Cover Associate conductor Rodolfo Barráez will lead the Singapore Symphony Orchestra at the Symphony Ball 2025 (Photo: Singapore Symphony Orchestra)
Associate conductor Rodolfo Barráez will lead the Singapore Symphony Orchestra at the Symphony Ball 2025 (Photo: Singapore Symphony Orchestra)
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The SSO’s signature annual fundraising event on April 26 at The Ritz-Carlton, Millenia Singapore will feature the full national orchestra in performance. We speak with three orchestra members who are dedicated to its mission of spreading the joy of music
Since it was founded in 1979, the Singapore Symphony Orchestra (SSO) has grown into one of Southeast Asia’s leading orchestras, known for its world-class musicianship and commitment to enriching the cultural life of the nation. As Singapore celebrates its 60th year of independence, the SSO marks the occasion with the Symphony Ball 2025—its signature annual fundraising gala—with presenting partner DBS, on April 26 at The Ritz-Carlton, Millenia Singapore. Singapore’s deputy prime minister Heng Swee Keat will be the guest of honour.
Themed Straits Serenade, the evening will feature a stirring performance by the full national orchestra, reflecting the SSO’s enduring role in shaping Singapore’s musical landscape. More than just a performance, the event underscores the orchestra’s mission to bring the joy and transformative power of music to all. Ahead of this milestone celebration, we speak with three dedicated members of the orchestra, whose passion and artistry not only elevate the ensemble’s work on stage but also continue to inspire the next generation of music lovers across the island and beyond.
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Above SSO's associate conductor Rodolfo Barráez (Photo: Singapore Symphony Orchestra)
SSO's associate conductor Rodolfo Barráez (Photo: Singapore Symphony Orchestra)
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RODOLFO BARRÁEZ, ASSOCIATE CONDUCTOR
What inspired you to pursue a career in conducting?
My musical journey started when I was seven years old at the music conservatory in my hometown of Coro in Venezuela, where I played the violin. However, I’ve always had a deep fascination with other sections of the orchestra, especially brass instruments. There was a time when I wanted to play the trumpet, but my mother encouraged me to continue with the violin. My love for conducting grew as I became more involved with orchestras, experiencing first-hand the power of music to bring people together.
What has been your most memorable experience with the Singapore Symphony Orchestra (SSO) so far?
It’s hard to pick just one, but the SSO free community concerts in public spaces such as the Singapore Botanic Gardens have been truly special. Seeing families and children enjoy the music in such an open, relaxed setting is a reminder of why we do this. I’ve also loved conducting the SSO subscription concerts where our musicians take the spotlight as soloists in programmes such as chamber performances. It’s inspiring to see them showcase their artistry. I’ve also had the privilege of working with some of Singapore’s talented young soloists in the President’s Young Performers Concert. And I remember with great affection the moments when we included Singaporean and Latin American repertoire in our programmes.
Is there a particular piece or composer that you are especially passionate about conducting at the Symphony Ball 2025?
I’m really happy with the overall programme—it’s vibrant, dynamic and full of energy. What excites me the most is the opportunity to take the audience at the Symphony Ball on a celebratory journey, filling the hall with the playfulness and joy that this repertoire brings. It’s a programme that invites everyone to simply enjoy the moment and the magic of live music.
Above SSO's violinist Kong Xianlong (pictured left) and choirmaster Wong Lai Foon (Photography: Frenchescar Lim; Grooming, hair and make-up: Benedict Choo)
SSO's violinist Kong Xianlong (pictured left) and choirmaster Wong Lai Foon (Photography: Frenchescar Lim; Grooming, hair and make-up: Benedict Choo)
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KONG XIANLONG, SECTION VIOLIN
How did you first fall in love with classical music?
My passion for classical music comes from a combination of personal experiences and influences. Growing up in a musical family, I was surrounded by the sounds of classical instruments, but it was the style and complexity of classical music that truly inspired me. One of my first favourite pieces is Czardas by Vittorio Monti as it showcases a dynamic interplay of tempos and moods.
Classical music is often deeply emotional. How do you express your personal experiences through your performance?
I start by examining the score such as the structure, key, time signature and tempo markings. Then I’ll play the whole piece under tempo using the metronome to get to know the style and see how it feels physically and emotionally. After that, I will go on YouTube and listen to the different interpretations by performers and learn more about the composer. Then it’s time to start breaking the piece into small sections, working out any technical issues. Once I’m comfortable with playing the piece, I’ll start putting music phrasings and emotions into the piece. Finally, when it’s time to perform, I’ll deliver the piece with my own interpretation and style.
Is there a particular piece or composer that you are especially passionate about performing at the Symphony Ball 2025?
With Singapore turning 60 this year, I’m excited and proud to perform compositions arranged by homegrown composers. We will be presenting Cultural Medallion recipient Kelly Tang’s Spring!, a vibrant and contemporary piece symbolising Singapore’s growth, and take a trip down memory lane with The Awakening from the popular 1980s television series [of the same name]. For my solo, I will be performing the theme from Ladies in Lavender, composed by Nigel Hess. The piece reflects the film’s themes of love, longing, and the passage of time, and I hope the audience can feel the beautiful and moving melody.
WONG LAI FOON, CHOIRMASTER
Choral music often requires deep collaboration. How do you guide and inspire the singers to connect emotionally with the music?
Music and lyrics go hand in hand in conveying emotion. Thus, it’s important for singers to understand the meaning and context of the lyrics. I also use analogies to evoke a particular tone or emotion that would help them express the text, musical ideas or dynamics. I strive to apply the principles of listening and breathing both for the singers and myself, with the main goal of helping singers and listeners hear and feel the music as the composer intended.
Can you share a standout SSO performance?
One of the most memorable performances, which the Singapore Symphony Children’s Choir (SSCC) was involved in is [Benjamin] Britten’s War Requiem, one of the greatest choral works of the 20th century, requiring two orchestras and two conductors. Another memorable performance is the SSO’s semi‑staged performance of [Georges] Bizet’s Carmen in 2016. It took many hours of preparation and rehearsal, but I recall the thunderous applause that we received.
The SSO Children’s Choir will perform Greg Gilpin’s Why We Sing at the Symphony Ball 2025. What do you hope guests can take home from this performance?
Why We Sing is a signature piece of the SSCC; almost all cohorts will encounter it at some point during their time in the choir. It still gives me goosebumps every time. The lyrics speak of the power of music and how we can use music to convey expressions of hope, peace, love and unity. There’s a line that says: “Music builds a bridge, it can tear down a wall; music is a language that can speak to one and all.” These are such important words not just for today, but for future generations. The words are simple to understand, but speak so powerfully with Gilpin’s inspirational musical setting. I hope that when guests hear the children’s voices carrying this message, they will feel the same sense of connection and inspiration music can bring.
In case you missed it: Choirmaster Wong Lai Foon on nurturing young choral talents in Singapore
Sound of Music: Key milestones of the Singapore Symphony Orchestra
1979: SSO’s Debut
SSO debuted at the Singapore Conference Hall with 41 musicians, including 13 Singaporeans.
1980: First Tour
SSO went on its first overseas tour to Kuala Lumpur, with pianist Seow Yit Kin.
1984: First Community Concert
SSO performed its first community concert at the Singapore Botanic Gardens.
1985: First European Tour
SSO went on its first European tour, covering 10 cities in Denmark, Norway and Sweden.
1986: Promoting Singaporean Works
SSO co-organised the inaugural New Music Forum to promote Singaporean compositions. Today, it continues to commission and perform works by Singaporeans, as seen in its annual National Day Concert.
2005: First US Tour
SSO delivered its first performance in the US, with soloists Yo-Yo Ma and Gil Shaham.
2014: SSO at the BBC Proms
SSO was invited to perform at the BBC Proms at the Royal Albert Hall.
2019: SSO Turns 40
SSO celebrated its 40th anniversary with free performances and a gala concert graced by then-prime minister Lee Hsien Loong.
2025: SSO’s Debut in Australia
SSO made its Australian debut in a three-city tour across Sydney, Melbourne and Brisbane.
As Senior Editor of Tatler Singapore, Hashirin champions and refines the storytelling across platforms—curating and crafting compelling profiles, cover stories and features that spotlight visionaries shaping culture, business and impact. Driven by curiosity, she draws inspiration from the artists, changemakers and trailblazers she encounters through her work. Beyond the pages of Tatler, she is an avid supporter of local theatre and delights in seeking out art in every city she visits.
