To continue the promotion of a cappella, a successful ensemble needs "CAP"¹!

Commitment
A successful ensemble cannot just sings, but also has to have members that are willing to commit themselves. From music arrangement to acoustics, from financial management to performance details, everything has to be done by the group members themselves. To be fully committed in sharing the works together is the crucial element for sustaining the group. For instance, many ensembles, such as Chapter 6, has a member who takes the role of arranger for the group.

Ability
A cappella singers also need to learn continuously. Ward Swingle, the founder of Swingle Singers, pointed out that a cappella singer not only has to master solo voice, blending voice, instrumental voice and mike voice, but also could flexibly manage nimbleness switching. In short, one should treat this easy listening art with douce mien, to pursue progression and to advance the artistic standards.

Personality
Ensemble singing calls for close collaboration among its members, which are not that many after all. So whether it is performing or working behind the scene, a hand-in-glove relationship is almost always expected. For a long, sustainable collaboration, the members must be easy going, good at expressing themselves, and ready to listen. If they are also the best of friends when not working, that would be ideal.
A cappella singing now has grown to be a highly entertaining performing art form. The singers, therefore, should ideally have a strong sense of humour, to the point of having the comedian or the clown in them. The highly successful combos such as the Swingle Singers, the quartet that came to Hong Kong last year - Cantabile, the legendary King's Singers, and the group that we'll soon see in Hong Kong ¡VThe Idea of North ¡V perfectly fit the bill. These are the guys who can fill the auditorium with laughter and joy while they sing.

Regarding the level of commitment and artistic accomplishment, the three overseas groups about to visit Hong Kong are exemplary groups in a cappella singing. And don't forget our Gay Singers! It is a happy coincidence that the members of each group were once classmates and are currently good friends with compatible personalities, a CAP true to form!

¹The three elements were originated in the booklet of the Contemporary A Cappella Society of America. It uses the term "Talent" and the writer of this article has changed it to "Ability".

Written by Fung Kwok Tung, an instructor in a cappella at the Extension
and Continuing Education for Life of the Hong Kong Academy for Performing Arts

Welcome to visit www.ftacappella.net for more information on a cappella

There has been a whirlwind out there on the international music scene for classical crossover and pop classical in recent years. With performers like Vanessa Mae, Bond and Maksim reaching pop star status all over the world, the trend is definitely in to render classical music into pop. Many would think that it was Vanessa Mae who pioneered classical crossover/pop classical, but in fact someone was far ahead, and quite a long time ago, by the name of Jacques Loussier.

As early as the late 1950s, Loussier already formed his Play Bach Trio, and fused classical music with jazz to bring about a new style of interpretation for the established works. That was about half a century ago - ages in the eyes of many.

Loussier's classical fusion was of course a far cry from the offerings of Mae and Bond, with no deep V's and miniskirts. In terms of genres, Mae, Bond and Maksim sought to blend classical music with pop or electronic disco music, but Loussier fused classical music with jazz.

The Play Bach Trio, which was made up of Jacques Loussier, Pierre Michelot and Christian Garros, interpreted Bach with jazz techniques and in form. In doing so they incorporated a most important element of jazz music - improvisation. At the time it must have been very new, very avant garde. At any rate, the Play Bach Trio's groundbreaking attempt proved to be successful, and was well liked by music fans. The Trio's recordings were reported to reach the six million mark!

By the 1970's, the Trio stopped its activities and Loussier turned to composing music on his own and experimenting with electronic music. In 1985, to mark the 300th anniversary of Bach's birth, he revived his group with a new set-up. The Trio by then had become even more diversified, and encompassed, apart from jazz and classical, rock and electronic elements into their music. Also, apart from reinventing Bach, Loussier expanded his oeuvre to other classical greats such as Mozart, Ravel, and Debussy.

It is therefore politically correct to say Loussier is the trailblazer in the modernization of classical music. Nowadays, if we set aside the pop and electronic disco classical works by Mae, Bond and Maksim, we will find that the many variations of classical music in the international scene today, for example "Chill out classical" and Cuban classical, are inspired by Loussier, whether in a large or small way. The 12 Girls Band, on the other hand, is a Chinese or eastern variation, bringing Chinese music or traditional eastern music to audiences in a new look, with pop and electronic disco elements blended with the eastern classical works.

The jazzed-up classical music of Loussier is very different from pop classical or electronic classical. Loussier's has much more finesse, with more delicate nuances, and is more technically demanding. Loussier's jazz classics require the player to have a profound understanding and experience of classical works, and also excellent performance techniques and improvisatory skills. Playing classical music is one thing, improvisation is another; and when the two are put together, you can imagine how demanding it is for a player. It takes a truly adept musician with virtuoso skills and musicality to perform with the right touch, the right flair, and the 'easy does it' air, and that's Jacques Loussier, the master in this art.

Translated from Chinese written by Fung Lai-chi, a local music critic and columnist for nearly 20 years

Some are born to sing, and Carol Kidd is one of them.

Born in Scotland, Kidd began her singing career at the age of fifteen. Later, apart from running a hotel and raising three children, she sang part-time all over Britain and appeared occasionally on television. She was therefore no stranger to the stage.

Her full-time professional career began in 1990 when Frank Sinatra invited her to do the opening for his show in Glasgow. Her voice went straight to the heart of the British jazz world and Kidd was invited to sing at the internationally acclaimed Ronnie Scott¡¦s Club. There she was heard by Tony Bennett, who enthused, after hearing her perform, ¡§Where have you been all this time? You should be world famous!¡¨ Another jazz legend, Cleo Laine, also an admirer, described Kidd as ¡¥world class¡¦. Such commendations from fellow musicians proved her worth. Soon the momentum of her success picked up and she was voted the Best Performer at the Edinburgh International Jazz.

In 1990, Kidd signed with Linn Record and began making record releases. Her debut album, The Night We Call It A Day, won for her Best Vocalist at the Cannes International Jazz Awards. It went on to be voted Best Jazz Recording in the United Kingdom. 1998 was a year to remember for Kidd. She had the honour of performing for the Queen, and was presented with an MBE award for her services to jazz in Buckingham Palace.

All those who have heard Carol Kidd sing have to admit that she has a honey sweet voice, and find her lilting numbers particularly endearing with their caressing, poignant tones. She is best loved for her jazzy numbers that combine the 'big band sounds', such as The Sunny Side of the Street, Bewitched, Bothered and Bewildered, etc. On her upcoming visit to Hong Kong, we can savour the sweetness of her voice.

Translated from the Chinese written by Jacky Ip, a veteran music and book critic

Though very much exposed to the influence of the late jazz guitar legends, Wes Montgomery and Joe Pass, Ritenour did not follow in their footsteps in mainstream jazz but chose fusion, smooth jazz (pop's next-of-kin), crossover jazz and even jazz pop instead. His consummate guitar techniques and versatility made him a much sought after studio artist on the A-list. He can make his presence so adaptable, whether as a front man, sideman or member of a group: when he is backing, his guitar can be just an anonymous ¡¥filler¡¦, stepping in here and there to enrich the song and the music; but when he is in the fore, he explodes onto the scene with his amazing presence before whatever stellar combination he is playing at the time, each guitar note clinking with crystalline clarity, and phrases beautifully and effervescently delivered.

On his upcoming visit to Hong Kong for the concert presented by the LCSD, what would Ritenour be playing? It makes interesting guessing. What highlights from his eclectic, 30-year career would make up the concert programme? Early fusion? Crossover jazz, bosa nova jazz of his ¡¥middle period¡¦? Smooth jazz and jazz pop of the 1990's? Or the Afro pop and Brazilian jazz heard on his South African tour last year? I would of course hope to hear the pick of each bunch, like Rio of 1979, Portrait of 1987, Festival of 1988, Stolen Moments of 1990, Wes Bound of 1992, Larry & Lee of 1994 (his partner being none other than his successor in Fourplay, Larry Carlton), Overtime of 2005, or even Smoke 'N' Mirrors from the South African tour last year. They would make a sumptuous platter of Lee's eclectic styles, or the Ritenour classics for yours truly, who is waiting with ears all pricked.

Delibes¡¦ Sylvia

Both works originated from operas of great French composers. Delibes (of Lakme fame) inherited the French operatic tradition of including a ballet in his operas. From there he became a pioneer in composing music for full-length ballets. Tchaikovsky ha d openly a dmitted that his Swan Lake and Sleeping Beauty were inspired by Delibes, also esteeming Sylvia¡¦s music more highly than Wagner¡¦s Gotterdammerung!¡¨

Delibes had two great ballets in his legacy of music. One is Copperleaf, which was written in 1870. It shared the same source with the first act of Offenbach¡¦s Les Contes d¡¦Hoffmann as the story of a dancing puppet. The other is Sylvia, which was written in 1876 and was inspired by Greek mythology. The story is about Sylvia, huntress nymph of Diana the Goddess of Hunting, who kills Aminta, the shepherd who admires her, by mistake when she draws her bow at Eros the God of Love. She is in turn shot by the arrow of Eros and falls in love with the dying Aminta. Finally Eros comes to Aminta¡¦s rescue; he brings Aminta back to life and succeeds in persuading Diana to give the couple her blessings.

Using the libretto by Paul Jules Barbier and Baron de Reinach, Delibes opens the ballet with the Les Chasseresses of Sylvia and the nymphs before the statue of Eros. During the Intermezzo, the nymphs retire to their own places; and while Sylvia is leisurely swinging on the tree during the Valse Lente, Orion the black huntsman comes out and abducts her. The love-stricken Aminta follows the abductor to the seaside and runs into the jolly Marche et Cortege de Bacchs. On the strains of a solo saxophone, Barcarolle brings in Eros disguised as a pirate with the veiled slave women. After one of the slaves has finished dancing the Pizzicato Polka, she takes off her veil and reveals herself as Sylvia, who has been rescued by Eros and is now returned to her lover.

The above works have been arranged into de Sylvia Suite, which is often featured in concerts. The ballet version performed by The Royal Ballet on this tour is by Christopher Newton in 2005, after Frederick Ashton, and not the original choreography by Louis Merante at its premiere. The music of Delibes is described as ¡§the hand of a master symphonist¡¨. It is praised that ¡§the picturesque choice of themes, the expressive variety of melodies, the attractive improvisation of the harmonies, and the highly colored orchestration make the ballet an exquisite work¡¨.

Massenet¡¦s Manon

Among the great works of Jules Massenet, Manon is a tragedy that belongs to the La Traviata tradition. Massenet is regarded as the master in writing operas of ¡§worldly ladies who are far more charming when horizontal¡¨ . His other famous opera Thais, which is also the name of a courtesan, features the most popular violin intermezzo Meditation.

In Massenet¡¦s opera, Manon Lescaut, protagonist of the original novel (and later, of the opera that made Puccini famous), transforms right before the audience in the six scenes that alternate in scale. She first appears as an innocent young girl in a bustling tavern on her way to the convent. While her brother wants to sell her to a rich old man as mistress, Manon falls in love with a young man Des Grieux and elopes with him to Paris. In the following act, Manon cannot resist the temptation of the vanity world and bids farewell to her lover. In the next scene, among the worldly pleasures in Paris, Manon, now the mistress of a rich man, is getting tired of her life of material comforts. She meets her lover again at the monastery and decides to return to him. In a luxurious gambling house, as Manon's lover is having his luck at the gambling table, tragedy strikes: Des Grieux is accused of cheating, Manon is taken for a prostitute, and both of them are arrested. In the last scene, Manon tries to escape before her exile to North America, but dies of exhaustion in her lover¡¦s arms.

Massenet is a master in using leitmotifs to depict his characters and modifies them as the characters develop. The beautiful melodies and sophisticated instrumentation rise and fall with the development of the plot. The ballet was choreographed by Kenneth MacMillan, same as the opera, who also transplanted the original novel into a much terser ballet version. At its premiere in London in 1974, with moving music that unfolds with the story, glamorous costumes and magnificent sets, it was an extravaganza on par with the original opera production designed to suit the connoisseur taste of the Parisian audience at l¡¦Opˆmra. In face of entertainment of such a scale, how could a ballet novice like me resist not to see it?

Now, with the two ballet beauties, Sylvia and Manon, coming on stage in Hong Kong in July, it looks like it¡¦s time to pay my respects again.

Meet the Strong family. On the surface they're not quite as wacky as the Addams family ¡V not quite, but almost. Actually their name is misleading, or rather, since Theatre O is a British theatre company, ironic. In terms of strength, Pa Strong (Edward) has more in common with a cup of decaffeinated Earl Grey than he does with the thick daipaidong coffee brew that puts hairs on your chest. Daughter Roberta and son Eric, are, to say the least, eccentric in their behaviour, and the fourth character, who doubles as their mother (Spanish) and the son's wife (an air-hostess), is by turns mysterious and sensual as the former and irritatingly jolly as the latter ("Aren't we having fun?" is her catchphrase).

There aren't many plays about dysfunctional families, but this acclaimed production, which has toured from the London Barbican to the Edinburgh Festival and then to the U.S. and Mexico, (their previous production, 3 Dark Tales , also toured to Beijing and Shanghai), must be one of the very best you can see. The narrative is non-linear with lots of flashbacks and an imaginative use of the stage space. At first it's hard to grasp any sense of reality. Nevertheless, the play is compelling, as it opens with a childhood argument between Eric and Roberta as precocious children. Their squabble is interrupted by the father's anguished announcement of the loss of the mother in a car crash, the unbearable pain conveyed as much in physical and auditory theatre language as in words. He is literally blown away by the event, as a mighty rushing wind carries us into the transition to the next scene of this seamless and fast-paced episodic performance.

The play revolves around the increasingly dubious question of how the mother died and shows us how the remaining family members react to bereavement. The answer is badly. In emotional and psychological terms personal growth and interaction between family members is stunted by the loss. The flashbacks of Edward's courtship provide us clues about his emotional life before marriage. A myopic optometrist, he meets his future wife in a hilarious encounter in his consulting room. A passionate relationship between the two is communicated through stylized tango-esque dancing. However after losing her, Edward's psychological portrait is painted verbally by his auctioneer daughter in the following "character presentation": "Please notice the impeccable suit and manners in contrast with the corrupted tenderness in the subject's look, the severe lines of the mouth, the utter lack of capability to communicate emotion to those that are closest to him".

The skill and subtlety of The Argument lies in its ability to tell a tale in physical, verbal and absurdly funny theatrical language, which touches all of us to the core of our being. Western families don't have a monopoly on, at best, stilted and, at worst, traumatized and dysfunctional family relationships. They seem to be a concomitant part of the contemporary individualistic lifestyle ¡V here in Hong Kong as much as anywhere else, as we all know from the media, if not our own lives. Maintaining a strong and balanced family relationship is almost an act of heroism in today's pressurizing world. The Strongs' attempt to carry on with normal life beneath the weight of inexpressible grief is based on Freudian denial, and it conveys a well of sadness beneath the absurd and farcical surface. The truth of their mother's disappearance ultimately emerges in the form of a letter from a Spanish nursing-home that Edward has been brandishing almost from the beginning of the play.

So much for the play's implicit serious subtext. The rest is high-octane, very physical comedy. The Argument could be described as a cross between the zany worlds of Monty Python and French-Romanian dramatist of the Absurd, Eugene Ionesco ¡V with just a hint of the flavour of Jean-Pierre Jeunet's delightful Amelie from Montmartre thrown into the mix. The result is an often gloriously bizarre and consistently funny theatrical concoction that evokes both pathos and distanced dark humour.

We can empathize with radio announcer, Eric, struggling toward independence, but we are highly amused as his control-freak father prompts him to say the right answers in his job interview. Later we see Eric at work in his studio. Subsequent intercut scenes of his mother recording Spanish phrases for a language programme, give us an insight into the almost oedipal feeling that Eric has for her memory. This is emphasized by the doubling of the actress playing his mother and his wife. At one point Eric refers to the book of the week read by Jocasta Bates and entitled Mommie Dearest , to be followed by a special Mothering Sunday drama of Medea . Such moments are typical of the play's clever fusion of surreal humour with slapstick comedy and frenetic action. Eric's sonorous Basil Fawlty-like voice and stage persona may be desperately funny, but at the same time it is reminiscent of Thoreau's famous phrase about people living lives "of quiet desperation".

Desperation causes Pa Strong to pick up a loud-hailer and pretend to have daughter Roberta's room surrounded with riot police, when she refuses to come out from the shelter of her book and her bedroom. The trick works and she comes out with her hands up in one of the wittiest and most comical moments of the play. Even the pathos is funny. Thus the recurrent motif of the arrestingly evocative play soundtrack, which underscores the actors' rhythmic physical performance, is an old Thirties song "We Three" about a lonely trio ¡V "my shadow, my echo and me". The play is a haunting but highly entertaining theatrical take on memory. As Roberta says in one her lucid moments we need to dememorize our lives: "Scientists should be paid to invent a way in which we can live our lives backwards. When we are born we are born old, and when we die we are babies. That way, when we die we remember nothing and everybody adores us!"

Theatre O founder, Joseph Alford, who also plays Edward Strong, studied physical theatre with Jacques Lecoq in Paris . It shows, and all four performers are good exponents of mime, movement, dancing and vocalization. However their style is not to be confused with contemporary Asian physical theatre, which is culturally very distinct and tends to be more fluid than this type of European physical-verbal hybrid. I see Theatre O as continuing the exciting British line of Steven Berkoff, Théatre de Complicité and Shared Experience. As reviewers have unanimously pointed out the group is totally engaging once you accept and enter their weird and wonderful world.

Mike Ingham is Associate Professor in the English Department at Lingnan University and a rgular local theatre critic

This article first appeared in the BC Magazine, Hong Kong 01 December 2005 issue