Profilbewertungen
2Ng's personal passion is early 20th century verismo opera which is about realistic portrayal of the darker emotions, and not just bel canto, or beautiful singing. Baritones might not be the poster boys of the opera world, a spot staked by tenors early on, but Ng might change that yet, with his award-winning voice and the fine figure he cuts on stage.
Mr. Ng has a dual role in this opera: as the founder of Lirica Arts, he’s the producer of the show, and as a professional baritone, he has the role of the evil henchman, Batone, who was responsible before the curtain rises for kidnapping the heroine and casting her adrift at sea. When she reappears later in the opera, he menaces her again before he’s unmasked for the villain he is. Holding down the two roles successfully is ‘Exhausting!’ as he cheerfully admits.
Frühere Produktionsrezensionen
8Singapore baritone Martin Ng, the only other singer with roles in both operas, was very convincing as the menacing mafioso Alfio in Cav and bumbling comedic Tonio in Pag.
"But until a decade ago you rarely found tenors who performed the leading roles in both during the same evening. Given that history, Singapore Lyric Opera’s double bill on November 23 and 24 took a few chances in casting not only the Dominican tenor José Heredia as both Turiddu (in Cavalleria) and Canio (in Pagliacci) but also the Italian-American soprano Lisa Algozzini as Santuzza and Nedda and the Singaporean baritone Martin Ng as Alfio and Tonio...And the gamble paid off surprisingly well.... Ng went from a borderline thug as Alfio to a bumblingly inept Tonio with vocal aplomb."
Coming close to stealing the whole show was Ng's Dulcamara, whose mountebank manners and outrageous swagger (accompanied by a bevy of blonde nurses no less) made him one of the most pleasant “villains” around.
Jonathan Charles Tay and Martin Ng were both vocally suited for their roles as leads Don José and Escamillo respectively – Tay’s Flower Song was effortlessly sung, with lovely floated notes at the end, and Ng’s Toreador Song swaggered as befitting the matador equivalent of a rock star.
Instead, it is the cocky heartthrob Escamillo, played by baritone powerhouse Martin Ng, whose chemistry with Carmen truly sizzles. With strong rugged eyebrows and a delicious swagger, Ng’s Escamillo easily dominates the stage. He delivers the Toreador Song in a suitably brawny timbre, while finding softer tones to harmonise poignantly with Weng in their Act IV love duet (Si tu m’aimes, Carmen). It’s the last tender moment of the opera, before the terrible violence of her confrontation with Don José.
Local singer Ng was excellent as a courageous Amonasro, sporting a voice burnished with determination and a performance acted with vigour.
I was also impressed by Ng, whose portrayal of Scarpia in the NSO’s concert version of Tosca in February at the National Concert Hall in Taipei was stiff. As Ping, the lord chancellor, he was much more animated, not to mention funny
盱衡整部製作，創意與傳統兼具，時尚與復古並存，充份展現了十九世紀浪漫主義的精神、義大利歌劇的美學、別出心裁的創意、精雕細琢的舞台設計；再從細節觀察，舞台上的所有元素，不論是聽覺與視覺都是高規格、高品質的呈現，每一個場面調度皆精準無比。 ... 整體來看，聲樂家們的敬業精神是令人感佩的。看到兩位男中音（飾演費加洛的丁一憲與飾演巴托羅醫生的吳翰衛）在舞台上同場飆戲，相當精彩。他們以穩健的演唱功力紮實定錨，讓這些極具挑戰的花腔、裝飾音、一長串快速音群的咬字與音準，得以沖宵竄騰且精確到位。譬如費加洛〈好事者之歌〉(Largo al factotum della citta)、巴西里奧〈騙得了我這醫生?〉(A un dottor della mia sorte) 等，都表現出不急不徐的精準詮釋。
