Thursday, December 17, 2009

World Opera Week reviewed in THE NATION

Photo by Boaz Zippor

World opera week lives up to expectations

By THE NATION
Published on December 17, 2009

From 'Boheme' to Beethoven, there's plenty of aural delight from the Bangkok Opera

The Bangkok Opera's second World Opera Week, five years after the first, opened last month with Beethoven's "Ode to Joy" and closed with its most popular tear-jerker, "La Boheme".

Along the way there was enough spectacle and excitement to uphold Bangkok's place as the epicentre of opera in Southeast Asia.

Somtow Sucharitkul and Bruce Gaston presented a sneak preview on November 15 of "An Alien Opera" at the Bangkok Art and Culture Centre. An orchestra, chorus and singer Zion Daoratanahong improvised a weird fantasia involving a giant robot that just happened to be standing in the atrium, courtesy of the visiting "Twist and Shout" exhibition of contemporary Japanese art.

Although deliberately designed to be gibberish, the opera was surprisingly comprehensible. As Somtow explains, "There are a few universal stories that all art tells."

More sneak previews followed. On November 19 at the Stock Exchange of Thailand auditorium, the Thailand premiere of the newly discovered "Ave Maria" composed by Puccini was sung by tenor Israel Lozano. The Bangkok Opera HIV Awareness Project, featuring performances by talented children, some of them living with HIV, was one of the most visible features of the festival.

The Puccini presentation didn't make up for the announced delay in what would have been the festival's climactic event - the premiere of Bruce Gaston's "A Boy and a Tiger".

That's been postponed until spring because of safety issues with the complex staging, but a large part of the opera was heard during the SET preview, and the next day as well at the Fest der Deutschen at the Shangri-La Hotel. It was certainly enough to whet the appetite.

On November 23 the festival opened with an idiomatic, highly charged performance of Beethoven's "Symphony No 9 in D minor", using the soloists who were already in town for "La Boheme", as well as members of six different choirs, Thai and Japanese.

The performance showed the Siam Philharmonic in top form and demonstrated that its triumphant Thai premiere of Mahler's "Symphony No 5" last July was no fluke.

Somtow has moulded the symphony with the youngest average age in the country into an ensemble with an enviable grasp of style.

The festival's closer "La Boheme" evoked a hearty response from its audience, which ought to have been much larger because this truly was opera on an international level, with a near-ideal cast.

Although Israel Lozano - Placido Domingo's big "discovery" - was sensational, as expected, and Nancy Yuen's deeply felt Mimi was in top form, the surprise of the production was young Thai soprano Zion Daoratanahong.
She certainly proved up to the challenge of her first big role among some of the world's most experienced singers. Darren Royston's direction was frenetic, with five dogs, angels, clowns, ballet dancers, and even a Bollywood sequence racing through the second act.

By the morning of the final performance, the buzz was on the Internet.

The reviewer at NotesfromThailand.com raved, "The Bangkok Opera's production of 'La Boheme' is world-class at every level, yet still infused with all the love and enthusiasm of any community-theatre production that's born out of the participants' love for one another in celebration of art and culture.

"Some opening-night audience members commented they'd been mysteriously transported to London or Milan or New York without ever leaving the Thailand Cultural Centre."

"I may be a rank sentimentalist," wrote David Giler, producer of the "Alien" series, "but I was moved and I loved it. It was particularly fun to go with somebody who'd never heard it before and was completely knocked out by it.

"The singing and staging was superb, and the orchestra has never sounded better. It was first-rate by any standard."

Saturday, December 5, 2009

I don't know why you say goodbye, I say hello


Three weeks ago, I resigned from the Bangkok Opera, effective December 1. I didn't do this for temperamental reasons, but because I want the Bangkok Opera to become a real opera company, not Somtow's insane folly. I am tired of playing the Klaus Kinski role in Fitzcarraldo.

When I founded the opera ten years ago, my goal was create a viable national opera. But the word "viable" means "able to exist without Somtow." About four years ago, this goal seemed on the verge of being achieved. We had the beginnings of proper funding, we had a semi-permanent production team in place, we had more or less a PR department and a publications department. In the last two to three years, by a slow attrition, all the jobs have devolved upon me, and I have also been forced to pay for the opera out of my own pocket or by borrowing money from friends and relatives.

Artistically, this is has been our best year. After three near-collapses, we have what everyone acknowledges to be the most accomplished opera orchestra in the whole region and one that has achieved tremendous successes outside opera as well -- Mahler 5 and Beethoven 9 were two of our most successful concerts. We have had the two most consistently high-standard opera productions in our history back to back. Both our "Thais" and "Boheme" productions would clearly not have been out of place in most of the world's opera houses.

However, during the month of November, I found stuck myself with all the major jobs myself. I had to stay up all night designing the programme book, had to rush from meeting to meeting to raise money and had to foot the bill myself when those meetings did not bear fruit quickly enough. I had to postpone receiving my own salary (which is almost all given back to the opera anyway). I had to do the rehearsal schedule, track down props, try to persuade world class artists to work cheap, auction off some of my personal belongings, and deal with a host of problems from which the artistic director of an opera company is normally protected.

When I submitted my resignation to the board, I explained that I could not both kill myself physically and emotionally AND simultaneously bankrupt myself ... that there was a physical limit beyond which my messiah complex could not grow.

I told them that if they radically change the way the opera company operates, I would consider coming back as artistic director -- JUST artistic director. Which was the original intention. To be a real opera company, not a vanity project.

A week after my bombshell which just happened to coincide with our most artistically successful production ever, four members of the Bangkok Opera inner circle had a secret meeting and outlined a plan for finally putting the "Vanity Project" label to rest.

It might just work, and my much-needed vacation might just be cut short. More news shortly!

Wednesday, December 2, 2009

Sunday, November 8, 2009

My housekeeper reveals all


Our little fundraiser and press conference events at the Rembrandt Hotel were briefly interrupted (not many noticed) by trouble between Thailand and Cambodia as my dad ran off to give a brief bout of telephone punditry to the press.

For real inside information about the political situation in Thailand's heartland, my housekeeper, Daeng, reveals more to me than the Post or the Nation. Someone suggested I should start a facebook page for her so she can have her own political commentary blog, but unfortunately she's illiterate. Still, she's smarter than the average politician. So, today, she tells me over my morning coffee that there's a big red shirt rally coming up, and they're offering 2,000 baht a head.

Make that 2 million and I'll be right there; I'll chant any slogan you like to save the Bangkok Opera. But seriously, the 2,000 baht figure is a very interesting new development. If you have been following the occasional political asides in my blog, you will probably know that in the heyday of the protests, they were offering considerably less money. 500 baht "officially", minus, of course, a commission to the recruiter, was I believe the going rate. This, coupled with a poll showing the Northeast now tilting very slightly towards the prime minister and the democratic party, suggests that our favorite fugitive has probably made a serious political blunder in accepting the Cambodian gig.

If my housekeeper's information is 2,000 baht net, i.e. not including the commission, then we see that today's political dollar only buys ten cents worth of anti-government protests. Of course, pockets are deep, and hubris is high.

And all this over a favour to a golf buddy. What an insanely myopic miscalculation on the part of the premier of Cambodia. I actually don't think this was planned as a huge, deliberate provocation of Thailand (at least not on Hun Sen's part.) Lack of judgment, that's all. I guess Hun Sen didn't go to Eton.

Monday, October 26, 2009

Second Avatar

Here is a video of the second session of "Avatar Dvadas"... it is quite something, I think you will all agree. The first twenty minutes are a performance by Fong Naam of a traditional piece from the Ayuthaya Period (i.e. it's about 300-400 years old) but the music starts to mutate into something really strange with the addition of the Babylonian names of the stars in Libra and four new methods of making sound: shovelling, stamping, shaking, and sweeping....

Next month, a science fiction opera to celebrate the rising of Scorpio ... since so many giant scorpions routinely attack the earth....

Monday, October 12, 2009

By Request, That Hideous Speech


I been asked to post the speech I gave the other day at the Oxford and Cambridge dinner. As you may know, these speeches are generally the highlight of these dinners, but as the dinner was a disaster, with very little wit and much pedantry and illiteracy displayed, by the time my speech arrived, an hour after it was scheduled, I could have given a reading of the menu and the audience would have died laughing...

THE SPEECH
Your Excellencies and your not-so-excellencies:

Being invited to give the toast at our annual Oxford and Cambridge dinner is a once-in-a-lifetime honour.

Being invited to do so twice, therefore, must either be considered a twice-in-a-lifetime honour, or a catastrophic lapse in judgment by the organizers.

Undoubtedly they have forgotten that my last speech was about farting.

Be that as it may, one cannot cross the same river twice, though it is possible to visit the same toilet many times in one’s life. I shall therefore try to choose a more elevated theme for tonight’s toast to that august institution so eloquently characterized by the Black Adder as “a dump.”

I want to talk about what makes the Oxonian world-view so special, and why Oxford might even be considered to have made a few minor contributions to our world. I am uniquely qualified to pontificate about Oxford because I took up residence at Worcester College at the age of eighteen …. months. Though I was there for three years, I am not bitter that they didn’t give me my D Phil. Nevertheless, it does point out one of the major differences in world view between the two universities. So let me talk, today, about those world views, and about why Oxford might, be some, be considered even more brilliant than its younger sister.

Let’s not stray too far from home, though. Some other night, I would love to talk about how brilliant Oxonians like Tolkien managed to invent entire languages out of thin air, whilst it was all a benighted Cantabrigian like Michael Ventris could do to decipher a few clay tablets in a language that had been around for three thousand years.

I would love to discuss the Oxford Movement, only I’ve promised to stay away from bodily functions tonight.

Instead, I would like to talk about the person who is, in my view, the crème de la crème of the Oxonian sensibility. I am referring of course to my childhood friend, the Lord High Governor of Bangkok.

Sukhumband has spent the last thirty-odd years (some of them very odd indeed) regaling people with his tales about me. But all things comes to those who wait and finally, I have been given this forum to give the Cambridge viewpoint, which, unlike that of Oxford, will be quite untrammeled by such inconveniences as factual accuracy.
M.R. Sukhumband tells a tale of how we were all spending a holiday somewhere in the country. All the young people were outside doing all the things that proper upper-class teenagers do: playing croquet, raping the peasants and so on. He noticed that I was nowhere to be found, and, following the sound of laughter, tracked me down to an armchair where I was deeply ensconced in a big fat book, laughing my head off all by myself. Sukhumband tells us that, wanting desperately to find out what could be causing a brilliant mind such as mine to turn into a solitary hyena, he crept across to the couch and saw that this was actually the full score of Mozart’s Cosi fan tutte.

The truth is far sneakier. I must now reveal that, after thirty-five years, I pulled a fast one. The book was actually a photo book called “101 positions they left out of the kama sutra,” and I had merely ripped the cover off the Mozart score and stuck it on.
Oxonians, as you can see, are quite easy to fool.

But I think the anecdote which Sukhumband has dined out on most often comes from the weekend that he and I, as teenagers, took the train up to Oxford in order to do our interviews. He, of course, passed his interview with flying colors. But when it came time for mine, the tutor said, “So, young man, why do you want to come to Oxford?” Too innocent to answer with anything other than the truth, I said, “Well, actually, I don’t. I’d really rather go to Cambridge.” “All right, then,” said the tutor. “Off you go.”

That story is all very black and white, you see, all very Oxonian. But now, let me tell you what really happened.

On the train to Oxford, Sukhumband and I were enjoying a drink in the dining car when a mysterious mist enveloped us and we found ourselves transported to a hilltop somewhere in Turkey. We were dressed in rough tunics, and some nymphs were piping away in the distance. Before we had time to react, three goddesses were descending from the sky, bearing a golden apple.

“What the hell is going on?” Sukhumband said.

But I knew all about this. “Don’t worry,” I said. “We’re having a vision of the judgment of Paris. We can be out of here in a minute. We just give the golden apple to the fairest, accept their gifts, and we’re home free.”

“It ended pretty badly last time,” Sukhumband said, struggling to remember his Homer.

“Just do what I do,” I said. “It’s a piece of cake.”

Judging their beauty turned out to be a bit hard, for the three goddesses were no spring chickens.

The first goddess looked about eight hundred years old. “I am the Goddess Cantabrigia,” she said. “If you choose me, you shall become a famous artist, known throughout the world, though you won’t have a penny to show for it.”

The second goddess was obviously older, but she must have had a few facelifts, because her smile was permanently welded on.

“I” she said, “am the goddess Oxonia. If you choose me, you will inherit a fabulous palace, become incredibly wealthy, have many servants, cars, and houses, and rule over a mighty megalopolis in a distant land that isn’t part of the British Empire.”

“Sounds good,” we both said at the same time. “I’ll take it.”

The third goddess really seemed to want to say something, but the other two said, “Oh, ignore her. She’s just our maid.”

“Well, then,” I said, “when do we collect our prizes?”

“All in the fullness of time,” said the three goddesses, as they dissolved and merged into the Mediterranean mist.

We found ourselves in a vestibule at Oxford. Inside, our doom awaited us. We were up for our interviews in a few minutes. “There’s got to be a catch,” I said. “We can’t both become governor of Bangkok.”

“You’re right,” he said. “it’s a violation of Einstein’s law of conservation of governorships. I’ll tell you what. If we don’t fix this, there will be a permanent anomaly in the system of causality, and the universe as we know it will instantly self-destruct.”

“Why didn’t the goddesses warn us?” I said.

“They’re goddesses! They can always create another universe.”

“What will we do?” I moaned. We had the entire weight of the human condition on our shoulders. The fate of the universe, as happens so often in movies, but rarely in our mundane world, now rested on the decision of one man.

“It’s very simple. I will sacrifice myself for the good of humanity,” said Sukhumband, setting his jaw into a heroic expression. “When the interviewer asks me, I will say I really wanted to go to Cambridge.”

“Are you sure?” I said.

“Of course! Anything for humanity.”

Never have I been prouder of my friend than on that day. I also have to admit that I was rather looking forward to getting the palace and the governorship.
He came out of the interview looking rather glum. “I couldn’t bring myself to do it,” he said, shaking his head. And he looked at me with those beautiful, trusting eyes. “You’re just going to have to save the universe instead. Besides,” he added, with irrefutable logic, “I am your phi.*”

The rest you know.

Cantabrigians have been saving the universe for almost a millennium, but only Oxonians, you see, really know how to govern the world. You don’t rule it by saving it. You rule it by having the intelligence, the farsightedness, and the charisma to talk other people into saving it for you. This secret knowledge is the peculiar provenance of Oxford, and for this, I salute her and ask that you all raise your glasses in a toast … to our slightly dotty older sister and all the brilliant men and women who have come from her.


*phi: a Thai word meaning older sibling. By custom, one must do everything they tell one to do.

Saturday, October 10, 2009

Wild Nights at the Oriental

Well, not that wild, really. The first one, the Oxbridge Dinner, was sort of hideous, though in a sense I saved the day at the eleventh hour, so I received a lot of kudos for appearing there. But I must admit that I'm not as in to Schadenfreude as I should be. I might post my speech at the dinner; it was pretty amusing and some people have asked for copies.

Last night, same hotel, same ballroom, different dinner; the frightfully upscale SeaWRITE Awards had the usual literati and the usual exclusive after party thrown by noted philanthropist Rex Morgan....

The pic above shows me and the Governator of Bangkok with the Therouxes.

Wednesday, September 30, 2009

Something Weird This Way Comes



Here's a complete (not yet sound-sweetened or edited) recording of the first episode of Avatar Dvadas, a meta-symphony created by me and Bruce....

And here's the blurb from the paper....

t's a meta-symphony being created right in front of your very eyes and ears, music woven out of the very fabric of Bangkok's newest hub of creativity. The piece is designed for Bangkok's Art and Culture Center, using all the spaces, shapes, and angles to be found within it. "Bangkok: Twelve Incarnations" celebrates a city that is constantly reborn.

In their first co-composed composition since 1977's "Hexaphony", Somtow Sucharitkul and Bruce Gaston are putting together a year-long artwork, one movement or "incarnation" every month, timed with the constellations of the zodiac. the work will be collected into a gargantuan video set.

It's a new kind of art which could only have been created in Bangkok. Part improvisation, part environmental music, part kinetic art, the work is designed to be experienced live. Once the twelve "incarnations" have been performed, the work will be collected into a gargantuan video set.

The first "incarnation", inspired by the constellation Virgo, can be experienced on September 20 at the Bangkok Art and Culture Center at 7 pm. Bruce and Somtow will co-conduct members of the Siam Philharmonic and Fong Naam ensembles.

The meta-symphony can be experienced from many vantage points in the BACC, but we recommend the lobby or one of the balconies.

Donations will be accepted for the Bangkok Opera HIV Awareness Project.

Friday, September 25, 2009

Getting All Cosmic


I dreamed that I was in a room learning about the speed of light. It was a beautiful sepia-toned room and we were examining the world through special magnifying glasses. The room ran on clockwork. It was full of cogs and gears. A voice told me that when you pass the speed of light, you may not know it right away. You won't feel any different. Albert Einstein is somewhere in the room. It must be Einstein's voice as it has a sort of German accent.

Then I am in the sea, training to swim faster than light. I swim past huge obstacle course of shark fins, and then, mysteriously, the sharks becoming flying diplodocuses. And I careen into the stars, past the diplodocuses. The universe whirls around me, brilliant sparkling objects, and I think there is a fleeting glimpse of God. When I wake up the whirling universe is still spinning, only slowly subsiding into the darkness of the night.

The day before, I was at the opening of the Indian cultural center. The great scholar Karan Singh recited Sanskrit poetry and then reminded us that we are all insignificant specks of dust perched on an insignificant speck of dust suspended in the infinite void. Boy, talk about a 60s flashback. I could have sworn there were sitars and the voice of George Harrison bleating softly in the background, and a wafting whiff of mary jane.

But no, this was a high society event, and soon the Thai minister of culture spoke, though his eloquence was not quite on the level of Mr Singh's. We soon retired to the murgh malai and samosas being served in the library. It was there that I had another cosmic vision.

There's this huge and splendid collection of Indian poetry and literature there ... everything from Kalidasa to Tagore. Plus ... one copy of Frank Herbert's DUNE.

Why? Did it just somehow fall into the boxes that were being shipped to the cultural center from India? Or is there some more profound meaning that we're not getting? Or is this, as suggested by Star Trek editor John Ordover on my Facebook page, "Because DUNE is in Sand-skrit?"

You see, as Isaac Asimov once told me, all the mysteries of the universe can be reduced to a silly pun.

Tuesday, September 8, 2009

Moral Ambiguity in Thailand and Sudan

Thai women don’t wear slacks on temple sites,
Not to piss off the pious, or inflame
The appetites of our chaste cenobites,
Or drown our morals-conscious town in shame.
But if a girl forgets, and dares to flaunt
A pair of jeans before our sacred Buddhas,
She’s but to rent a skirt from those who haunt
The doorways, making money as do-gooders.

There’s no such ambiguity in Khartoum,
Where pants in brasseries can be a pain,
The wrong attire can spell a woman’s doom —
The lash for Lubna Ahmed al-Hussein!
If Christ got 39 for freeing man,
What’s one more lash for freedom in Sudan?

read more of Somtow's sonnets at www.sonnetworld.com

Friday, September 4, 2009

Who am I?


I've been reading an interesting discussion on Wikipedia that started when someone edited the page about me and removed the word "American" from the phrase "Thai American." Then this person and that person chimed in on the discussion page (one of them even claimed that I had had to have royal permission to change my name to S.P. Somtow). When I butted into the discussion page myself to explain that I am one of those two-passport people, someone said it wasn't a reliable source. In fact, they went on to say that I should have to declare my nationality on this blog before it could be deemed a reliable source. As someone whose works frequently get printed in Asian American anthologies or appear in Asian American Lit Course reading lists, and whose novels are listed in the Library of Congress catalogue under "fiction, American" ... I think it's rather late for this to suddenly be a matter of controversy.

Western culture always likes to think in polarities. You have to be right wing or left wing ... black or white ... true or false ... a man or a woman. In Asian cultures, people often have no trouble holding simultaneously opposing beliefs, understanding that they are often simply different perspectives on a reality that can never be wholly subjective.

I, and my work, are a living embodiment of the polarity between having to have polarities and not having to have them. Does this make it a meta-polarity, or simply an n-dimensional one? Is it recursive? Or is it subversive?

I would answer your question but I must warn you that I'm not a reliable source.

Sunday, August 30, 2009

That Elusive Cup of Coffee


Someone or other has voted and guess what? This blog is in the Top One Hundred of all blogs written by horror novelists. That and a 35 cents will buy you ... oh, no, it won't. Not even in Thailand.

My novel, "Vampire Junction", is also on the Top Forty list of all-time-greatest horror novels, right up there with "Dracula" and "Frankenstein" ... indeed, a French newspaper recently reviewed the movie "Twilight" and said it was a watered-down version of my novel ... That, and 35 cents, will...

Muriel, on Facebook, has just pointed out that if there were a Top Ten list of horror novelists who also compose operas, I'd probably make that one too.

Have I got enough for a cup of coffee yet?