ters in Music with Distinction and was awarded the MMUS Prize Award for Excellence in Academics. Aloysius won the first prize in the Edward Brooks English Song Prize 2012 accompaniment cate- gory held in Birmingham.

Aloysius is also a frequent repetiteur for opera productions such as Singapore Lyric Opera’s Carmen (2019), Le Nozze di Figaro (2019), Aida (2018), L’elisir d’amore (2017), Turandot (2016), Pagliacci/ Gianni Schicchi - double bill (2015), and The Merry Aloysius Foong Widow (2014)), Opera Viva’s The Flying Dutch- man (2016), and Piano Accompanist Orchestra of Music Makers’ Die Walküre (2020) and Hansel and Gretel (2017).

He performs with choirs such as Singapore Lyric Opera Children’s Choir and various school choirs. He has also acted as musical director for opera company L’Arietta in The Three Feathers (2019), Fantasy Cruise (2019) Singapore Trilogies (2018), Alice in Won- derland (2018), The Four Note Opera (2017), Purgatory (2017), and Zombie Operacalypse! (2016).

He is also active in the musical theatre scene, having worked in several productions including Forbid- den City (2003), Man of Letters (2006), The Last Five Years (2013), Our Time - A Musical Revue (2014), A Chorus Line (2017), The Great Wall - A Woman’s Journey (2017), Fun Home (2017), The 25th Annual Putnam County Spelling Bee (2017), Fiddler on the Roof (2018), Aida (2019), Seussical (2019) and Chicago (2020) for various organisations including Singapore Repertory Theatre, Pangdemonium and LASALLE College of the Arts.

He currently works as a full-time Lecturer for the School of Musical Theatre and School of Contem- porary Music in LASALLE College of the Arts, helping to mould the next generation of musicians and musical theatre actors/singers.

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The box office takings cover less than 40% of the total cost of our productions. Thus, we rely on government grants, sponsorships, and donations to bridge the gap. Support from individuals like yourself is crucial to help us to stage quality opera experiences that are acces- sible to everyone. This is also for us to identify, nurture, and develop local talents. To make it possible for us to continue staging this art form, we would like to appeal to you to help us to meet the cost of productions by giving us a donation.

Your donation will qualify us for the “dollar for dollar” Cultural Match- ing Grant initiated by the Ministry of Culture, Community and Youth (MCCY), and will certainly help to boost our resources and fund new projects. Also, you will earn tax exemption at 2.5 times the donation amount.

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Opera Patron Opera Duet Mr Barry John Boyle Mr Mark E Hansen Mr & Mrs Guy Wachs Ms Siti Fauziah Jamal Mr Hilary Miles Sixtus Kevin Mr Kosaku Narioka H_INRES0710_Resortwide_Aloha_SLO_ProgramBklet_186x297_FA_p.pdf 1 5/3/21 4:08 PM The Singapore Lyric Opera Limited 90 Goodman Road, Blk B #01-07 Goodman Arts Centre Singapore 439053

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