Camelia

Camelia Pasandaran, Contributor, Jakarta

Love has always been a central theme in opera -- whether it has a happy ending or a tragic one. Composer Ludwig Beethoven, however, refused to produce a "traditional" opera in his Fidelio.

As a fervent believer in the egalitarian ideals of the French Revolution, and imbued by the spirit of Enlightenment, Beethoven denied all libretto offered to him until he himself found Jean-Nicholas Bouilly's Leonore, ou L'amour conjugal.

Contrary to the usual opera presenting a masculine hero, Fidelio's main character is Leonore, a wife dedicated to saving her husband imprisoned by his political rival. Leonore, disguised as a man, takes on the name Fidelio and goes to work as a prison guard under the command of warden Rocco in a Spanish prison a few miles from Seville.

Beethoven's Fidelio was staged by the Susvara Opera Company, in collaboration with Gita Svara, at Gedung Kesenian Jakarta on Friday. The show began with a piano solo by Darma Mangunsong, who played Overture Fidelio, an overture that led to Beethoven being named a pioneer of modern music. Playing without parts, Darma showed his ability in mastering the dynamics of Beethoven's work.

The overture marked the opening of Act One when prison guard Jaquino (Indra Listyanto) states his love for Marzelline (Anastasia P. Suryaningtyas), Rocco's daughter, who happens to be in love with Fidelio. The acting and voice of Anastasia conveyed the feeling of a woman really in love; moreover her German pronunciation was superb.

Then came to the stage Fidelio (Christine T. Lubis), Rocco (Imanuel Bimo) and Don Pizarro (Raymond Lee). Pizarro is the governor of the prison, whose Caucasian appearance reminded the audience of the Dutch colonial rulers.

In the opening of Act Two, Darma Mangunsong made the audience feel the desperation of Don Florestan (Charles Nasution), laying in his dungeon cell. Charles Nasution -- inspired by the prisoners at Guantanamo Bay, Cuba -- was convincing as a desperate prisoner unjustly sentenced to death, particularly with his aria, Gott! Welch Dunkel Hier! (God, How Dark is Here!)

"My blissful days of the spring have gone away. Firmly, I encourage myself to uphold the truth but prison is my reward. I carry all the misery and grief, but I rest my heart for I have done my duty."

At the end of the aria, Florestan has delusions of his wife coming as a saving angel.

The rescue begins when Fidelio gets into the dungeon, accompanying Rocco who was ordered by Pizarro to kill Florestan. Pizarro was afraid that his crime would become known if Florestan was still alive for the arrival of Don Fernando, the King Minister.

Aware that Fidelio is Florestan's wife, Pizarro attempts to kill both of them. But Leonore takes her gun and fires several shots. Nobody is hit, but the trumpet sounds the coming of Don Fernando.

Afterward, it is only Leonore and Florestan in the dungeon, singing O namenlose Freude, nach unnennbaren Leiden so ubergoáe Lust. The message of Beethoven, through Christine and Charles, is that after unspeakable torment, comes incomparable happiness.

Staging an opera was a challenge for the cast. "It is not easy to sing while you have to keep moving and sometimes sit and lie down," said Christine. The soloist put on a great performance, both acting and singing, after months of training.

But the German libretto still posed problems for the cast, even after three months of training to speak German. At some points their pronunciation was slightly not clear, moreover there's a different diction between singing and speaking in German.

The language in Fidelio is an important part of the opera's message to the audience. When Joseph Sonnleithner wrote the libretto for Fidelio, he used language to portray the gap between aristocracy and the working class. Sonnleithner has the aristocrats, such as Florestan and Pizarro, speak High German, while a more common dialect is used by Rocco and Jaquino.

This language problem not only effected the cast but also the audience, most of whom did not speak German and are not regular opera-goers. That's why Susvara assigned Sopyan Dado as a narrator. "I thought they were going to put me behind stage but it turned out that I had to be on stage," Dado said.

Throughout the show, Dado appeared before and after an aria, explaining the content. He also explained why Florestan was imprisoned.

Of course, not all the spectators liked the comical narrative of Dado, which made the show a blend of opera and Indonesian-styled theater. Dado himself realized he was breaking opera traditions and was at risk of driving the opera fanatics mad. But he held on to what Raymond Lee told him, that he could help the audience be not just passive music listeners, but actively interpret and understand the moral of the story.

"Music is universal, but German is not," said he.

This is also what the producer and music director of Fidelio, Catharina W. Leimena, wished for, increasing the appreciation of opera in Indonesia. For the purpose of enlightening and empowering society, Beethoven probably wouldn't have minded Dado's presence.

Beethoven's opera reveals the full measure of him: idealism, perfection and his belief that art has a strong power to elevate and ennoble those who experience it. The opera of enlightenment.

Camelia Pasandaran, Contributor, Jakarta

Gaudete in Domino, semper iterum dico gaudete. The theme of the 3rd Week Advent concert by Anavathmi Musica translates from the Latin as: "Rejoice in the Lord always, once again I said rejoice".

The concert was held on Dec. 15 in one of the oldest churches in Jakarta, the Santo Paulus in Menteng, which was built during the Dutch colonial era.

Advent, a period that falls ahead of Christmas, was chosen by the group to introduce the rich variety of liturgical music with theological substance while urging the audience to reflect upon the incarnate mystery of Christ. The group's name, Anavathmi, means pilgrim.

Glorious Trumpet Voluntary by Travers was played as the opening piece with Christina Mandang, a master of the pipe organ who obtained her music degree from the Netherlands, on a grand pipe organ with a rich timbre.

The pipe organ is known as the king of musical instruments, and this particular one is one of only six in Jakarta.

After a majestic opening, the audience was taken on a solemn trip of Baroque and other classical music. The performance featured the wonderful polyphonic works of Bach, the master of counterpoint, the graceful color of Mendelssohn, the operatic compositions of Handel and a theatrical piece from Puccini -- long-loved works that do not easily sound dated.

The pieces were presented by solo instruments and a combination of a solo, a duet and a choir with accompaniment, or sometimes a Capella.

Joseph Pantioso, a skilled performer of lied-oratorio from the Musikhochschule Freiburg, took the lead in providing technical guidance to the Virtuoso Choir and its soloists: Rosa Aliandoe, who also the choir's conductor, and Catharina Ineke Corebima.

Interestingly, several pieces were accompanied on the newly produced bamboo organ. This organ was designed as a type of positive organ; that is, a small, self-contained and portable organ that is categorized as an antique instrument of the 15th century.

Organist Christina said a positive organ was suitable for accompanying a solo or a duet and small music ensembles, mostly for Baroque pieces such as those of Bach and Handel.

Central to the performance was the religious atmosphere that arose when Christina played Bach's Christmas pieces on the organ. Taken from the Weinachs Oratorium (Christmas Oratorio), some of Bach's pieces like Nun Wird mein liebster Br„utigam, Aria Bereite dich, Zion and Schlafe, mein Liebster were seamlessly staged, fueling the imagination to travel back in time upon ageless notes.

Each melodic phrase connected to one another in a good sequence, thrilling the audience in feeling the harmony, from the simple opening, developing to a more rich music pattern, ascending and descending toward a glorious ending.

Christina also played Christmas Carol with the pipe organ sounding the beautiful songs such as In Dulci Jubilo, Cantique de Noel and Holly & On Christmas Night -- I Saw Three Ships.

"These songs were chosen because they are beautiful songs which are hardly played or sung nowadays," she said.

Although the concert could have incorporated a bit more soul and Advent philosophy, she said it was a good sign of an appreciation for classical Advent hymns, as most people forget about Advent and concentrate solely on Christmas Day festivities.

Camelia Pasandaran and Annabelle Cajala, Contributors, Jakarta

A fiddler on the roof.
Sounds crazy, no?
But here, in our little village of Anatevka,
You might say every one of us is a fiddler on the roof.
Trying to scratch out a pleasant, simple tune without breaking his neck.

These are the words of a poor Jewish milkman, Tevye, an ordinary man who wishes he had better earnings as the sole provider for his wife, Golde, and his five daughters. Tevye is the main character in The Fiddler on the Roof, a musical based on the book Tevye and His Daughter by renowned Russian Jewish author Sholom Aleichem published in 1894.

Last Wednesday, The Fiddler on the Roof was staged by Bina Nusantara School in South Jakarta, casting over 70 students in the performance, with the bulk coming from Grade 5.

Under the baton of drama teacher Al Fernandez, the students knitted together the text, movement and music in an engaging way. The students demonstrated an eagerness to practice and memorize the entire dialog, dance movements and libretti of the 50-minute show.

The play started with the appearance of Tevye, played by 10-year-old Michael Ryan Branata, with his wooden cart and steel milk container shouting loudly about a fiddler on the roof as another player stood behind him wearing the Tallit Kattan -- traditional four cornered garment known as prayer shawl -- and wearing a head covering called a kippah or yarmulke. It is a sign of their respect for God and God's constant presence.

Then the focus moved to Tevye's house in a Jewish village complete with a barn and a brick well. The backdrop was a scene of the mountains and a view of the Russian plains.

In this scene, Golde and her five children were washing their clothes and cleaning the garden. This is where the conflict all started with the matchmaking tradition in the Jewish community.

Yente, a matchmaker, came to their house to introduce the "perfect" match for Tevye's oldest daughter, Tzeitel, played by Grace Gunawan. The perfect match was Lazar Wolf, an old butcher whose wife had already died.

Here Michael as Tevye captured the attention of the audience with the solo If I Were a Rich Man, dancing and singing in a lively manner.

Tevye, who wanted his daughter to marry a learned Jewish man, agreed to accept Wolf's proposal and discussed the wedding plans over glasses of liquor.

The wedding plan, however, was ruined as Motel, played by Emilio, came in and explained to Tevye that he was engaged to Tzeitel. After a long argument, Tevye relented and agreed to his daughter's decision. However, he found it difficult to break the news to his wife Golde.

Tevye then concocted a dream in which all departed relatives, including Grandmother Tzeitel returned from the grave to bless the wedding of Motel and Tzeitel. Here, 40 member of the cast came on stage to dance in the graveyard. Tevye and his wife were lying on a bed in the middle of the graveyard. Fruma Sarah, the ghost of Wolf's first wife also came in. Sarah's ghost and all the departed spirits besieged Tevye and Golde and threatened to kill Tzeitel if she married Wolf.

Believing in his husband's dream, Golde agreed to bless the wedding of Tzeitel and Motel.

"It was a challenge since I had to memorize the dialog with different expressions, songs and dances which required serious preparation. But, it was also an opportunity to prove to myself that I can build my confidence in front of my schoolmates, teachers and parents," said Michael, who played the leading role of Tevye, the main character of the play.

Contrary to their roles in the drama, Grace Gunawan, who played Tzeitel, and Sharon Jane Thio, who played Golde had different perceptions when asked what they would do if the drama happened in real life. Grace said she would remain obedient to her parents, while Sharon said she would fight for her dream even if it meant going against tradition.

"These children have grown up in a modern times when people rarely love and respect their parents. Beside the songs, which have remained popular throughout the years, this drama carries a good lesson on how to love and respect parents," drama teacher/director Fernandez said.

Camelia Catharina, Contributor, Jakarta

Stepping into Gumati Cafe in Bogor one afternoon recently, I was welcome by a fresh breeze and the fragrance of frangipani on the air.

Situated around 200 meters from the southern end of the Bogor Botanical Garden, the cafe is easily recognized by its brick wall and unique design.

Its entrance leads to the upper level of the restaurant, which is some 60 kilometers south of the capital Jakarta.

Most diners, however, choose to go downstairs which has indoor and outdoor dining areas and a unique gazebo, called a ranggon. There is another dining area similar to the ranggon with a different type of seating, called a bale. This is where I chose to enjoy my meal.

Here, standing above a fishpond, you sit on cushions on the parquet floor with a short, square wooden table. This area showcases the natural beauty of Mount Salak and sparkling Bogor city at night, offering a serene view for sore eyes.

But the astonishing view is not all there is on offer. Gumati is about an exotic cultural experience deriving from its multiethnic architecture, decorations and cuisine. It provides an intimate atmosphere perfect for get-togethers among friends and family.

The indoor decorations are in harmony with the building architecture, featuring earthy and natural materials such as wood, stone, trees and fabrics. It is used to create a warm and cozy ambience. In the middle of the caf‚, water descends from the mouth of some small turtle sculptures into a moderate-sized swimming pool. Of course, you can't swim here, but the sound of the water, combined with the sound of twittering birds and Sundanese music, is comforting to the mind, especially for those who live in a hectic and crowded city like Jakarta.

As this was not the first time for me dining at the caf‚, I knew that the place offered different settings to meet its patrons' need for food, entertainment and ambience. Daylight dining is good for those looking for tranquility and for family dining. Children can have fun in the playground area, watching cartoons or rocking in the swinging chair.

For those looking for a hideaway, visiting Gumati in the day is perfect. Close your eyes and you'll feel as if you're in the middle of a paddy field, accentuated with traditional Sundanese music, water splashing on the surface of the pool, bird's chirping and a gentle wind. When you open your eyes, drink in the panorama and the Balinese decorations such as paintings, orchids and handicrafts covering almost every corner of the restaurant.

The evening offers a totally different ambience. Couples should arrive in time to enjoy the spectacular sunset view. Later in the night, you can have a romantic candlelit dinner under the stars at Geladak, the outdoor area that gives you a bird's eye view of the sparkling city and the two rivers flowing down the valley. What more could you ask for from a romantic dinner. Indoor dining provides a different atmosphere. The warm ambience is perfect for friends.

Guests are entertained by different performances each night. A solo pianist performs Wednesday night and Balinese dancers every Friday and Sunday nights from 8 p.m. to 8:30 p.m. For younger people, there are live band performance every Thursday.

Topping off the great decorations and performances, Gumati provides some distinctive dishes and beverages. For my lunch I had the paket timbel special, which consists of nasi timbel (steamed rice wrapped in banana leaf), fried chicken, tempe (molded soya bean), tahu (bean curd), salty fish, lalab (raw vegetables), empal (spicy fried beef), homemade chili sauce and sayur asem (sour soup with corn, pumpkin fruit and string beans).

The food was a unique blend of particular tastes -- hot, sour, sweet and salty -- and the whole thing only cost Rp 30,500 (US$3.40). Another Sundanese traditional dish worth trying is gurame asam manis (fried scrap fish in sweet and sour sauce). You can also try Chinese dishes or more global dishes such as steaks, burgers and sandwiches.

I had an es cingcau to drink. It is really good company for the meal I had. It's good for cooling your mouth from the chili sauce and costs Rp 13,500. Es cingcau is just one of several traditional beverages on the menu. Bandrek is another traditional beverage that is rarely found in restaurants.

In the evening, there are more traditional selections from stalls in the outdoor area, including steamed peanuts, bajigur, wedang ronde and colenak. Wedang ronde and bandrek taste hot and sweet. Some people believe that these beverages can relieve ailments and improve health.

Gumati Cafe is not a place for a quick bite. This is not because you have to wait for a long time for your food to be served -- as a matter of fact they served my dishes in less than 10 minutes -- but because it is just so great that you won't want to leave.

And dining here is affordable. You can have a complete meal for between Rp 25,000 and Rp 75,000. Beverage prices range from Rp 6,500 to Rp 22,500. But this is nothing compared to the feeling created from the view and atmosphere of the place. Gumati can mesmerize even the most stoic of guest.

As one of the most unique destinations in Bogor, probably only U.S. President George W. Bush could stop people from dining here. Come to Gumati Cafe on the weekend and you will see it is filled with diners, further proving that this is an experience you cannot afford to miss.

Gumati Cafe‚
Jl. Paledang 26 & 28
Bogor 16122
Phone: + 62 251 315 833
Website: www.cafegumati.com