Wednesday, February 22, 2012

Watch the Whole Concert - Mahler Six

I’m trying this out for the first time ... the idea of posting entire concerts on youtube.

So many of my blog readers made this concert possible without the chance to actually come to it — not all my readers live anywhere Bangkok, let alone Asia.  

So this is the next best thing ... enjoy!

Tuesday, February 21, 2012

Feet of Clay

Today there is a huge celebration of the hundredth anniversary of M.R. Kukrit Pramoj, one of Thailand's most gifted and famous artists, to which (for reasons that may become apparent in the course of this blog) I haven't been invited.  This is a pity, because I would be one of the first to recognize that Kukrit's genius was unique.

However, I have not in the past, nor would I now, attempt to whitewash those aspects of Kukrit's career as a novelist which stand in the way of his achieving true international stature.

I'm referring of course to Kukrit's propensity to imitate the actions of a hermit crab or cuckoo: that is, to build his novelistic structures inside someone else's home.  Until aficionados of Kukrit's work are able to face up to, digest and come to terms with Kukrit's blatant plagiarisms of internationally known literary works, they will never fully appreciate Kukrit's true talent — which was to employ an uncanny and boundless linguistic invention and creativity to create out of these borrowed structures material that was uniquely his own, and uniquely Thai.  To accept one's idol's feet of clay is not to deny that the head and the heart may be of pure gold.

As long as Thailand was a relatively closed society, and as long as Thai literature was something designed to be enjoyed only by Thais, one could ignore the occasional barb from an outsider who, after all, by definition, "didn't understand Thailand."  When it was mentioned by some that the Don Camillo series was lifted wholesale into Kukrit's Phai Daeng tales, people simply said "So what?"  Indeed, when I read Kukrit's novel Kawao ti Bangphleng and realized it was an almost scene-by-scene adaptation of John Wyndham's The Midwich Cuckoos, a book every English schoolboy of my generation was forced to read, "So what?" was also my own reaction.  Everyone knew that M.R. Kukrit was less than upfront about his sources, and everyone knew that he was a great writer of the Thai language, so what difference would it really make?

Alas, in the 90s Thailand was no longer — and is no longer — a "relatively closed society."  What we do is seen everywhere and the Thai language is no longer the secret language of an obscure minority, but studied by professors in major universities around the world.  It is even possible to do Thai at A level in my old school, Eton.

Therefore, when I bumped into Khun Jareuk Kaljaruek, CEO of one of Thailand's most important film studios, in Hollywood, and he told me he was making the most expensive Thai sci-fi flick of all time, having acquired the rights to Kukrit's novel, for the first time I was forced to take him aside and say, "Before you release this film worldwide, there's something I should tell you."

The Midwich Cuckoos had been filmed three times at that point: as Village of the Damned, as the sequel Children of the Damned, and as a new remake by John Carpenter which was being released that very same year.   It's not just some obscure junky paperback — though it might have seemed that way to someone unaware of the history of science fiction.  It is and was one of the seminal works of the genre.  In addition, the original screenwriter of Village of the Damned, Stirling Silliphant, was at that time the most highly paid screenwriter in the world, and in the nineties he happened to be living in Thailand.  Stirling was asked by Caravan, a leading Thai magazine, to write an article about the forthcoming sci-fi flick.  Only then did he discover that the movie he was to write about was, in essence, his own.  (The magazine decided that I, as an ex-patriate Thai living in Hollywood who wouldn't ever return to Thailand to face the scandal, would have to write the article — and offered me danger money to do so.)

This was definitely a major crack in the forcefield that shielded Thailand from "the real world".

Well ... despite all this, I came back to Thailand ... and the truth about these novels hasn't dented Kukrit's reputation in Thailand one bit.  Now that the grand old man is celebrating his 100th birthday, it might be time to examine the cultural context of it all.

The major creations Kukrit's auctorial career happened in another time — one far removed from today's hyperconnected world.  In the culture of Thailand we were emerging from a world in which artists were not considered societal icons who illuminate the human condition and hold the mirror up to society.  They were, in fact, as were European artists in the eighteenth century, servants.

At the beginning of the last century, no one thought anything of it if a composer or poet published a work anonymously or even under the name of some important patron, such as a royal or an important aristocrat.  Indeed, schoolchildren in Thailand even today learn that certain major works were written by various early monarchs, when this was never understood to be the case at the time.   The ascription of someone else's name to a work of art was not considered particularly demeaning because that art was created in the service of those noble individuals.

By the same token, literary works from other cultures were frequently recomposed in the Thai language and are now viewed as wholly Thai — works such as the Ramayana, the central epic poem in Thailand's cultural tradition.

Kukrit therefore grew up in a cultural context in which an author's proprietorship was not clearly demarcated as it is today — neither legally nor conceptually.  In a sense, he was just going what everyone else did — the only difference being that he happened to possess genius, and therefore what he did is remembered.

Indeed, all great art has sources.  Shakespeare's plays drew on Hollinshed.  Joseph Conrad's Heart of Darkness has provided a structural framework for countless pieces of fiction (including one of my own) as well as movies like Apocalypse Now.  Jane Austen's Emma was hilariously recreated in contemporary L.A. in the movie Clueless.  You might ask, therefore, in response to the Kukrit problem "So what?"

To dismiss these borrowings as homages is one solution to the Kukrit problem.  But there remains the fact that M.R. Kukrit stated at the time that when he wrote The Cuckoos of Bangphleng, he wrote it simply as the inspiration came and had no idea how the story was going to turn out from day to day (it was first serialized in a Thai newspaper.)  He made this statement even though the derivation of the work is embarrassingly obvious — he didn't even disguise the title.  Instead of saying, "I'm going to pay tribute to this seminal novel by creating a Thai version of the story" he acted as if John Wyndham's novel didn't exist.

Why didn't he simply say it?  His brilliant writing, his astute observations of Thai village life, and the cleverness of the adaptation would have been enough to merit praise for the novel without having to pretend that the idea was original.  And yet something prevented M.R. Kukrit from making this statement.  Was it vanity?  But no one disputes Kukrit's position as a foremost figure of Thai letters.  I believe in fact that Kukrit would have received more kudos for stating that he intended to serve as a bridge between western culture and Thai literature.

I cannot really fathom this.  My mother's novel, Mongkut Dok Som, was inspired by a novel by Chinese novelist Su Tong, and in her introduction to the published edition, she clearly says so.  No one has ever said she was any less of a novelist for saying so — and indeed she went on to prove her own plotting skills by creating a sequel that owes nothing to Su Tong at all.

In fact, artists do not exist in vacuums.  All works have sources.  Yet it seems that in these instances, M.R. Kukrit wanted to be in a vacuum.  He wanted to be enshrined in solitary splendor and he was amply protected from a lawsuit by the Wyndham estate by the inaccessibility of the Thai language.   It is, in the end, probably only about ego.  And ultimately, it shows a disdain for one's readership that is disturbing, and threatens to overshadow the magnitude of his achievements.

When I was a child, my mother used to read Si Phaendin to me every night and it was from Kukrit's writings that I became connected to Thailand's cultural past.  I think it is fair to say that I wouldn't be who I am today without the influence of his writings.

But in order to completely understand the person, and the writer, one must also face the darkness in that writer, that person, and come to terms with it.

Every great artist I know of has harbored darknesses within.  Wagner was a hideous human being and yet in his art, he showed an incredible understanding of the human condition.  Venality, sexual perversion, terrorism — you name it, some great artist has done it.  They are human beings.  We should celebrate that.

To realize that Kukrit's was a flawed genius does not in any way denigrate that genius.  Let's stop ignoring the elephant in the room, acknowledge its presence, and free ourselves to appreciate this artist for what he was.

I've noticed that the Wikipedia article on Kukrit does in fact acknowledge the actual source of several of his novels.  Nevertheless, at the time that I wrote my article for Caravan, the revelation about John Wyndham came as a complete surprise to many people.  I guess the dust has settled somewhat now that the Master has gone on to his next incarnation.

Tuesday, February 14, 2012

Coffin Up....

The Seven Things The Public Has Shown the Most Interest in about my Forthcoming Performance of Mahler's Sixth Symphony
(Thursday at 8 pm, Mahisorn Hall - Don't miss it!) - in Descending Order....


scene from the Ken Russell movie "Mahler"

1. I'm using a coffin to receive the hammer blows of fate.
2. Because Thai musicians are superstitious, it will be a fake coffin.
3. The coffin isn't full-size because the first hammer-blow is said to represent the death of Mahler's daughter.
4. I used social networks to raise the money for the concert, but social networks are not being used to pay for the fake coffin.
5. Alma, the subject of the incredibly passionate love theme, screwed other men, though not (unlike in the movie Mahler) while Mahler was being buried alive in a coffin with a window.
6. The conductor is working on a musical version of "Dok Som Si Thong", which contains no coffins.
7. Mahler?  Who's he?


Wednesday, February 8, 2012

A Quick Mahler Update

The Mahler appeal seems to have slowed to a crawl at just over 200,000 baht.  Even this figure is in itself amazing, because no one's ever tried using social networks to finance classical concerts in Thailand before.  

Now, at around a week to go before the concert, we still need to raise about 2/3 of the money to put it on. And yet I no longer feel as worried as before.

The last person to donate was a friend of a friend in Switzerland, who generously sent in £1,000.   Somehow, this contribution was a turning point.   After that, our fortunes began to shift because people began contacting us to hire our orchestra for more commercial purposes and any time we do something commercial, we can impose a "Mahler tax" ... i.e. use commerce to help subsidize art.  

However it is true that contributions haven't moved in a couple of days.  I have about 8 days to go until the concert.  So, I guess this is my final all-out appeal.   Even with help coming in from taking a bit off the top of commercial gigs, I could really use another 100,000 or two!  

So, my dear friends ... if you can ... become a member of Gustav's Angels ... or at least one of the little angels.   For the next 3 days at least there is still time to get your name in the programme book.  There are many ways to do this: go to or and click on the donation buttons (via paypal) or just send the money directly to me: Somtow Sucharitkul,  Siam Commercial Bank, 0013513547 is the account I'm using exclusively for Mahler stuff ... or by paypal to  I promise not to spend it all on booze.  Seriously, I'm holding most of the money in a drawer to avoid my secretary using it to pay non-Mahler expenses....

Tiny donations are important too.  I was especially moved when a friend sent me $5 which was all she had sitting around in her paypal account.  Musicians are not as well paid here as in the unionized US.  That $5 will pay for 25 minutes of one of the tutti violinists' time.  That is NOT chickenfeed.

For those who have already helped, thank you, thank you, thank you for fueling all our dreams.

Saturday, February 4, 2012

Thailand • Irony Piles Up

A List of Interesting Ironies

A few days ago, the University in Thailand that most prides itself on promoting free speech and democratic ideals placed a ban on a moderate, apolitical group of academics seeking an open discussion of Thailand's lèse-majesté law.

A couple of weeks ago, there was an open letter signed by several of the most blue-blooded descendants of royalty in Thailand suggesting that this law be amended.

Those currently in power, often accused by their political opponents of wanting to subvert the revered monarchical institution of this country, have turned out to be the most knee-jerk and draconian advocates of the law.

Designed with the noble purpose of protecting that which Thai people hold most dear, the law has in the last decade been used as a political stick, a rallying cry for witch-hunters, or a way of entrapping old men and teenage girls.

The King himself, the person being protected by this law, has publicly stated in completely clear words, understandable to all, that he is troubled by the way this law is applied.  Yet those who claim most stridently to be protecting him have completely failed to take the King's own thoughts into account.

I would submit that some of the loudest voices, competing to outdo each other in nationalism and royalism, are hypocrites.

The King of Thailand has never endorsed the way this law is used, yet it is always he who gets international bad press when extremists apply the law in ways that contravene basic human rights.

I would suggest that those who truly love this country, and who truly love this King who has done so much for this country, should start off by cooling their rhetoric and actually listening to what His Majesty has had to say on the issue.

I would also want to state that a strong, stable and progressive system of constitutional monarchy is in no way whatsoever inconsistent with open, rational discussion of that system.  Indeed, such discussion makes the system stronger.

Democracy and Monarchy are not opposites.  If that were so, why is Great Britain so successful a monarchy, and so successful a democracy?

I believe that the sharp turn towards a muzzled society, which began in the Thaksin era but which was not repaired by any subsequent government, cannot disguise the fact that Thailand's spirit is essentially a free spirit.

The best that is in the Thai people, including the love of freedom, is embodied in the person and the institution that Thais cherish the most.

I urge those in power not to desecrate that institution while loudly proclaiming to be protecting it.  The people of Thailand are not idiots.

Social Networks, Coffins, and Mahler



Opera Siam’s London tour of Somtow Sucharitkul’s Mae Naak in September was a huge artistic success — and a financial nightmare, perching the ten-year-old maverick opera company at the edge of the abyss.  Undeterred by the setback and encouraged by a legion of friends and enthusiasts who flocked to lend support, Somtow launched a social network campaign through blogging and facebook to finance the continuation of his acclaimed Mahler Cycle, which has garnered international praise.  His goal is to sign 100 “Gustav’s Angels” - those who contribute 5,000 baht or more towards the performances ... but he’s added the category of “Engelein” or “Little Angels” to enable people to contribute any lesser amount as well.

“Mahler is a composer who brings out strong emotions, wellsprings of passion,” said Somtow.  “It was reckless to announce the continuation of the cycle in our precarious position, and yet this symphony, No. 6, of all Mahler’s symphonies, is a perfect symbol of the human spirit struggling against ultimate despair.”  Two weeks ago, Somtow had only a concert announcement and faith.  Today the concert is already a quarter of the way towards paying for itself and contributions have poured in through the donation buttons set up on his blogsite,, from over a dozen countries.  “I was particular moved to receive $5 and $10 contributions from fans and friends in countries like the USA, where the contributors had no chance to come to the concert itself, yet wanted to share in this incredible dream to let us play the complete Mahler symphonies by the year 2014,” Somtow said.

The cost of putting on a Mahler symphony using the very best musicians in the country is only one-seventh of doing such a concert in Europe, Somtow adds.  

The Siam Philharmonic is already half-way through the cycle of ten Mahler symphonies.    But the Sixth is a very special case.  Considered by many to be Mahler’s greatest, it has been nicknamed “The Tragic” - though not by Mahler.  It was the favorite Mahler Symphony of HRH Princess Galyani Vadhana, to whom Somtow once made the promise that one day Thai musicians would play all the symphonies.

Somtow’s pioneering work in Mahler has had in the past the support of the Austrian Embassy and the International Mahler Society, whose representative, Stan Gayuski, presented him with a baton used by Leonard Bernstein to conduct Mahler’s Ninth Symphony when Somtow performed the Thai premiere of that work in February.  Of that performance, Singapore critic Adrian Tan said, “Maestro Sucharitkul’s reading was deeply intimate, in a manner perhaps only possible by a fellow composer, with every phrase shaped with care, true understanding and clearly intended to communicate and not to impress. His strong personal connection to this music can be felt, especially in the last movement - his commitment to his musicians on stage that charged them to play at a level of music-making well beyond what they were used to was an inspiration and a true joy to behold.”  Bruce Gaston called the concert “the best classical music event in Thailand in the entire forty years I have lived here.”

Two controversial elements in the symphony are the order of the movements and the “hammer-blows of fate” written into the score.  Mahler specified a big but wooden sound for these blows and people have been arguing about how to play them ever since.  Somtow’s solution is probably a first  “I want to use a coffin lined with gravel,” he said.  “The coffin adds a visual element to the symbolism of the hammer blows ... and happens to be just the right size and shape.”  The use of a coffin as a percussion instrument may well be a musical first.

No one can agree whether the two inner movements should be played Scherzo-Andante or Andante-Scherzo.  “One thing is clear,” Somtow says, “the two sequences create completely different symphonies.”  He says he will probably only decide on the day what order to play the movements in.

The Siam Philharmonic’s Mahler Six, with guest concertmaster Vilmos Olah from Hungary, plays Thursday, February 16 at the Mahisorn Hall at 8 pm.  The hall is located in SCB Park Plaza, Ratchayothin Road.  For more information, go to or to  Tickets can be obtained from Thai Ticket Major outlets or their website,

What will happen if Somtow doesn’t raise enough funding to cover this concert?  “I guess I’ll just go further into debt,” said the maestro ruefully.  “On the other hand, you only live once.”
 Date: February 16, 2012
Place and Time: Mahisorn Hall, Ratchayothin Rd, 8 pm
Tickets: Thai ticketmajor outlets (02) 262-3456,
Bangkok Opera Foundation (02) 231-5273,

มาห์เล่อร์ – โซเชียลเนตเวิร์คกับโลงผี
แม่นากทัวร์ลอนดอนของสมเถา สุจริตกุล เมื่อกันยายนปีก่อนประสบความสำเร็จอย่างเยี่ยมยอดในแง่ศิลปะ ขณะเดียวกันก็เป็นฝันร้ายในแง่ทุนทรัพย์สำหรับคณะมหาอุปรากรที่ผ่านร้อนหนาวมานานถึง 10 ปี  แต่ด้วยใจยังสู้  สมเถาเปิดแคมเปญในโซเชี่ยลเนตเวิร์คผ่านบล็อกและเฟสบุคประกาศขอรับบริจาคทุนสนับสนุนเพื่อความต่อเนื่องของการนำเสนอซิมโฟนีมาห์เล่อร์ครบวงจรซึ่งได้รับการยกย่องในระดับนานาชาติ เป้าหมายของเขาคือหา เทวทูตกุสตาฟ’ 100 คนเป็นผู้อุปถัมภ์รายการโดยบริจาคทุนทรัพย์สนับสนุนการผลิตรายละ 5,000 บาท หรือกว่านั้น  และในปีนี้สมเถาได้ขยายระดับเทวทูตโดยรวม เทวทูตน้อยสำหรับผู้ประสงค์จะบริจาคน้อยกว่านั้น
“มาห์เล่อร์เป็นคีตกวีที่สามารถแสดงออกซึ่งอารมณ์อย่างรุนแรง ไม่ว่าจะเป็นความรัก ความหลง หรือกิเลสของมนุษย์”  สมเถากล่าว  “ผมไม่ควรพูดถึงความต่อเนื่องของวงจรมาห์เล่อร์ในสถานะการณ์ที่น่าเป็นห่วง  แต่กระนั้น... ในบรรดาซิมโฟนีทั้งหมดของมาห์เล่อร์  ซิมโฟนีบทนี้... หมายเลข 6... เป็นสัญลักษณ์ที่งดงามสมบูรณ์แบบแห่งการดิ้นรนต่อสู้กับความหมดสิ้นซึ่งความหวัง”   เมื่อสองสัปดาห์ก่อน สมเถาประกาศการแสดงด้วยแรงศรัทธา  ทุนสนับสนุนหลั่งไหลมาจากทั้งในและนอกประเทศผ่านบล๊อก  ณ วันนี้จำนวนเงินสนับสนุนที่ได้รับมีประมาณหนึ่งส่วนสี่ของทุนการผลิต  “ผมรู้สึกซาบซึ้งมากที่เพื่อนๆ และแฟนคลับบริจาคแม้เพียง 5 หรือ 10 เหรียญจากต่างประเทศเช่นสหรัฐฯ  พวกเขาไม่มีโอกาสมาฟังแต่ก็ยินดีที่จะช่วยสานฝันให้เราได้แสดงซิมโฟนีของมาห์เล่อร์ครบทุกบทภายในปี 2557”
สมเถากล่าวต่อไปว่า ค่าใช้จ่ายในการนำเสนอซิมโฟนีมาห์เล่อร์โดยนักดนตรีที่ดีที่สุดของประเทศใช้ทุนทรัพย์เพียงหนึ่งส่วนเจ็ดของงานเดียวกันในยุโรป
สยามฟิลฮาร์โมนิคได้ก้าวมาถึงครึ่งทางของ วงจรมาห์เลอร์ แล้ว แต่หมายเลข  6 เป็นสุดยอดของความวิเศษในบรรดาซิมโฟนีทั้งหมดของมาห์เล่อร์  เห็นได้จากชื่อเล่นว่า The Tragic – ซึ่งมาห์เล่อร์ไม่ได้ตั้งขึ้นเอง  นอกจากนั้น ซิมโฟนีหมายเลข 6 ยังเป็นผลงานที่โปรดที่สุดของสมเด็จพระเจ้าพี่นางเธอฯ เจ้าฟ้ากัลยาณิวัฒนา กรมหลวงนราธิวาสราชนคริทร์ ซึ่งสมเถาได้ถวายสัตย์ว่านักดนตรีไทยจะบรรเลงซิมโฟนีทุกบทของมาห์เล่อร์ในวันหนึ่ง
สมเถาบุกเบิกผลงานของมาห์เล่อร์ด้วยความร่วมมือของสถานเอกอัครรารชทูตออสเตรียประจำประเทศไทย และสมาคมมาห์เล่อร์นานาชาติ  ผู้แทนสมาคมฯ นายสแตน กายุสกี้ ได้มอบบาตองที่ลีโอนาร์ด เบิร์นชไตน์ ผู้ล่วงลับไปแล้ว ใช้อำนวยเพลงซิมโฟนีเดียวกันนี้เป็นครั้งสุดท้ายในชีวิตวาทยกร ให้สมเถาใช้อำนวยเพลงในการบรรเลงมาห์เล่อร์หมายเลข 9  ซึ่งนักวิจารณ์ดนตรีจากสิงคโปร์ได้กล่าวชมเชยว่า “ไมสโตรสมเถาเข้าถึงผลงานอย่างลึกซึ้งในฐานะคีตกวีด้วยกัน  เขาหล่อหลอมแต่ละวลีอย่างระมัดระวังและด้วยความเข้าใจอย่างแท้จริง  จึงเห็นได้อย่างชัดเจนว่าจงใจสื่อและไม่ใช่เพื่อสร้างความประทับใจ  ความผูกพันส่วนตัวที่สมเถามีต่อดนตรีแรงกล้าจนผู้ฟังรู้สึกได้โดยเฉพาะในกระบวนสุดท้าย – ความรับผิดชอบที่มีต่อนักดนตรีทำให้พวกเขาสามารถเล่นได้ในระดับดีเด่นกว่าที่เคย นับเป็นบุญหูอย่างยิ่งของผู้ฟัง”  บรูซ แกสตัน เรียกการบรรเลงครั้งนั้นว่า “เป็นดนตรีคลาสสิคที่ยอดเยี่ยมที่สุดในประเทศไทยตลอดเวลา 40 ปีที่ผมใช้ชีวิตที่นี่”
องค์ประกอบที่ขัดกันของซิมโฟนีหมายเลข 6 ได้แก่การลำดับกระบวน กับ เสียงฆ้อนแห่งโชคชตา ในโน้ตดนตรี   มาห์เล่อร์กำหนดให้มีเสียงไม้ขนาดใหญ่ฟาดลงมา  มีหลายคนถกเถียงกันว่าจะเล่นอย่างไร  ทางออกของสมเถาซึ่งออกจะแหวกแนวคือ  “ผมอยากใช้โลงศพ รองก้นด้วยก้อนกรวด  โลงผีจะช่วยให้มองเห็นองค์ประกอบอันเป็นสัญลักษณ์ของฆ้อน... ซึ่งเหมาะทั้งขนาดและรูปทรง”  อาจจะเป็นครั้งแรกก็ได้ที่มีการใช้โลงศพแทนเครื่องเคาะจังหวะ
ไม่มีใครมีความเห็นตรงกันเลยว่าอีก 2 กระบวนควรจะบรรเลงในรูปแบบ Scherzo-Andente หรือ Andante-Scherzo  “ที่เห็นชัดๆ อย่างหนึ่งก็คือ”  สมเถากล่าว  “สองกระบวนที่ต่อเนื่องเป็นซิมโฟนีที่แตกต่างกันโดยสิ้นเชิง”  สมเถาจะตัดสินว่าจะเล่นกระบวนไหนก่อนในวันแสดงจริง
การบรรเลงมาห์เล่อร์ 6 โดยสยามฟิลฮาร์โมนิค กับคอนเสิร์ตมาสเตอร์รับเชิญจากประเทศฮังการี วิลโมส โอลาห์ และอำนวยเพลงโดย สมเถา สุจริตกุล เปิดแสดงในวันพฤหัสที่ 16 กุมภาพันธ์ 2555 ที่ห้องประชุมมหิศร เอส.ซี.บี. ปาร์คพลาซ่า รัชโยธิน  หากท่านต้องการข้อมูลเพิ่มเติม โปรดเปิดเวบไซต์ หรือ
สำรองบัตรได้ที่ไทยทิคเก็ตเมเจอร์ทุกสาขา หรือทางเวบไซต์
อะไรจะเกิดขึ้นถ้าสมเถาหาเงินได้ไม่พอค่าทำคอนเสิร์ต  “ผมก็...  คงต้องก่อหนี้ต่อไป”  ไมสโตรสมเถากล่าวเศร้าๆ  “แต่จะว่าไปแล้ว...  ชีวิตเราก็แค่เนี้ยะ...”
วันแสดง พฤหัสที่ 16 กุมภาพันธ์ 2555
ที่ไหน เวลาอะไร  ห้องประชุมมหิศร เวลา 20.00 น.
บัตรมีจำหน่ายที่ไทยทิคเก็ตเมเจอร์ (02) 262-3456 และ

มูลนิธิมหาอุปรากรกรุงเทพ (02) 231-5273, (089) 136-9981, (086) 749-9559