A Choir, A Family, A Community.
In her younger days in Kelantan, Khor Ai Ming woke up each morning to the chirping and singing of hundreds of songbirds belonging to her father, who trained them for competitions.
Now an acclaimed soprano, choral conductor and voice teacher, blending distinct voices into melodious choruses has become Ai Ming’s forte. Since coming to Singapore at the age of 20, she has remained here for more than a quarter of a century to advance her music education and music career. “Along the way, I met my husband Tamagoh, a local musician,” she says. “He encouraged me to focus on becoming a vocalist and specialise in voice teaching in Singapore. I’ve not looked back since!”
A Multicultural Family
Besides performing and giving lessons, Ai Ming works with many local choirs at the professional, community and school levels, bringing the joy of singing to disadvantaged groups such as elderly dementia patients and visually-impaired children. A group which holds a special place in her heart is Vocal Associates
Choruses which she created in 2014 as a platform for her vocal students to gain stage experience.
Soon after she formed the choir, she was invited to contribute a 150-member chorus to the Metropolitan Festival Orchestra’s performance. It was a big gap to fill, but she gamely took up the challenge and extended an open invitation through various channels for new members. To her relief, more than a hundred signed up for auditions. “Surprisingly, there were people from all over the world including Sweden, Japan, the Philippines…and of all ages,” she recalls.
The Vocal Associates have stayed true to its strong multicultural beginnings from those early days and continues to attract people from different cultures to sing together. Members from more than 20 countries, even from as far as Mongolia, Nicaragua and Ukraine, have passed through its door.
Vocal Associates is also uniquely made up of members from a wide age range of 6 to 85. It is very much a family affair too,
with grandparents in the choir with their grandchildren, couples, and parents with young children.
Where Differences Unite, Not Divide
Differences are strengths to capitalise on, as Ai Ming discovers. Being a diverse group makes it more versatile when selecting song genres and languages, often matched to the cultures of her members. When they encounter lyrics in a foreign language, she invites the native speakers among them to explain their pronunciation and meaning to the others. “Even in English, some words are pronounced differently in American English and British English. We pick the sound depending on where the song originated,” she says, citing the friendly exchanges the group often has over language.
VISION
When Vocal Associates performed at its 5th Anniversary concert, named “One Voice, One World” after its ethos, all its members donned traditional attire from their own cultures and sang a repertoire of songs in different languages. The visual impact was stunning, and its message equally powerful.
“Through music, we learn about life,” Ai Ming says. “At Vocal Associates, we learn so much from each other about cultures and people from different parts of the world and at different stages in life. Music and singing bring people together. It is a wonderful feeling of love and compassion.”
- Khor Ai Ming
TO UNITE HEARTS AND CULTURES THROUGH THE POWER OF VOICE, CREATING A WORLD WHERE MUSIC TRANSCENDS BOUNDARIES AND BRINGS GENERATIONS TOGETHER IN HARMONY.
MISSION
• To provide inclusive, high-quality vocal training and performance opportunities for singers of all ages and backgrounds.
• To foster cultural exchange, empathy, and lifelong learning through choral collaboration and global repertoire.
• To build a diverse, intergenerational community where music is a shared language of love, understanding, and human connection.
• To uplift lives and serve the community through music outreach, engaging both professional and underserved audiences.
PROGRAMME
梁文福
SHERMAN BROTHERS arr. MARK BRYMER ANDERS ÖHRWALL
VAUGHAN WILLIAMS
ROBERT BURNS arr. FRANCES COCKBURN
SWEDISH FOLK HYMN arr. HUGO ALFVÉN
GABRIEL FAURÉ
GEORGE GERSHWIN
麻雀衔竹枝
It’s a Small World
I Denna Ljuva Sommartid
Soloist: Anders Gustav Back
The Turtle Dove
Soloist: William Leonard
A Man’s A Man For A’ That
Soloist: Jamie Thom
Uti Vår Hage
Cantique de Jean Racine
Summertime
Soloists: Cheryl Bains, Kira Lim
Dancer: Kamilah Turner
GIUSEPPE VERDI
La Traviata – Libiamo ne’ lieti calici (Brindisi)
Soloists: Cheryl Bains, Fan Mun Hoi, Kira Lim, Samuel Yuen
INTERMISSION
吕泉生
THAI FESTIVAL SONG arr. LIONG KIT YENG
JOSEPH KOO arr. M H FAN
JOE HISAISHI
KOREAN FOLK SONG arr.SONJA POORMAN & JONATHAN LIM
CHERYL BAINS
快乐的聚会
Loy Krathong
Soloist: Amelia Tang
狮子山下
Soloist: Fan Mun Hoi, Pauline Lo
ひまわりの家の輪舞曲
Soloist: Jennifer Leonard
Arirang
Dancers: April de Raho, Emma Victoria Pang, Mia Du
Excerpts from “The Legend of the Goddess” (2025): I. Ode to the Cosmic Mother
II. River Goddess
Soloist: Cheryl Bains
CLAUDE-MICHEL SCHÖNBERG TONY MAKAROME
梁文福 arr. LIONG KIT YENG
I Dreamed a Dream
Soloists: Amelia Tang, Ong Jean Wei, Shanisse Tsai, Stephanie Leong, Stephanie Lim
Dancer: Nikita Sarah Nitishkumar
What Pattern?
Reminiscence of Childhood:
麻雀衔竹枝
Sparrow With A Bamboo Twig 梁文福
“Sparrow With A Bamboo Twig” is a song by the renowned Singaporean singer-songwriter Liang Wern Fook. It is based on a Cantonese children’s song and infused with local elements to give it a uniquely Singaporean flavour. Written during a period of rapid economic growth in Singapore, the lyrics of the song mention nostalgic locations familiar to many Singaporeans, and call on Singaporeans to remember their home even when they venture overseas.
我们这里是新加坡 我阿爹係海山街住过 1941 年轰炸机经过 一枚炸弹在街头降落
我们这里是新加坡 我阿妈係竹脚生我 虽然那时候霸王车很多 她却依然骑单车去工作 我们这里是新加坡
我的童年在女皇镇过 一房半厅的组屋背後 小小的林子里 曾经是孩子们的窝
我们这里是新加坡 我的小学从前在小坡 平时不读书考试之前 跑到四马路的庙前 说声哦阿弥陀佛
我们这里是新加坡 我们都曾一无所有过 现在拥有的不算什么 但是比别人珍惜得多 我们这里是新加坡 我表兄金山回来囖
小小麻雀胆竹枝 都係担番屋企好得多
This is Singapore
My father once lived on Upper Cross Street
When the bombers flew past in 1941
A bomb fell on the street corner.
This is Singapore, my mother gave birth to me at Tekka (KK Hospital)
Although there were many unlicensed taxis back then, she still rode her bicycle to work.
This is Singapore
I spent my childhood in Queenstown
The little forest behind our one-room HDB flat
Used to be the children’s hideout.
This is Singapore
My primary school used to be at Queen Street I didn’t study until my exams came
And I’d run to the temple at Waterloo Street And cry, “O Amitabha Buddha!”
This is Singapore
We used to have nothing in the past
What we have now may not be much
But we treasure it more than others
This is Singapore
My cousin has returned from America
Even a little sparrow carrying a bamboo twig
Will prefer to bring it back home
It’s a Small World
Sherman Brothers ARR. MARK BRYMER
It’s a Small World is one of Disney’s most iconic and enduring songs, originally composed by Richard and Robert Sherman for the 1964 New York World’s Fair. Though simple in melody, the song carries a powerful and universal message of unity, peace, and shared humanity. Written during a time of global tension, it reflects a hopeful vision of a world where differences are embraced and kindness prevails.
The lyrics highlight both the joys and challenges of the world we live in, while gently reminding us that “there’s so much that we share.” Its message resonates across generations and cultures, transcending language through the voices of children from around the globe.
More than just a catchy tune, It’s a Small World continues to inspire with its heartfelt call for understanding and compassion. As we sing it today, we are reminded of the timeless truth that we are all part of one global family.
It’s a world of laughter
A world of tears
It’s a world of hopes
And a world of fears
There’s so much that we share
That it’s time we’re aware
It’s a small world after all
En el mundo hay risas y dolor
Esperanzas y hay tambien temor
Mucho hay en verdad
Que poder compartir
Entre la humanidad
Wenn du lachst und neben dir ein andrer weint
Steh ihm bei, es gibt so viel, was uns vereint
Darum möchten wir Freunde fürs ganze
Leben sein
Diese Welt ist ja so klein
It’s a small world after all
It’s a small world after all
It’s a small world after all
It’s a small, small world
大家常歡笑 眼泪不會掉
時常懷希望 不必心驚跳
讓我們同歡笑 這個小世界
小小人間多美妙
There is just one moon
And one golden sun
And a smile means Friendship to ev’ryone
Though the mountains divide
And the oceans are wide
It’s a small world after all
I Denna Ljuva Sommartid Anders Öhrwall
I Denna Ljuva Sommartid (“In This Delightful Summertime”) is a beloved Swedish summer hymn, traditionally sung during the bright, blossoming months of the Nordic summer. With lyrics by Israel Kolmodin dating back to the 17th century, the song expresses deep gratitude for the beauty of nature and the renewal it brings. Its poetic verses paint vivid scenes of blooming meadows, singing birds, and gentle breezes—celebrating not only the season but also the divine grace behind nature’s gifts.
Often sung during Midsummer celebrations and church services, the hymn holds a special place in Swedish cultural and spiritual life. The melody, tender and lyrical, evokes a sense of peace, simplicity, and reverence for life’s fleeting, beautiful moments.
I Denna Ljuva Sommartid is more than a seasonal song—it is a reflective hymn of praise, inviting listeners to pause, appreciate the present, and find joy in the quiet wonders of the natural world.
I denna ljuva sommartid gå ut, min själ, och gläd dig vid den store Gudens gåvor.
Se, härligt smyckad jorden står, se hur för dig och mig hon får så underbara håvor!
När jag hör lärkans morgonsång, när fåglar kvittrar dagen lång på ängar, berg och backar, då kan jag icke tiga still. Min Gud, så länge jag är till, för livet jag dig tackar.
Ack, är det redan här så skönt på denna jord, så härligt grönt, hur skall det då ej bliva i himmelen, där Gud berett vad ingen här i världen sett och ord ej kan beskriva.
In this sweet summertime go forth, my soul, and rejoice in the gifts of the great God.
See, the earth stands beautifully adorned, see how for you and me she has such wonderful blessings!
When I hear the thrush’s clear song, when the lark rejoices all day long high above the mountains and hills, then I cannot remain silent.
My God, as long as I exist, for life I thank you.
Alas, if it is already so beautiful on this earth, so wonderfully green, how will it not be in heaven, where God has prepared what no one in this world has seen and words cannot describe.
The Turtle Dove
Vaughan Williams
Vaughan Williams was one of the more prominent figures in the first British Folk Song revival, collecting over 800 songs in an academic attempt to record what was seen as a vanishing tradition and preserve a British identity. One of the songs he recorded was The Turtle Dove, an 18th-century English folk ballad, listed as number 422 in the Round Folk Song Index. The lover (baritone solo) bids his love farewell in preparation of his journey, professing his unfailing love and yearning to return to her.
Fare ye well my dear, I must be gone And leave ye for a while If I roam away I’ll come back again Though I roam ten thousand miles, my dear Though I roam ten thousand miles
So fair thou art my bonny lass So deep in love am I
But I never will prove false to the bonny lass I love Till the stars fall from the sky my dear Till the stars fall from the sky
The sea will never run dry, my dear Nor the rocks never melt with the sun
But I never will prove false to the bonny lass I love Till all these things be done my dear Till all these things be done
O yonder doth sit that little turtle dove He doth sit on yonder high tree
A making a moan for the loss of his love
As I will do for thee my dear As I will do for thee
A Man’s a Man for A’ That ROBERT BURNS Arr. COCKBURN
Robert Burns was a pioneer of the Romantic movement of the late 18th century, an artistic and intellectual movement that advocated individualism and the importance of imagination, passion, intuition and in finding the beauty in society, culture and nature. He writes in the Scots language, which is a sister language of Modern English, so there is a lot of common vocabulary but also a lot of differences! You almost certainly know one of his most famous songs, “Auld Lang Syne”, a favourite for New Year across the world.
A Man’s A Man for A’ That was first published as The Honest Man the Best of Men in a radical journal. Burns was not of a high enough social class to be able to vote, but he was inspired by revolutionary France and the idea that ordinary people could govern themselves. This song captures the idea that virtue comes from the intrinsic worth, honour and hope of people and that from these things (for a’ that) a world of equality and brotherhood will one day be achieved.
Is there for honest Poverty
That hings his head, an’ a’ that;
The coward slavewe pass him by,
We dare be poor for a’ that!
For a’ that, an’ a’ that.
Our toils obscure an’ a’ that, The rank is but the guinea’s stamp, The Man’s the gowd for a’ that.
What though on hamely fare we dine,
Wear hoddin grey, an’ a that; Gie fools their silks, and knaves their wine;
A Man’s a Man for a’ that: For a’ that, and a’ that, Their tinsel show, an’ a’ that; The honest man, tho’ e’er sae poor, Is king o’ men for a’ that.
Is there for honest poverty
That hangs his head, and all that?
The coward slave, we pass him byWe dare be poor for all that! For all that, and all that, Our toils obscure, and all that, The rank is but the guinea’s stamp, The man’s the good for all that.
What though on homely fare we dine,
Wear rough grey tweed, and all that?
Give fools their silks, and knaves their wineA man is a man for all that. For all that, and all that, Their tinsel show, and all that, The honest man, though ever so poor, Is king of men for all that.
Though we labour in obscurity and lack social rank, and all that. Titles and rank come from money, but a man’s the true gold, despite all that.
We eat simple meals and wear simple clothes. Rich silks and fine wines are for fools. Despite all the gaudy show of the rich, the honest man (no matter how poor) is the noblest of them all, for all that.
Ye see yon birkie, ca’d a lord, Wha struts, an’ stares, an’ a’ that;
Tho’ hundreds worship at his word,
He’s but a coof for a’ that: For a’ that, an’ a’ that, His ribband, star, an’ a’ that: The man o’ independent mind
He looks an’ laughs at a’ that.
A prince can mak a belted knight,
A marquis, duke, an’ a’ that; But an honest man’s aboon his might, Gude faith, he maunna fa’ that!
For a’ that, an’ a’ that, Their dignities an’ a’ that; The pith o’ sense, an’ pride o’ worth,
Are higher rank than a’ that.
Then let us pray that come it may,
(As come it will for a’ that,)
That Sense and Worth, o’er a’ the earth,
Shall bear the gree, an’ a’ that. For a’ that, an’ a’ that, It’s comin’ yet for a’ that, That Man to Man, the world o’er, Shall brithers be for a’ that.
You see that conceited fellow called ‘a lord’, Who struts, and stares, and all that?
Though hundreds worship at his word,
He is but a dolt for all that. For all that, and all that, His ribboned, star, and all that, The man of independent mind, He looks and laughs at all that.
A prince can make a belted knight,
A marquis, duke, and all that!
But an honest man is above his might Good faith, he must not fault that
For all that, and all that, Their dignities, and all that, The pith of sense and pride of worth
Are higher rank than all that.
Then let us pray that come it may
(As come it will for all that)
That Sense and Worth over all the earth
Shall take the prize and all that!
For all that, and all that, It is coming yet for all that, That man to man the world over Shall brothers be for all that.
A pompous “Lord” can pose and preen and have many bow to his commands. But he’s still an idiot and his medals don’t matter! The man with an independent mind sees through it and laughs at all that!
A Prince can bestow titles, but he cannot bestow honesty on a man. It’s impossible! A man with strength of mind and moral worth outranks all of that!
As so we pray and know that a time will come when good sense and virtue will rule the earth. For all that, the time is coming when all men shall be brothers together.
Uti Vår Hage
arr. Hugo Alfvén
Uti vår hage (“Out in Our Meadow”) is one of Sweden’s most cherished traditional folk songs, often performed by choirs for its lyrical beauty and expressive harmonies. The song paints a romantic scene of springtime love and renewal, as a young admirer invites their beloved to walk together through a blooming garden filled with flowers and birdsong.
The version most commonly heard today was arranged in the early 20th century by composer Hugo Alfvén, who elevated the simple folk tune into an elegant choral work. His harmonization captures both the gentle charm of the melody and the emotional richness of the text—blending nature’s imagery with tender longing.
Beloved for its pastoral character and evocative atmosphere, Uti vår hage reflects the deep connection between love, nature, and the passing of the seasons in Swedish musical tradition. It continues to enchant audiences with its grace, nostalgia, and heartfelt sincerity.
Uti vår hage där växa blå bär.
Kom hjärtansfröjd!
Vill du mig något, så träffas vi där.
Kom liljor och akvileja, kom rosor och salivia!
Kom ljuva krusmynta, kom hjärtansfröjd!
Fagra små blommor där bjuda till dans.
Kom hjärtansfröjd!
Vill du, så binder jag åt dig en krans.
Kom liljor...
Uti vår hage finns blommor och bär.
Kom hjärtansfröjd!
Men utav alla du kärast mig är.
Kom liljor...
Out in our pasture grow blueberries fi ne.
Come, my heart’s delight!
If you want me, we’ll meet there.
Come lilies and columbine, come roses and sage! Come sweet curly mint, come joy of my heart!
Fair little flowers will ask for a dance.
Come, my heart’s delight!
If you want, I’ll make a crown of flowers.
Come lilies...
Out in the pasture are flowers and berries
Come, my heart’s delight!
Of all that I know, I love you the most. Come lilies...
Cantique de Jean Racine
Gabriel Fauré
The cantique conveys a sincere reverence towards God, and a plea for God to listen to the prayers of believers and bless them out of his boundless benevolence. At the age of 19, Gabriel Fauré composed Cantique de Jean Racine Op. 11, written for mixed choir and piano or organ. Fauré named the piece after Jean Racine, a 17th-century playwright who paraphrased a Latin hymn from the breviary for matins, Consors paterni luminis. The result was the text Verbe égal au TrèsHaut, which Fauré set to music in 1864–65 for a composition competition at the École Niedermeyer de Paris, and it won him the first prize. This work is considered one of his most famous works, and a precedent to the refined style of his Requiem.
Verbe égal au Très-Haut, notre unique espérance, Jour éternel de la terre et des cieux, De la paisible nuit nous rompons le silence: Divin Sauveur, jette sur nous les yeux.
Répands sur nous le feu de Ta grâce puissante; Que tout l’enfer fuie au son de Ta voix; Dissipe le sommeil d’une âme languissante Qui la conduit à l’oubli de Tes lois!
Ô Christ! sois favorable à ce peuple fidèle, Pour Te bénir maintenant rassemblé; Reçois les chants qu’il offre à Ta gloire immortelle, Et de Tes dons qu’il retourne comblé.
Word of the Highest, our only hope, Eternal day of earth and the heavens, We break the silence of the peaceful night; Saviour Divine, cast your eyes upon us!
Pour on us the fire of your powerful grace, That all hell may flee at the sound of your voice;
Banish the slumber of a weary soul, That brings forgetfulness of your laws!
O Christ, look with favour upon your faithful people Now gathered here to praise you; Receive their hymns offered to your immortal glory; May they go forth filled with your gifts.
Summertime George Gershwin
Summertime is an aria composed by George Gershwin for his 1935 opera Porgy and Bess, based on DuBose Heyward’s 1925 novel Porgy. The plot follows the titular character Porgy, a disabled black beggar who lives in the slums of Charleston, and his attempts to rescue Bess, the lady he loves from her violent and possessive lover. This song is first introduced in act 1 as a lullaby expressing hope for a better future despite trying circumstances. It has since become a jazz classic, covered by many famous artists such as Billie Holiday, Louis Armstrong and Ella Fitzgerald, and even Lana del Rey.
Summertime and the livin’ is easy
Fish are jumpin’ and the cotton is high
Oh, your daddy’s rich and your ma is good-lookin’ So hush little baby, don’t you cry
One of these mornings
You’re gonna rise up singing Yes you’ll spread your wings And you’ll take to the sky But ‘til that morning
There ain’t nothin’ can harm you With Daddy and Mammy standin’ by
Summertime, and the livin’ is easy Fish are jumpin’ and the cotton is high
Oh, your daddy’s rich and your ma is good-lookin’ So hush little baby, don’t you cry
Oh don’t you cry
Oh don’t you cry
Don’t you cry
Oh don’t you cry
La Traviata – Libiamo ne’ lieti calici (Brindisi)
Verdi
La Traviata is probably one of the most famous operas of all time, composed in 1853 by Giuseppe Verdi set to a libretto by Francesco Maria Piave. It centres around the tragic story of the character Violetta Valéry, inspired by the Parisian high-society courtesan Marie Duplessis. Libiamo ne’ lieti calici appears in the opening act of the opera, set in a lavish party attended by the aristocrats and wealthy gentlemen of Paris, during which Violetta meets Alfredo Germont, a young bourgeois, who has been a long-time admirer of hers. Alfredo, pressured by his friend Gastone starts a brindisi, a drinking song, which Violetta and the party joins him in singing.
Libiamo, libiamo ne’ lieti calici
Che la bellezza infiora
E la fuggevol, fuggevol ora
S’inebri a voluttà
Libiam nei dolci fremiti
Che suscita l’amore
Poiché quell’occhio al core
Onnipossente va
Tra voi, tra voi saprò dividere
Il tempo mio giocondo
Tutto è follia, follia nel mondo
Ciò che non è piacer
Godiam, fugace e rapido
È il gaudio dell’amore
È un fior che nasce e muore
Né più si può goder
Godiam, c’invita, c’invita un fervido
Accento lusinghier
La vita è nel tripudio
Quando non s’ami ancora
Godiamo, la tazza, la tazza e il cantico
La notte abbella e il riso
In questo, in questo paradiso
Ne scopra il nuovo dì
La vita è nel tripudio
Quando non s’ami ancora
Nol dite a chi l’ignora
È il mio destin così
Ah, ah, ah ne scopra il dì
Let’s drink from the joyous chalice where beauty is blossoming.
Let the fleeting hour
To pleasure’s intoxication yield.
Let’s drink to sweet tremors, that inspires love to those eyes that pierce the almighty heart. With you, I would share my days of happiness. Everything is folly in this world, unless it brings us pleasure.
Let’s enjoy life, for swift and fleeting are the joys of love
Like a flower that lives and then dies, and can no longer be enjoyed.
Let’s take our pleasure! A fervent flattering voice invites us!
Life is just pleasure…
But if one still waits for love…
Let’s enjoy the cup and the chants, the beautiful night and the laughter; In this paradise till the new day dawns on us.
Life is just pleasure
But if one still waits for love
I know nothing of that — don’t tell me… But there lies my fate
Ah, ah, ah till the day dawns on us
快乐的聚会 “A Joyful Gathering”
吕泉生 编曲
A Joyful Gathering is a choral piece arranged by Lü Quan-Sheng, based on a traditional song from the Shao tribe, one of Taiwan’s indigenous groups originally living by Sun Moon Lake. The song was first documented in 1922 and used for non-ritual celebrations like fishing, hunting, and welcoming guests. The cheerful phrase “Ka wu ka wu pin to si yo la ma sen” means “Everyone, let’s sing together!”—expressing gratitude and joy during communal gatherings.
Lü Quan-Sheng (1916–2008) was a pioneering Taiwanese musician and choral educator. He studied music in Japan and became known for promoting choral music in Taiwan, founding the Rongxing Children’s Choir and arranging many beloved Taiwanese folk songs. His works, including A Joyful Gathering, blend native melodies with rich harmonies, capturing the spirit of Taiwanese culture and everyday life. Lü’s music remains widely performed and continues to inspire generations with its warmth, cultural depth, and vibrant energy.
卡烏卡烏平多西有拉馬線 嘿呀
卡烏卡烏平多西有拉馬線
哈哈嚕嚕嚕嚕
嚕嚕嚕嚕喲烏
卡烏卡烏平多西有拉馬線 啊伊呀那多姍那西和漢 啊伊呀諾林那姍那多西有多拉過連
嘿啊嘿啊嘿伊呀
ka wu ka wu pin to si yo la ma sen Heya
ka wu ka wu pin to si yo la ma sen ha ha lu lu lu lu lu lu lu lu yo wu
ka wu ka wu pin to si yo la ma sen a yi ya na to sa na si ho han a yi ya no lin na san na do si yeo do la go lian
pin pin pon pon pin pon pon hei a hei a hei yi ya
Loy Krathong
arr. Liong Kit Yeng
On the evening of the full moon every 12th month of the Thai lunar calendar, Loy Krathong is celebrated. One tradition of this festival is making krathong, small basket rafts with containing a candle, incense and flowers which are floated on a river. This is done as an homage to the water goddess Mae Kongkha, while also symbolising a cleansing of one’s spirit and letting go of negativity. With its gentle, lilting melody and festive rhythm, Loy Krathong captures the beauty, unity, and cultural richness of this cherished Thai tradition.
wan-pen deuan sìp sŏng
náam gôr nong dtem dtà-lĭng
rao táng lăai chaai yĭng
sà-nùk gan jing wan loi grà-tong
ลอย ลอย กระทง, ลอย ลอย กระทง
loi loi grà-tong, loi loi grà-tong
ลอย ลอย กระทง กัน แล้ว
loi loi grà-tong gan láew
ขอ เชิญ น้อง แก้ว ออก ม � รำ�วง
kŏr chern nóng gáew òk-maa ram-wong
รำ�วง วัน ลอย กระทง, ram-wong wan loi grà-tong,
รำ�วง วัน ลอย กระทง ram-wong wan loi grà-tong
บุญ จะ ส่ง ให้ เร � สุข ใจ, bun jà sòng hâi rao sùk jai, บุญ จะ ส่ง ให้ เร � สุข ใจ
bun jà sòng hâi rao sùk jai
On the full moon of the Twelfth-month
Water overflows from the canals
All of us, men and women
Have lots of fun on Loi Krathong
Loi Loi Krathong, Loi Loi Krathong
When we’ve floated our Krathong
We ask the girls to dance the Ramwong
Ramwong on Loi Krathong Day
Ramwong on Loi Krathong Day
Goods deeds will bring us happiness
Goods deeds will bring us happiness
狮子山下
“below the lion rock”
Joseph Koo arr. M H Fan
“Below the Lion Rock” is a song written by the renowned Hong Kong composer Joseph Koo in 1979, with lyrics by the legendary lyricist James Wong. Originally written as the theme of for a television drama of the same name, the piece soon struck a chord with audiences and took on a life beyond the screen, becoming a symbol of Hong Kong’s unique identity and collective spirit.
The lyrics speak of unity in the face of adversity and unity through hardship. Beneath the Lion Rock - an iconic mountain overlooking Hong Kong’s Kowloon district - neighbours ar e not divided by class or background, but connected by a shared journey and a shared identity.
“Below the Lion Rock” was performed by Roman Tam, one of Hong Kong’s most in fl uential and beloved vocalists. His stirring rendition gave the song emotional weight and timeless resonance, helping it become an unof fi cial anthem of Hong Kong and a source of comfort in times of trouble.
人生 中有歡喜，
難免亦常有淚。
我哋 大 家在獅 子山 下相遇上，
總算是歡笑多於唏噓。
人生 不免崎嶇，
難以絕無掛慮。
既是同⾈， 在獅 子山 下且共濟，
拋棄區分求共對。
放開彼此 心 中⽭盾，
理想 一 起去追。
同⾈ 人 誓相隨，
無畏更無懼。
同處海⾓天邊， 攜⼿踏平崎嶇。
我哋 大 家⽤艱⾟努⼒寫下那 不朽⾹江名句。
In life, there is joy. But tears are inevitable too. Beneath the Lion Rock, we have come together, And laughter has overwhelmed our sighs.
Life is full of ups and downs, And it’s impossible to be free from worries Since we are in the same boat, let us help one another, And set aside out difference to face the path ahead.
Let go of our conflicts, And let us chase our dreams together. On the same boat, we promise to stand by each other, Without fear and without hesitation.
When we are together at the ends of the earth, we can overcome our hardships hand in hand
As one, we can work together through our troubles, And write the timeless story of our home.
ひまわりの家の輪舞曲 “Rondo of the Sunflower House”
Joe Hisaishi
Originally featured in Ponyo on the Cliff by the Sea, Rondo of the Sunflower House is a charming and whimsical song that captures the innocent joys of daily life through the eyes of a child. With gentle melodies and playful rhythms, the piece paints vivid scenes of cooking, doing laundry, walking in the rain, and waiting for a loved one to come home.
Behind its simplicity lies a tender longing—a desire to relive these moments of quiet happiness “just one more time.” True to Hisaishi and Miyazaki’s signature style, the song blends warmth, nostalgia, and childlike wonder into a musical vignette that invites listeners to find beauty in the everyday.
もういちど 自由にあるけたら
If only I could walk freely once more,
おもいっきり お掃除をして
I’d clean the house as I wish,
お洗濯をして お料理をつくって
Do some laundry, cook some food,
お散步に出かけよう
And go take a walk outside.
晴れたらなんて 明るいんだろう
What a wonderful day it would be, with such beautiful weather, お日樣も 笑っている
Even the sun seems to smile at us.
雨の日もスキ おしゃれな雨傘 I like rainy days too — with a pretty umbrella, レインコ一トも著て步こう
I’ll wear my raincoat and go outside.
おむかえは まだ來ないから
Since Heaven hasn’t come to pick me up yet, その間に 一寸だけ步かせて
I wish to take a little walk once again.
もういちどだけ踴りたい
I want to dance once more,
そよ風になって
Like a gentle breeze.
クルクルまわる ⼿をつないで
I’ll twist and turn, hand in hand,
背すじをのばして ヒザをのばして Straighten my back and stretch my knees,
足をはねあげて スカ一トがふくらんで
I’ll bounce my legs up high so even my skirt billows with joy,
みんなニコニコ笑ってる
And everyone’s smiling with delight.
Arirang arr.
Sonja Poorman & Jonathan S. Lim
Often called the unofficial national anthem of Korea, Arirang is a beloved folk song which is believed to have originated in Korea’s eastern Gangwon Province. With hundreds of variations, this song has been passed through generations as a symbol of Korean identity.
아리랑, 아리랑, 아라리요 Arirang, Arirang, Arariyo
아리랑 고개로 넘어간다 Arirang kogayro nomoganda
나를 버리고 가시는 님은 Narul powrigo kashinen nimun
십리도 못가서 발병난다 shimnido moutgaso palbyongnanda
Arirang, arirang, arariyo... Crossing over the Arirang Pass. If you abandon me, my beloved, Your feet will be sore before you go ten ri.
The Legend of the Goddess Cheryl Bains
The Legend of the Goddess is a work that has sprung from the depths of Cheryl Bain’s meditation both as a musician, and a devotee of timeless stories that have moved the hearts of generations before her, and who are yet to come.
The inextinguishable spark of inspiration to take up this subject came from Om Swami’s book of the same name, which expounds upon the glory and mystery of the divine mother in the form of Lakshmi, and the hidden secrets that lie in her katha (mythology).
As a western classical singer, Cheryl Bains is accustomed to performing repertoire depicting ancient European legends. As a composer, with a background in Hindustani classical music, she felt it was time to start honoring the folkloric stories belonging to her motherland, but for wider audiences.
The first movement, Of Primordial Waters, pays obeisance to the vital force that creates and sustains all beings. It begins with an Ode to the Cosmic Mother,
The Legend of the Goddess Cheryl Bains
who existed long before all creation, even before Brahma-Vishnu-Shiva, according to katha.
River Goddess (Shiva’s Ganga-Tandav) narrates the glorious arrival of Goddess Ganga (River Ganges) from Heaven to Earth, flowing through the matted locks of Lord Shiva as he dances in celebration.
Ode
To the Cosmic Mother Mother, Mother wise, Mother undying; Mother wise, Of cosmos colliding; Fill me with truth and power Find me in my darkest hour.
Mother mine!
Fill me with truth and power Find me in my darkest hour.
O Mother, Mother wise, Truth undenying; Mother mine! Of grace undefining. Fill me with truth and power Find me in my darkest hour.
Mother mine!
Fill me with your truth and power Find me in my darkest hour.
River Goddess
Shiva’s Ganga Tandav Ganga, we implore you Merciful Ganga, make this world new. Most divine are you, Standing or coursing fiercely through Valleys up in Heaven above!
Now is the time; Shower us with love.
Let grace wash over me, Going as far as eyes can see; Salvation you’ll bring to man and king, Through Gangadhari !
Wash me with grace, o Mother Trace through my locks of hair,
Bring us new life, end all our strife Ganga; come down!
Flow through me Goddess, flow now. Bless your daughters, flow now. Make me your vessel shielding your might,
Let sorrows pass and fade into night. Flow through me Goddess, flow now.
Consecrated ground
Makes way and moves without a sound, None mighty as the river Herself! Now is the time; She continues to arrive!
Wash me with grace, o Mother Trace through my locks of hair, Bring us new life, end all our strife Ganga; finally here now!
Flow through me Goddess, flow now. Bless your daughters, flow now.
Make me your vessel shielding your might, Let sorrows pass and fade into night. Flow through me Goddess, flow now.
Gangadhari serves you now, Jai Gange !
I Dreamed a Dream
Claude-Michel Schönberg
I Dreamed A Dream is a song from Claude-Michel Schönberg’s famous 1980 musical Les Misérables.
In the musical, the song is sung by Fantine, a once-hopeful young woman who finds herself alone and struggling after she and her daughter are abandoned. She reflects on happier times and the hopes she once had, which have since been replaced by hardship and sorrow.
There was a time When men were kind, And their voices were soft, And their words inviting. There was a time When love was blind, And the world was a song, And the song was exciting. There was a time When it all went wrong...
I dreamed a dream in time gone by, When hope was high and life, worth living.
I dreamed that love would never die, I dreamed that God would be forgiving. Then I was young and unafraid, And dreams were made and used and wasted.
There was no ransom to be paid, No song unsung, no wine, untasted.
But the tigers come at night, With their voices soft as thunder, As they tear your hope apart, And they turn your dream to shame. He slept a summer by my side, He filled my days with endless wonder... He took my childhood in his stride, But he was gone when autumn came!
And still I dream he’ll come to me, That we will live the years together, But there are dreams that cannot be, And there are storms we cannot weather!
I had a dream my life would be So different from this hell I’m living, So different now from what it seemed... Now life has killed the dream I dreamed...
What Pattern?
Tony Makarome
What Pattern? was commissioned by Vocal Associates. It is heavily influenced by the South Indian art of vocal percussion known as Konnakkol.
The rhythmic combinations are constructed using known patterns from the Carnatic music tradition of South India. The main scale used is a raga called Kharaharapriya (which corresponds to the western mode known as Dorian). The text uses both indian solfège syllables (sa, re, ga, ma, pa, da, ni) and rhythmic syllables such as Taka, Takita or Takadimi which originate from the pedagogy of the mridangam (the predominant percussion instrument used in Carnatic music).
Related thematic motifs from the beginning and end of the piece give it an overall feeling of being an arch form with episodic bursts of activity that mimic traditional Carnatic improvisation (e.g. there is a section in the middle that employs motifs of 7 subdivisions that resemble a form known as koraippu).
A mridangam and some western percussion have been added as accompaniment. This instrumentation adds traditional Indian flavour to the piece while spicing it up with a western touch.
童年的回忆：新谣组曲
“Reminiscence of Childhood”
梁文福 arr. Liong Kit Yeng
The Xinyao (or Singapore folk songs) movement may have belonged to the 1980s, but such a unique musical genre should be imparted and be appreciated by the younger generations. As such, a selection of songs composed by Xinyao pioneer Liang Wern Fook have been chosen for this medley arrangement. The innocence of childhood, the longing for past memories, the complexity of growing up...no matter which generation you are in, you are bound to go through these phases in your life. Taking on a refreshed perspective of Xinyao, this arrangement is dedicated to the young and the young-at-heart.
新的棉花新的布 妈妈给我缝衣服 棉衣穿在我身上 妈妈脸上笑嘻嘻 穿过许多的新棉袍 多麽平凡的骄傲 一年又一年 一件又一件
穿过快乐穿过年少
曾经说过穿新衣好 妈妈缝的骄傲 总是一次次 总在无意时
勾破妈妈的 ⾟ 劳
新衣穿成旧衣了 就像罗嗦的唠叨 妈妈说的话全都听不下 不要担心不要牵挂
我 ⽤ 冷漠证明长大 我 ⽤ 伤害换取潇洒 旧的都不好旧的都忘掉 只有新的才是最好
如今新衣又变旧了 穿著悔恨总缝不好 总是一次次总在无意时 想起妈妈和蔼的笑 如今穿不下旧棉袍 只有妈妈的爱不老 想在她耳边轻轻说一句 新衣服哪有旧的好
从前我们喜欢排排坐 争著嚷著吃著糖果 分不清楚时就都爬树去 谁爬得高谁分得最多 如今我们不吃糖果 甜蜜的话是听得太多 大家笑著争个死活 谁爬得高谁分得最多 从前我们喜欢一块儿坐 听著奶奶把她的故事说
奶奶说完了都到院子里去 看天上星星不停闪烁 如今人人都亲热得多 转过头就把你来数落 谁的心没有默默地痛过 满天星星也疲倦得多
年少时候 谁没有梦 无意之中 你将心愿透露 就在你生日的时候 我将小小口琴送 最难忘记 你的笑容 友情的细水慢慢流 流进了你我的心中 曾在球场边为你欢呼 你跌伤我背伏 夜里流星飞渡 想像著他日的路途 晚风听著我们壮志无数 多年以后 又再相逢 我们都有了疲倦的笑容 问一声我的朋友 何时再为我吹奏 是否依旧 是否依旧 人生的际遇千百种 但有知心长相重 人愿长久 水愿长流 年少时候
摇走最初的梦最後的骄傲 岁月的面具现实的外套 最长的连续剧最老的新谣 每个人的游戏最认真的玩笑 摇呀摇 谁也不说无聊 红色的欢乐白色的问号 知了呀知了还在唱着知了 知了呀知了还在唱着知了 啊呀 摇呀摇
THE SINGERS
SOPRANO
Amelia Tang, April Tan, Cheryl Bains*, Fran Ho*, Jen Ong, Jennifer Leonard*
Kwok Yuen Teng Joyce, Kira Lim*, Leong Moh Yin, Lilian Lee, Pauline Lo Shanisse Tsai*, Stephanie Leong*, Stephanie Lim*
ALTO
Elizabeth Clark Martinez*, Lily Wong, Nelly Voon-Arriola, Ng Boon Cheng
Ong Jean Wei*, Yeoh Jeok Eng
TENOR
Fan Mun Hoi*, Anders Gustav Back*, Sazu Hidefumi, Jamie Thom*
Pierre Tremblay, Samuel Yuen*, Tan Hong Shuo, William Leonard*
BASS
Ang Chin Guan, Darren Leonard*, Edward Lee, Fong Poh Him*, Han King Juan*, Jeremy Chia
ENSEMBLE OF YOUNG VOICES
Alena Young, April de Raho, Archie Thom, Cara Chia, Dora Yang Rui, Eliza Young
Ella Wong, Emma Victoria Pang, Katelynn Young, Leo’nidas Koh, Oliver Goh
Manami Thom, Mia Du, Natalie Teoh, Song Shuyan, Steffi Chiam, Tan Xuan Ru
*Chamber Choir
VISION
To unite hearts and cultures through the power of voice, creating a world where music transcends boundaries and brings generations together in harmony.
MISSION
• To provide inclusive, high-quality vocal training and performance opportunities for singers of all ages and backgrounds.
• To foster cultural exchange, empathy, and lifelong learning through choral collaboration and global repertoire.
• To build a diverse, intergenerational community where music is a shared language of love, understanding, and human connection.
• To uplift lives and serve the community through music outreach, engaging both professional and underserved audiences.
Vocal Associates
Formed in 2014, Vocal Associates is a dynamic non-profit arts organisation comprising five major wings: the Vocal Associates Chorus, Chamber Choir, Ensemble of Young Voices, Senior Choir, and the Songbirds Solo Artistes. The majority of members receive weekly individual vocal training under Ms Khor Ai Ming, and many have consistently achieved distinctions and merits in graded examinations and diplomas under Trinity College London.
Vocal Associates is the realisation of Artistic Director Ms Khor’s vision, passion, and commitment to elevate vocal artistry within Singapore’s music scene. Its members span a diverse range of nationalities and cultures, with ages ranging from 6 to 86. Reflecting Ms Khor’s signature versatility, this vibrant performing arts group regularly presents a wide spectrum of musical styles, including orchestral works, opera, Chinese orchestral music, jazz, musical theatre, and pop favourites.
Initially established for the 2014 performance of Howard Shore’s The Lord of the Rings: The Two Towers with the Metropolitan Festival Orchestra, Vocal Associates has since been invited to perform numerous major orchestral works. These include Mahler’s Symphony No. 8, Bernstein’s Chichester Psalms, and the world premiere of Alarcón’s Marco Polo Trilogy. VA has also been a regular guest at Singapore Chinese Orchestra (SCO) concerts, including their 20th and 25th Anniversary celebrations in 2016 and 2021. Over the years, the choruses have collaborated with esteemed conductors such as Justin Freer, Timothy Reynish, Tsung Teh, Joshua Kangming Tan, Quek Ling Kiong, Hong Xia, and Xu Zhijun.
On the international stage, Vocal Associates has proudly represented Singapore across multiple cities worldwide. In 2016, they received a standing ovation at
Carnegie Hall, New York. This was followed by a 2018 performance at the Walt Disney Concert Hall in Los Angeles, and a 2019 music tour to Okinawa, Japan. In December 2023, VA toured Shizuoka and Tokyo for a musical exchange that culminated in a performance at Makinohara City Comprehensive Music Hall. That same trip included an invitation to perform at the Taipei 101 New Year’s Celebration, hosted by the Taipei City Government. On 15 December 2024, they gave a joint concert with the Jeonggwan Women’s Sunlight Choir at Youngsan University in Busan. Most recently, in May 2025, VA members returned to Carnegie Hall to perform Mozart’s Requiem under Dr Margaret Pride, alongside Australian choirs and the New England Symphonic Ensemble.
Since 2010, Vocal Associates has also presented numerous concerts under the baton and artistic direction of Ms Khor. The group’s annual Songbird Series features solo performances by VA’s Songbirds Solo Artistes. In addition, VA has staged semi-staged musicals and operas at the Esplanade Recital Studio, including Hansel and Gretel (2016), Eloise (2019), Thomas and Sally (2022), The Sound of Music (2015, 2022), The Lion King (2023), The Magic Flute (2014, 2023), and The Little Prince (2018, 2024).
Since 2015, VA has also mounted two major concerts annually at the Esplanade Concert Hall, presenting full-scale choral and orchestral works such as:
• Fauré’s Requiem (2017)
• John Rutter’s Mass of the Children (2015, 2018)
• Karl Jenkins’ The Armed Man: A Mass for Peace (2018)
• Carl Orff’s Carmina Burana (2019)
• An adaptation of Handel’s Messiah in Hallelujah (2022)
• Carnival by Gwyn Arch, inspired by Saint-Saëns’ Carnival of the Animals (2022)
• Rutter’s Magnificat (2023)
In celebration of its 10th Anniversary, Vocal Associates presented David Fanshawe’s African Sanctus on 15 June 2024 at the Esplanade Concert Hall. www.vocalassociates.org
VocalAssociates
Vocal Associates Ensemble of Young Voices Vocal Associates Ensemble of Young Voices
Vocal Associates Ensemble of Young Voices (VA Ensemble of Young Voices) is an ensemble of solo voices from 6 to 21 years of age. These young singers have a wide repertoire including choral masterpieces, opera, musical theatre, cinema theme songs, oratorios, and modern compositions. They have had many choral and soloist performance experiences under their belts. VA Ensemble of Young Voices has performed with orchestras like the Singapore Chinese Orchestra, Metropolitan Festival Orchestra, Orchestra of the Music Makers, the Philharmonic Winds, and Asia Virtuosi. Orchestra works presented includes Lord of the Rings - The Two Towers, Bernstein’s Chichester Psalms, and Mahler’s Symphony No. 8.
VA Ensemble of Young Voices has also performed in Vocal Associates’ annual concerts at the Esplanade Concert Hall since 2016, presenting works like Handel’s Messiah, Carnival of the Animals, Mass of the Children, Faure’s Requiem, A Mass for Peace, and the Wind in the Willows. ln August 2020, VA Ensemble of Young Voices joined VA Chorus singers in lending their voices for National Day, in appreciation of Singapore, through a virtual choir production, Song for Singapore. In December 2022, VA Ensemble of Young Voices was invited by Children’s Museum Singapore to perform at their Grand Opening.
On its own, the Ensemble of Young Voices has put up a number of children-opera and musical performanc es such as The Magic Flute Children’s Opera in 2014, The Sound of Music in 2015, Hansel & Gretel in 2016, The Little Prince in 2018, Eloise - An Opera for Young People in 2019, The Sound of Music in 2022, Lion King Jr The Musical in 2023 and The Little Prince 2024. These productions not only showcased the voices of these talented young singers as both soloists and ensemble, but also their acting skills.
VA Ensemble of Young Voices has also performed on the international stage, delivering performanc es in New York City’s Carnegie Hall (2016), Los Angeles’ Disneyland Anaheim and the Walt Disney Hall (2018), Okinawa Japan’s Civic Theatre Ashibina, the Okinawa City Hall, and Shimabukuro Elementary School (2019). Most recently, they travelled to Japan and performed at the Makinohara City Comprehensive Music Hall (2023).
Khor Ai Ming artistic director | conductor
Khor Ai Ming is a celebrated contemporary classical soprano, choral conductor, and voice educator. She was awarded the COMPASS Artistic Excellence Award in 2015 in recognition of her outstanding artistic achievements in Singapore. Renowned for her vocal artistry and versatility, Ai Ming is a prominent figure in the Singapore arts scene and is frequently invited to present world and Singapore premieres of new-music works. Her performances at largescale national celebrations further attest to her innate musicianship and expressive range.
Among the notable works she has presented as Singapore or Asia premieres are Der Besuch der alten Dame by Gottfried von Einem (in the lead role of Claire Zachanassian), the complete cycle of Schoenberg’s Pierrot Lunaire, Berio’s O King, Gaslini’s Magnificat, Paul Wilson’s Spiritus, Messiaen’s La Mort du Nombre, Juhi Bansal’s The Lost Country of Sight, Tony Makarome’s Shiva, and Jeremy Monteiro’s Shakti Dance. She sang the theme song for the Chingay Parade in both 2011 and 2014, and was the soprano soloist in Music for Fireworks at the Marina Bay Singapore Countdown 2012, composed by Iskandar Ismail.
In 2013, she performed Pierrot Lunaire for the second time—this time under the Esplanade Spectrum Series with the Asian Contemporary Ensemble—to critical acclaim from The Straits Times. The publication has also called her annual solo recitals at the Esplanade Recital Studio “a keenly awaited fixture in the concert calendar.”
Ai Ming is also the principal of Ms Khor’s Studio, one of Singapore’s leading voice and music schools for aspiring vocalists. Her students have consistently achieved top results in Trinity College London’s music examinations, with many being the highest scorers. Between 2013 and 2025, over 50 of her solo voice students won top prizes—including Best Performer Awards and Judges’ Distinction Awards—at the American Protégé International Vocal Competition, earning the honour of performing at Carnegie Hall, New York.
Many of her students, having undergone years of rigorous personal training and mentorship, have pursued professional vocal studies at leading conservatories worldwide. These include the Royal Northern College of Music (UK), Manhattan School of Music (USA), Berklee College of Music (USA), University of Queensland (Australia), and Yong Siew Toh Conservatory of Music (Singapore).
Previously, Ai Ming served as Chorus Mistress of both the Singapore Lyric Opera Chorus and Children’s Choir, working under distinguished opera directors such as Andrew Sinclair, Tom Hawkes, David Edwards, and Paul-Émile Fourny. Her experience spans productions of Les Contes d’Hoffmann (Offenbach), La Bohème, Manon Lescaut, Madama Butterfly (Puccini), La Traviata (Verdi), Carmen (Bizet), and Mozart’s Die Zauberflöte and Don Giovanni. She has also collaborated with eminent conductors including Tsung Yeh (Singapore Chinese Orchestra), Joshua Tan (Singapore Symphony Orchestra), and Alice Farnham (Royal Opera House).
Passionate about nurturing the next generation, Ai Ming conducts several school choirs, many of which have received Distinction Awards at the Singapore Youth Festival. She also provides vocal coaching for students in the Music Elective Programme and O-Level Music, in institutions such as Anglo-Chinese School (Independent), Singapore Chinese Girls’ School, Tanjong Katong Girls’ School, Raffles Junior College, and CHIJ St Nicholas Girls’ School, among others.
Ai Ming has served as a mentor at the Singapore Street Festival for the past 20 years. In more recent years, she has devoted significant time to community work, especially with the elderly and children with special needs. She is the choral instructor of The Purple Symphony and conducted singing classes for the Cerebral Palsy Alliance Singapore. Her weekly therapeutic singing programme at the Lions Home for the Elders has shown encouraging progress in residents with dementia. She has also been the vocal instructor of the Breast Cancer Foundation Ladies Chorus for the past 10 years.
In 2015, Ai Ming founded two community choirs: The Joy Chorale under the Braddell Heights Symphony Orchestra, and East Coast Choir under Kampong Chai Chee Community Centre.
Ai Ming is currently the Artistic Director of Vocal Associates. She holds a Fellowship in Voice (FTCL) and continues her studies under international opera star Ning Liang. She lives in Singapore with her husband, drummer Tamagoh, and their two dogs, Cavoodle Baby Buggar and Shih-Tzu Tanoshi.
Acclaimed by the Straits Times:
“…few are blessed with Khor’s versatility. After all, who is equally at home singing Chinese and Malay songs, Western classical standards and modern works such as Schoenberg’s Pierrot Lunaire?”
“She brought out the delightful innocence of these far-from-straightforward miniatures by means of some captivating vocal and visual characterisations.
“….gloriously communicative personality and innate musicianship…”
“….a highly sophisticated and perceptive performance which went far beyond an ability to control a voice.”
“…one of the nation’s most versatile and distinctive art song practitioners.”
Cheryl Bains
Cheryl Bains is an operatically trained Soprano, and a classicalcrossover composer-performer. A Manhattan School of Music graduate, she has performed roles like Gretel ( Hänsel und Gretel ), Susanna ( Le Nozze di Figaro ), and Maria ( The Sound of Music ), and as a soloist with the MSM Chamber Choir and Orchestra under Maestro Kent Tritle.
Recently in her home country, India, Cheryl composed and performed the world premiere of her opera, The Legend of the Goddess , at Mumbai’s Royal Opera House, marking her first major compositional premiere. Cheryl was invited to perform with the Kolkata Sinfonietta Orchestra under Maestro Dider Talpain, the French Consul General in Kolkata. She was also honored to perform for the first chapter of “Les Entretiens de Royaumont” in India, hosted by the Indo-French Chamber of Commerce and Industry. To celebrate Italian National Day at the Embassy in Delhi, Cheryl gave a memorable performance of the Italian and Indian national anthems accompanied by the Indian Air Force Band. Closely associated with Steinway India, Cheryl inaugurated a brand-new showroom in New Delhi with a Steinwaythemed recital. She regularly appears in concert with The Neemrana Music Foundation, Delhi.
Raised in Singapore and mentored by Maestra Khor Ai Ming under Vocal Associates, Cheryl was a featured soloist under the baton of Maestro Joshua Tan, in works like Rutter’s Mass of The Children , Beethoven’s Symphony No. 9 , and Bernstein’s Chichester Psalms amid others. Formerly based in Los Angeles and mentored by critically acclaimed Composer, Arranger and Orchestrator, Ladd McIntosh; Cheryl presently goes between India and Singapore.
Fan Mun Hoi
Fan Mun Hoi began vocal training with Khor Ai Ming at the age of seven and became a founding member of Vocal Associates in 2014.
A gifted vocalist, Mun Hoi was named Singapore’s Top Scorer for Trinity College London’s Grade 6 and Grade 8 Singing exams in 2015 and 2017 respectively. He went on to achieve a Distinction for his ATCL Diploma in Singing in 2019.
In 2017, he was selected from thousands of applicants worldwide to join the prestigious High School Honors Performance Series, performing at the Sydney Opera House with a 100-member international youth choir under the baton of Dr. Jeffery Ames. He was one of only two Singaporeans chosen for this honour.
Mun Hoi is currently pursuing a degree in Contemporary Writing and Music Production at Berklee College of Music in the United States. He is among a select group of international students to receive a full academic scholarship and continues his vocal training under American operatic tenor Neal Ferreira.
ANDERS GUSTAV BACK
Gustav began singing at the age of five in the children’s choir at his local church in Sweden. Since then, music has remained a constant companion throughout his life. As his studies and career brought him across the globe, he continued to sing with choirs and vocal ensembles in Uppsala, Stockholm, London, New York, and Singapore.
Gustav has explored a wide range of musical genres, including Swedish traditional music, sacred choral works, musical theatre, and jazz. He is particularly drawn to storytelling through song and enjoys bringing characters to life on stage. With Vocal Associates, Gustav has taken on memorable solo roles such as Toad in The Wind in the Willows (2019), Thomas in Thomas and Sally (2022), Papageno in The Magic Flute (2023), and The Lamplighter in The Little Prince (2024).
Whether performing as a soloist or as part of an ensemble, Gustav brings warmth, sincerity, and humour to his performances.
WILLIAM LEONARD
William Leonard was born in Tokyo and began singing at the age of six with the Tokyo International Children’s Choir. In 2018, he joined the Vocal Associates Ensemble of Young Voices (VAEYV) in Singapore, and later became a chorister at the Choir School of Reigate St Mary’s Church in the UK, where he now serves as Head Chorister.
With VAEYV, William has performed lead roles including The Prince in The Little Prince opera, 1st Genii in Mozart’s The Magic Flute, The Mole in The Wind in the Willows by John Rutter, and Seven Princes in Eloise by Karl Jenkins. His work as a chorister includes regular solo performances in both liturgical and concert settings. Most recently, William performed Britten’s War Requiem at the Royal Albert Hall.
William is a prizewinner at the Reigate and Redhill Music Festival and the International Music Competition Grand Prize Virtuoso, where he performed at the prestigious Mozarteum in Salzburg. He holds a Grade 8 Singing qualification with distinction from Trinity College London.
William continues to grow as a soloist and ensemble singer, known for his expressive musicality and stage presence.
JAMIE THOM
Jamie has been singing since the age of five. An experienced choral tenor, he has previously sung with the University of Glasgow Chapel Choir and the British Embassy Choir in Tokyo, and is currently a member of the Vocal Associates Chamber Choir.
Over the years, Jamie has performed in prestigious venues around the world, including St Paul’s Cathedral in London, the Washington National Cathedral, and Carnegie Hall in New York. His international experience has shaped him into a versatile and expressive performer, equally at home in sacred choral works and solo repertoire.
A proud Scotsman with a deep passion for Scottish music, Jamie’s solo talents were featured in Vocal Associates’ March 2021 concert, where he performed Ae Fond Kiss and The Bonnie Banks o’ Loch Lomond. In July 2024, he took on the character role of The Vain Man in The Little Prince opera, showcasing his flair for theatrical storytelling.
Jamie continues to share his love for music through ensemble singing and solo work, bringing warmth, wit, and a touch of Scottish spirit to every stage he graces.
kira lim
Kira Lim is a recent graduate of the Yong Siew Toh Conservatory of Music, where she earned her Bachelor of Music (Voice) with highest honours under Professor Alan Bennett, and was awarded the prestigious NUSS Medal for Outstanding Achievement. She previously received a Diploma in Performance from LASALLE College of the Arts (2019). In 2018, under the guidance of Ms Khor Ai Ming, Kira won First Place in all three categories of the American Protégé Vocal Competition. Her international solo appearances include performances with Vocal Associates at Carnegie Hall (New York Sounds of Summer, 2016), Los Angeles International Music Festival (2018), and Carmina Burana (2019). Her operatic roles include Zerlina (Don Giovanni, Vienna Opera Academy, 2023), Carmen-Ghia (The Stoned Guest, YST, 2024), Luisa (The Fantasticks, YST, 2022), First Maiden (Der Zwerg, The Opera People, 2019), Gretel (Hansel and Gretel, Vocal Associates, 2016), and Shimmer in the touring musical Baby Shark Live! (2021–2022). Kira has also performed in In Our Manner of Speaking (2022), Come, Ye Sons of Art, Away! with Red Dot Baroque and YST, and CabaRED with New Opera Singapore (2023). In 2024, she premiered the lead role of Klara in The Opera People’s newly commissioned opera Beacon by Dr Jonathan Shin, and most recently performed as Créuse in Charpentier’s Médée with The Opera People, Red Dot Baroque, and Les Épopées under Maestro Stéphane Fuget. Kira will begin her Master of Music at the New England Conservatory in Fall 2025.
samuel yuen
Samuel Yuen has been passionate about singing since the age of nine, when he began vocal training under soprano Khor Ai Ming. In 2018, he was awarded the ATCL Diploma in Singing (Associate of Trinity College London), and is currently pursuing his undergraduate studies at the Royal Northern College of Music (RNCM) in Manchester, where he is in his second year studying under British soprano Sarah Rhodes.
As a soloist, Samuel has taken on numerous leading roles, including Tamino in Die Zauberflöte, The Pilot in The Little Prince, The Squire in Thomas and Sally, and tenor soloist in Handel’s Messiah with Vocal Associates. His performance highlights include Chingay 2013, ChildAid All Stars 2014, and concerts with the Singapore Symphony Orchestra, Metropolitan Festival Orchestra, Orchestra of the Music Makers, Singapore Wind Symphony, and Braddell Heights Symphony Orchestra.
A winner of the American Protégé International Vocal Competition, he has performed at Carnegie Hall, and is also an active member of the RNCM Chamber Choir, with recent appearances at Wigmore Hall and Bridgewater Hall. Samuel also performed at the Sydney Opera House with the Honors Performance Series Choir.
AMELIA TANG
Amelia is a passionate performer and dedicated vocal educator, having trained for 13 years under soprano Khor Ai Ming. Her musical journey has taken her to stages around the world, from Edinburgh to the Esplanade Recital Studio in Singapore.
Amelia has portrayed notable roles such as ‘Jacky’ in Faybulous and ‘Pamina’ in Mozart’s The Magic Flute, demonstrating both versatility and depth in her performances. In addition to classical training, she is also skilled in pop vocals and has a keen interest in linguistics, which enhances her expressiveness across a range of musical genres.
She has performed at high-profile events, including singing before His Majesty the Emperor of Japan, and has achieved top accolades in various competitions. Amelia holds Trinity College London’s Advanced Performance Certificate with Distinction and is currently pursuing her LTCL Diploma in Singing.
Beyond performance, Amelia is deeply committed to nurturing the next generation of vocalists. Her students consistently achieve excellence under her guidance. She also actively volunteers with the Thai Association in Singapore, contributing to cultural and musical outreach.
PAULINE LO
Pauline is an emerging vocalist who has been honing her craft under the mentorship of soprano and voice educator Ms Khor Ai Ming. Her dedication to vocal training has led her to achieve a High Distinction in the Advanced Certificate Singing from Trinity College London, and she is currently preparing for her ATCL Recital Diploma, furthering her pursuit of vocal excellence.
Pauline is a proud and active member of Vocal Associates, a dynamic choral organisation known for its diverse and inclusive musical community. Through her involvement, she performs regularly in both Singapore and abroad, contributing to large-scale concerts and artistic collaborations that span genres, cultures, and languages. Her performances with the ensemble have taken her from national stages to international platforms, where she continues to grow in artistry and confidence.
Known for her lyrical tone and expressive musicality, Pauline embraces every opportunity to deepen her understanding of vocal technique, choral discipline, and stage presence. Whether performing in a grand concert hall or intimate recital setting, she brings warmth, sincerity, and passion to her music-making. She remains committed to developing as a vocalist and contributing meaningfully to the musical community she is proud to be part of.
JENNIFER LEONARD
Jennifer was born in Tokyo and began singing at the age of seven with the Tokyo International Children’s Choir. After relocating to Singapore in 2018, she joined the Vocal Associates Ensemble of Young Voices (VAEYV). During her time in the UK, she became a chorister at the Choir School of Reigate St Mary’s Church.
Jennifer has performed in numerous Vocal Associates concerts, including a duet with her brother at the Esplanade Concourse, and as part of a cultural exchange in Shizuoka, Japan, where they sang Pie Jesu by Andrew Lloyd Webber in December 2023. On stage, she has portrayed one of the Seven Princes in Karl Jenkins’ Eloise and most recently took on the role of The Rose in The Little Prince opera.
She holds a Grade 8 Singing certificate with distinction from Trinity College London and is also a dedicated piano student.
Outside of music, Jennifer is a talented athlete. She plays hockey as a goalkeeper, has represented her school in rugby at the National 7s competition, and is a batter for Surrey County’s U14 girls’ cricket team.
ONG JEAN WEI
Jean is a Singaporean vocalist whose performance journey began at age 9. A former member of the Singapore Lyric Opera Children’s Choir (2006–2011), she has performed in Turandot, La Bohème, Carmen, and Die Zauberflöte, where she played the 2nd Genii. She was the featured soloist in the 2009 SLO Choirs in Concert and the 2014 Chingay Parade’s theme song 花同心 .
Jean has taken on a range of operatic and musical theatre roles including Gretel (Hansel & Gretel, 2016), Sally (Thomas & Sally, 2022), Maria (The Sound of Music, 2022), the Third Lady (The Magic Flute, 2023), and the Fox (The Little Prince, 2024). In 2017, she performed as a soloist with the Singapore Chinese Orchestra in A Night of Liu Xi Jin’s Works under conductor Hong Xia.
Jean was awarded 1st Prize in both the Musical Theatre/Broadway and Folk/Traditional categories of the 2025 American Protégé International Vocal Competition, and will perform at Carnegie Hall in December 2025. She also placed 2nd at the international level of the 2019 Chicago International Music Competition. She holds an ATCL Diploma in Singing Performance from Trinity College London.
In September 2023, Jean held her debut solo concert “My Name is One Jean Wei” at the Esplanade, Theatres by the Bay. Jean continues to develop her artistry under the guidance of contemporary classical soprano, Khor Ai Ming.
SHANISSE TSAI
Shanisse is a Singaporean singer known for her versatility in pop, opera, and musical theatre. She began her solo vocal journey at 17 under Ms. Khor Ai Ming and attained her Grade 8 certification in just two years—earning full marks for three out of four exam pieces. She currently holds an Advanced Performance Certificate with distinction from Trinity College London.
Shanisse has performed at renowned venues worldwide, including Carnegie Hall, Walt Disney Concert Hall, California Disneyland, and is a regular performer at Singapore’s Esplanade. In 2019, she trained with the Joffrey Ballet School Musical Theatre Program in New York and at Berklee College of Music. Her stage roles include “Cady” in Mean Girls, the “Lion King” in The Lion King, the “Sand Fairy” in Hansel & Gretel, and the “Gaoler’s Daughter” in Wind in the Willows.
She is the First Prize winner of the 2019 International Music Competition ‘Brussels’ Grand Prize Virtuoso and Second Place winner of the 2015 American Protégé International Vocal Competition. In 2021, she released her debut single “I Can Fly” under the Academy of Rock’s Global REACH programme and held her sold-out solo concert debut at the Esplanade. Outside of music, Shanisse is a Plastic Surgery resident who finds joy in the operating theatre.
STEPHANIE LEONG
Stephanie is a seasoned stage performer whose musical journey began at the age of five, when she joined her first choir. Under the tutelage of soprano Khor Ai Ming for over 15 years, Stephanie has developed into a confident and expressive vocalist with extensive stage experience across both classical and contemporary repertoire.
Her notable operatic and theatrical roles include ‘Granny’ in Faybulous at the Edinburgh Fringe Festival (2012), ‘Mother’ in Hansel & Gretel (2016), ‘Dorcas’ in Thomas and Sally (2022), and ‘First Lady’ in The Magic Flute (2023). These performances reflect her versatility, depth of characterisation, and commitment to storytelling through music.
Stephanie holds a Licentiate of Trinity College London (LTCL) in Singing with Distinction, and has also attained certifications in Music Theory and Piano from ABRSM. In addition to her performance work, she has been an integral part of Ms. Khor’s Studio since its founding in 2012, where she teaches and mentors aspiring young singers.
With her solid classical foundation, engaging stage presence, and dedication to teaching, Stephanie continues to inspire audiences and students alike through her artistry and passion for music.
STEPHANIE LIM
Stephanie began her vocal training with soprano Ms. Khor Ai Ming in 2004, and has since blossomed into a confident and expressive performer. Under Ms. Khor’s guidance, she attained her ATCL in Singing and continues to deepen her craft as she works towards the LTCL (Licentiate of Trinity College London).
A long-time member of Vocal Associates, Stephanie has performed extensively both as a soloist and chorus member. Her featured roles include ‘The Rivermaid’ in Faybulous! at the 2012 Edinburgh Fringe Festival, the ‘Dew Fairy’ in Hansel and Gretel (2016), ‘Sally’ in Thomas and Sally (2022), and the ‘Second Lady’ in The Magic Flute (2023). Through these productions, Stephanie has demonstrated strong stage presence, versatility, and an ability to bring characters to life through song.
As part of the Vocal Associates Chorus, Stephanie has graced major stages including the Esplanade Concert Hall in Singapore and Carnegie Hall in New York, performing a wide range of choral repertoire. Her years of training and performance experience reflect a deep commitment to vocal excellence, and she continues to grow as both a singer and performer.
Tony Makarome
mridangam, double bass
Tony Makarome has been teaching at Yong Siew Toh Conservatory of Music since the early 21st century. He is a passionate student of music and his musical explorations have taken him down many different paths. He was a conducting student of Robert Spano, a bass student of Miroslav Vitous and studied jazz composition with Herb Pomeroy. He is also a mridangam student of vidwans T.R. Sundaresan, Chettiharaveetil Sreekanth (SIFAS), and R. Karthikeyan. He has also studied carnatic vocals with K.R. Shyama from Trivandrum. In 2019 he finally completed his diploma at SIF AS (Singapore Indian Fine Arts Society) and received the Vadya Visharad Award from the school.
Tony is a prolific composer and arranger. His recent premieres include Echoes from the Heartland (2025), Kuanzhai Xiangzi for percussion quartet (2022), The Jewel of Srivijaya (2019), Rain Konnakkol (2018, Baltimore), What Pattern? (2016, New York), Shiva (for soprano, tenor, mridangam, and piano, 2015), Scifi Lounge (Bangkok), Name with No Street (Shanghai). He has arranged music for Singapore Symphony Orchestra, Singapore Chinese Orchestra, China Broadcasting Folk Orchestra (Beijing) and Yarn/Wire (New York).
Tony continues to teach solfege, music theory and jazz studies. However, his studies in mridangam has influenced his research and development of a pedagogy in that applies carnatic rhythmic concepts in the training of students of western music. To this end, he has published a popular article on konnakkol (South Indian rhythmic vocalization) in the Malaysian Music Journal.
As a bassist, he performed with artists such as Louis Bellson, Tony Bennett, Anoushka Shankar and Quartet West. As mridangist, he has performed in Chennai and New York City. For several summers, he had been an award-winning teacher of solfege at the Walden School (USA). He is also a member of the rock band, Varsha.
Tamagoh percussion
Tamagoh has been a member of the Jeremy Monteiro Jazz Band since 1989, performing internationally in countries such as Japan, Russia (Moscow), the USA, Canada, and New Zealand. Since 1994, he has collaborated closely with Jeremy Monteiro, sharing the stage with jazz greats including Terumasa Hino, Carmen Bradford, and Eldee Young.
A versatile percussionist, Tamagoh has also performed with a wide range of pop artistes, including Ronan Keating, Frances Yip, Maria Cordeiro, Eric Moo, Coco Lee, Anthony Lun, Sarah Brightman, and Sandy Lam.
His festival appearances include the Jakarta Jazz Festival, the 2010 London Jazz Festival at Pizza Express Jazz Club, Frankfurt’s Jazz Keller, and the Wellington Arts Festival in 2004.
In recognition of his outstanding artistic contributions to Singapore, Tamagoh was conferred the COMPASS Artistic Excellence Award in 2005. That same year, he received the Soka Association Golden Lion Award for his contributions to the World Peace Movement, and the Singapore Street Festival Tribute Award.
Tamagoh has also performed with Chris Brubeck and the Singapore Chinese Orchestra, and in 2010, with the China Broadcasting Chinese Orchestra alongside the Jeremy Monteiro Trio. In 2008, he was part of the James Moody Scholarship Fund Concert at B.B. King’s Bar and Grill in New York City, performing with jazz legends Jon Faddis, Paquito D’Rivera, Roy Hargrove, Russel Malone, Renee Rosnes, Dennis Mackrel, Jeremy Monteiro, Jon Hendricks, and Todd Coolman.
Bertrand Lee piano
Bertrand Lee studied under Albert Tiu at the Yong Siew Toh Conservatory of Music, where he was awarded a full scholarship in recognition of his musical potential.
Since then, he has collaborated with many of Singapore’s leading musicians and has been featured in prestigious events graced by Presidents S R Nathan, Tony Tan, and Halimah Yacob.
As a versatile accompanist, Bertrand has performed at Carnegie Hall in New York with top prize-winners of the American Protégé International Vocal Competition. He has worked extensively with the Singapore Lyric Opera on various productions and previously served as an accompanist at the School of the Arts (SOTA), Singapore. He has also performed with students from Yong Siew Toh Conservatory and the Nanyang Academy of Fine Arts in competitions where they achieved top honors. Notably, he was featured with the Asian Contemporary Ensemble in a critically acclaimed performance of Schoenberg’s Pierrot Lunaire at the Esplanade.
Bertrand currently serves as rehearsal pianist for both Vocal Associates and Joy Chorale. With these ensembles, he has worked alongside distinguished conductors on major choral-orchestral works including Mahler’s Symphony No. 8, Beethoven’s Symphony No. 9, Fauré’s Requiem, Rutter’s Mass of the Children, and Karl Jenkins’s The Armed Man.
Kamilah Turner dancer
Kamilah is from Mathews, Virginia, USA where she began her dance training at Diggs School of Dance under Debbie Diggs and Danile Giesy. She attended college at NC School of the Arts to study ballet and transferred to New York to receive her BFA from Alvin Ailey/Fordham University. After graduating she apprenticed with Urban Bush Women and performed with the national tour of Elton John and Tim Rice’s “Aida.” She performed with Cleo Parker Robinson Dance Ensemble in Denver, CO for 5 1/2 years where she was Assistant Rehearsal Director to the company. A student of Capoeira (a Brazilian martial arts/dance) she joined the Brazilian dance company DanceBrazil in 2013 where she danced in Salvador, Bahia and toured the US. She performed in London with Disney’s The Lion King on the West End, where she was an ensemble dancer for 2 years. She worked for Disney Cruise Line for 7 years as a Dance Captain and as a Swing. She is currently teaching dance classes at Dance Thrilogy here in Singapore.
Nikita
Sarah Nitishkumar Dancer
Nikita has been dancing since the age of 3 and is a passionate performer and teacher at Dance Thrilogy. With over 15 years of experience, she has performed at events such as the NKF Charity Gala Dinner 2024, Singapore Heart Foundation 55th Anniversary Show 2025, and Dance Thrilogy’s concerts (2023–2025). She is a decorated competitor, winning Senior Champion, “Miss GTB”, and multiple 1st place solo awards in Broadway Jazz, Musical Theatre, and Contemporary at Get The Beat Singapore 2024. She was runner-up Teen Champion at the GTB World Finals 2022, and has also won championships at Evolution competitions. Nikita was awarded a 1-week scholarship to Dance Force Australia and selected for the Dynamite Training Program – Singapore. She holds a CSTD Jazz Teachers’ Certificate, has completed CSTD Contemporary Level 4 and Ballet, and is pursuing her Tap Teachers’ Certificate. She enjoys choreographing and mentoring young dancers.
Acknowledgements
ARTISTIC DIRECTOR & CONDUCTOR
DIRECTOR
MUSICIANS
SOLOISTS
KHOR AI MING
TAMAGOH
TAMAGOH
TONY MAKAROME
BERTRAND LEE
AMELIA TANG
ANDERS GUSTAV BACK
CHERYL BAINS
FAN MUN HOI
JAMIE THOM
JENNIFER LEONARD
KIRA LIM
ONG JEAN WEI
PAULINE LO
SAMUEL YUEN
SHANISSE TSAI
STEPHANIE LEONG
STEPHANIE LIM
WILLIAM LEONARD
SPECIAL GUEST
CHORUS ASSISTANTS
PRODUCTION TEAM
CHORUS MANAGER
CHORUS ADMINISTRATORS
CHOU PO YU (VIOLIN)
FRAN HO
CHRISTOPHER WONG
ONG JEAN WEI (VAEYV)
THE PRESENTING COMPANY
CHRIS JOSLIN-KELLY
STEPHANIE LIM
ONG JEAN WEI
STEPHANIE LEONG
AMELIA TANG
PRODUCTION ASSISTANTS
EVA CHEN
MEGAN TAN
AUGUSTINE CHONG
PHOTOGRAPHER
VIDEOGRAPHER
PROGRAMME BOOK
YOUNG PERCUSSIONISTS
ALFRED PHANG
CINO CHEE
ONG JEAN WEI
KHOR AI MING
FAN MUN HOI
JAMIE THOM
SAMUEL YUEN
LIU SHENGYI 43
VA Through The Years
VA Through The Years
SG50 NDP Pre-Parade @ Floating Platform (with East Coast Choir)
2015-2016
An Enchanted Evening with Silver Gems (2 September 2015)
VA Through The Years
Vocal Associates in the Stern Auditorium Perelman
Stage of Carnegie Hall (June 2016)
2016-2017
VA Through The Years
2017-2018
VA Through The Years
Night of the Silver Stars Art Society (Singapore), 14 Sep 2018
Vocal Associates
2018-2019
Opening Ceremony of Federation of World Cultural and Art Society (Singapore) 26 Aug 2018
Associates performing at the Walt Disney Concert Hall, Angeles (June 2018)
VA Through The Years
Vocal Associates Concert Tour to Okinawa, Japan (December 2019)
VA Through The Years
VA Through The Years
VA Through The Years
VA Through The Years
2024-2025
Songbirds Series X - Seniors
6 August 2025
Esplanade Recital Studio
Songbirds Series X - Youth
7 August 2025
Esplanade Recital Studio
Songbirds Series X - Children
8 August 2025
Esplanade Recital Studio
Vocal Associates Solo Artistes in Concert
14 August 2025
Vocal Associates Christmas Concert 2025
21 December 2025
Join Vocal Associates!
Vocal Associates is a vibrant and inclusive community of singers from diverse cultures and backgrounds, ranging in age from 6 to 86. United by a shared passion for music, our members come together to rehearse, perform, and grow as artistes.
Rehearsals
Tuesdays, 7:30 PM – 9:30 PM | Ages 21 & above
Saturdays, 9:00 AM – 11:00 AM | Ages 6 to 20
We welcome new members all year round! Express your interest online today vocalassociates.org/contact-us
