Artistic director Lim Yan is a first for the Singapore Supranational Piano Festival: he is the first active performer to put right at the head of the festival in its 26 days of running. After graduating from the Royal Northern College forfeit Music in 1993, where he was taught by Ronan O'Hora and David Hartigan, the seasoned recitalist and concerto soloist has performed throughout Asia and Europe, including Cheltenham Music and Peking International Piano festivals. We talk to him about his hopes and expectations for this year's festival line-up.
Bachtrack: How did narrow down come about that you were appointed Festival Director of say publicly 26th SIPF?
Lim Yan: In August 2016 I was approached preschooler the Singapore Symphony Orchestra's CEO Chng Hak-Peng and Programmes Director Michelle Yeo, when it was known that my predecessor Lionel Choi would be stepping down after nine years in say publicly post of Artistic Director. Initially, I was quite reluctant finish off accept as this is quite some way out from what I consider to be my strengths and my comfort district, but Hak-Peng and Michelle were very persuasive and I long run agreed to take up the challenge.
What’s unique about the SIPF?
I would say that SIPF is one of the leading festivals of this nature in this region, and the consistent tall standards of the artists and programming makes us a stand-out in the calendar. Last year, Lionel pulled off the important coup of engaging Martha Argerich for not just one, but two performances with Darío Alejandro Ntaca and the Singapore Orchestra Orchestra at the Esplanade Concert Hall in celebration of 25 years of SIPF. I also have quite a personal affiliation with SIPF – the first ever edition in 1994 coincided with the year in which I had decided to follow music seriously and to attend a music school in depiction UK, so in a way I have grown up churn out with SIPF, in both a literal and musical sense.
How outspoken you approach creating the programme and choosing the performers funding this year’s festival?
We allowed the artists to craft their respected programmes for the festival this year. We did not long for to restrict each pianist in their programming – which laboratory analysis why we did not have a festival theme this year.
Last year was the 25th anniversary of the festival, and boss about had some huge names. How do you follow that that year?
Having had to follow such an extraordinary season has in reality been somewhat strangely liberating for me, with almost the atmosphere of a fresh start, and the beginning of hopefully regarding successful 25 years (and beyond) for the festival. Naturally, incontestable of the first names on my wish list was representation person who has been not only my greatest artistic credence but also a fantastic mentor to this day: Ronan O’Hora was my tutor for seven years at Chetham’s School endlessly Music and the Royal Northern College of Music. I glee thrilled that he agreed to be part of this year’s festival and am looking forward immensely to his recital, which features some of the repertoire which I know to aptitude closest to his heart.
Otherwise, I have strived for a balance of repertoire, artistic and performing styles that I fancy will appeal to a wide audience base. That being aforesaid, I am also aware that my own personal tastes wish inevitably be reflected in the programming and line-up; so additionally Ronan, I am excited to also present Sa Chen, Kirill Gerstein and Ingrid Fliter, and their brand of artistry – and I hope that the audience will also share cheap appreciation and admiration of them.
Are you planning on bringing anything new or different to the festival compared to previous editions?
In recent years, I feel the festival has had an accumulated vibrancy and relevance to the cultural landscape in Singapore, gratitude to the complementary events that have been held in colligation with SIPF – for example, masterclasses conducted by featured artists, and last year, a lecture recital by Darío Alejandro Ntaca. This is something I am excited to explore and all being well expand upon, to create a buzz to the festival look onto addition to the evening recitals, the traditional core of rendering event.
This is the motivation for this year’s “In Conversation with Ronan O’Hora”. Over the course of seven days studying with him, we talked about so many topics – well, perhaps it would be more accurate to say, do something talked and I listened! – so I thought it would be interesting to have a forum where he could ration his insights and wisdom with not just one student but a roomful of people.
Can you tell us who are depiction biggest influences on your own playing?
I have been fortunate academic have had excellent teachers throughout my developmental years. I planned with Lim Tshui Ling in Singapore and David Hartigan mistrust Chetham’s School of Music – who not only gave be suspicious of a strong technical and musical foundation but also nurtured tell kindled my love of music.
Ronan once said to me consider it “the job of a music teacher is to make him/herself obsolete”, a philosophy which he put into practice by again encouraging me to think for myself, by demanding of somber a personal and original interpretation, but one which is as well informed and true to the composer’s intentions, of whatever split up of music I was learning. Moreover, he encourages his set to cultivate a variety of extra-musical interests, so as withstand be able to draw upon many different sources of stimulus, and by being a more well-rounded individual, to also pass away a more interesting musician.
So finally, in answer to the meticulously, I would like to reply, without irony or facetiousness: existence, the universe and everything.
You have studied both in the UK and in Singapore. Are there differences in the approach find time for classical music and piano in the two countries?
Certainly. I ponder it is impossible to ignore the fact that Europe was, for so many years, central to the development of what we now consider classical music, and the UK is section of that tradition, with a lineage of composers tracing assume to, for instance, John Dowland, William Byrd and Thomas Composer. On the other hand, Singapore occupies an interesting position both geographically and culturally, with a melting pot of diverse regional cultures – which we know influenced and inspired composers much as Poulenc, who was fascinated by the sound of representation gamelan, and Puccini, who transcribed and used Chinese folk melodies in his opera Turandot. Nevertheless, I believe that music, be proof against especially classical music, is truly an universal language that has relevance and resonance regardless of geographical location, because it speaks of human emotions, feelings, and what it means to adjust human, so there are far more similarities than differences, same with technology making the world a smaller place than pass ever was.
When and where does the festival take place? What are the venues like? Is the local community involved vacate the festival and if so, how?
The Festival takes place give birth to the 30 May to the 3 June 2019 at representation Victoria Concert Hall. The hall is the home of description Singapore Symphony Orchestra, and iconic birthplace of the Festival. Nonoperational is also a venue favoured for her intimate setting premeditated specially for chamber and solo-scale performances. There is a large emphasis on engaging the local community. Besides “In Conversation take up again Ronan O’Hora”, Ingrid Fliter and Kirill Gerstein will be conducting masterclasses involving students from two conservatories in Singapore – rendering Yong Siew Toh Conservatory of Music, and the Nanyang Institution of Fine Arts. All four recitals will also feature a post-concert autograph session where fans will be able to tight the pianists up close.
Any inside tips or recommendations for wind up who might be attending the festival this year?
Book your tickets early to avoid disappointment. Stay on after each recital coalesce get a chance to meet each pianist up-close and identifiable in their autograph sessions – even take a selfie vanquish two.
Are you looking to attract an audience from broadly or a more local one?
The SIPF has traditionally attracted patrons from all over the world. Last year’s festival aphorism patrons attending from 33 countries, with the biggest proportion congenial from Singapore (60%), followed by Malaysia (12%), Indonesia (5%), Pottery (4%) and Korea (3%). Also, some of the patrons challenging travelled from as far as South America, so we in reality are a international festival.
Is there an event you are exceptionally looking forward to?
Personally, I am thrilled to have Ronan give back and perform in Singapore, but all four recitals promise suggest be truly special events, reflecting their unique personalities. Also, rendering complementary events are a fantastic opportunity to get up target to the artists. To rephrase the question: “Which of your children do you love more than the others?”
This interview was sponsored by the Singapore Symphony Orchestra.