Optical Identity: T'ang Quartet and Theatre Cryptic

I just came back from a Singapore Arts Festival performance by the T'ang Quartet called "Optical Identity". This was a contemporary classical music performance. I'm not really a big fan - in fact I've only attended one other contemporary classical performance (see review here). What is supposed to make this concert different is T'ang's tie up with Theatre Cryptic: this is supposed to be "visual music"; a more multi-media type experience with lights, staging and other effects thrown in. Promising?

Well, I was rather worried that it would be frightfully pretentious. And, when the curtain rose to display the performers sitting with their backs to the audience, I feared (to be honest) the worst. I could not see what they were wearing clearly, but it appeared to be white pyjamas. Later on in the performance they started walking around and we could see that they were wearing what looked like jackets with the sleeves cut out, or rather white sleeveless vests in addition to their white trousers. No shirts. But at that moment, what we saw were four dark thrones arranged in a semi-circle with their backs to the audience. The backs of each throne were shaped such that they looked rather like rocks. There was also a shape cut out of the back so we could get sight of the performers. The effect was of musicians sitting in a cavern whilst we the observers watched them play.

They played their first piece, White Man Sleeps by Kevin Volans, in this position. I enjoyed the piece - in fact it was my favourite of the evening. The first dance started off with a rather rhythmic sound, continued in the second dance with the cello setting the pace for the movement. The lighting effects were not particularly interesting in this session. This changed somewhat during the third dance, where a green shaft of light hit the back of one of the thrones. Instead of a cavern, the musicians sat in a forest glade and the pizzicato of the strings brought to mind falling drops of water. I had to admit that the multi-media elements certainly added to the musical experience.

But the second piece was somewhat less impressive. I much preferred the third piece, whereby the musicians on the stage were joined by their images projected on a huge screen behind them. It was quite interesting to see huge images of the bow moving across the violin strings behind the performers. It got even more interesting when the image expanded to show the musician as well... and revealed that the vest was off! Camera started showing (at all angles) the movement of the brawny arms and muscular backs as the violinist played. But this was a major distraction. I put it to you : four musicians on stage, clad in white vests and trousers, vs images of bare breasted musicians at work in the background - where do you think everyone's eyes will be? And as for the music... frankly that just didn't register.

Far less distracting was the next segment, when this man in black starts walking around the stage with a video camera capturing the musicians as they performed and projecting this on the screen "live". I actually quite enjoyed this, as the musicians entered into a sort of musical face-off, two against two. Unfortunately the music was somewhat discordant so I was reminded of two sets of cats snarling and hissing at each other. (No doubt, due to the many such episodes taking place in my house every day).

In brief: a very different classical performance, which I would certainly say is more memorable than most. But I am a little afraid that the effects outshone the music at times, rather than enhanced it.

The complete programme for Optical Identity:

• String Quartet No. 1: White Man Sleeps, by Kevin Volans
• Phonotype I (Parts I-IV), by Rolf Wallin
• Mugam Sayagi, by Franghiz Ali-Zadeh
• Phonotype I (Part V), by Rolf Wallin
• Manual Override, by Joby Talbot