Editor’s Note Dear Readers,

Our Concerts for Children series is certainly one of the most exciting programmes to look forward to. Our Cover Story will tell you just how much we enjoyed presenting The Story of Babar, the Little Elephant with guest performers Really Inventive Stuff. This delightful story of an elephant and his adventures certainly captured the hearts of our audience members!

Before we end our concert season, we bring you a line-up of fantastic Outreach concerts this month of May at the Singapore Botanic Gardens, Victoria Junior College and School of the Arts Singapore. Come with your friends and families along to these free performances!

Have fun reading this issue!

Yours Truly, The Editor

ContentsCover Story 3Classipedia 6Getting To Know You 8Fun & Games 10Recent Happenings 12Ask Auntie Melody 14Fun Facts 15Upcoming Events 16

Editorial TeamEditor & Coordinator:Hazel Faye Jingco

Contributors:Mona Lim Dr Margaret ChenQuintus Lim

Senior Manager, Programmes:Kua Li Leng

The Singapore Symphony Orchestra, under the baton of maestro Jason Lai,

and guest performers from Really Inventive Stuff delivered the perfect mix of good music and captivating

stories for a fun school holiday concert! Concerts for Children:

The Story of Babar, the Little Elephant on 15 March 2014 at The Republic

Cultural Centre took place over two sessions, with great turnouts by

enthusiastic audiences. It was a well-rounded

symphonic production featuring The Young

Person’s Guide to the Orchestra by English composer Benjamin

Britten, and The Story of Babar, the Little Elephant by French composer Francis Poulenc.

Grab your copy of the SSO’s children’s CDs!

Sat, 31 May 1411am & 1pmUniversity Cultural Centre Hall

Jason Lai conductorChad O’ Brien actor (Mozart)

Get to know Mozart through this delightful concert where conductor Jason Lai turns chat-show host, and experience some of the greatest music ever written: from Mozart’s first-ever orchestral work to his last, as well as choice selections from his many operas and piano concertos!

Tickets available via SISTIC. For more information, please visit www.sso.org.sg

For inquiries or purchases, please call 6602 4225.

$12each

RhapSSOdy 2 RhapSSOdy 3

Cover Story

The concert began with an energetic introduction to the orchestra by Michael Boudewyns and Antony Sandoval, who charismatically kept the audience laughing while introducing the roles of the Concertmaster, the Principal Oboist and the Conductor in the lead-up to an orchestral concert. For the ‘audience tuning’ session, Michael requested the SSO’s Principal Oboist, Rachel Walker, to play a concert pitch A, and then pro-ceeded to get the audience to sing at the same pitch. He then introduced the concertmaster, Alexander Souptel, and conductor Jason Lai. The musicians were greeted with a superstar’s welcome by the spirited audience, who were all extremely eager to hear what the SSO and the guest artistes had in store for them!

made strong statements with their unique timbres, and the snap of the Whip ended the introduction to the individual instruments.

This entire introduction and the piece the full orchestra played afterwards took place against a unique combination of both narration and music, based on an older musical theme written by English composer Henry Purcell. At the end of this piece, the members of the audience, most of them attending their first concert by the SSO, all had a clearer idea of the functions of each instrument and the unique colour they each contribute to the orchestra. Having understood the basics, it was time for the story-telling to commence!

pleading quality of the Oboe, the instrument she introduced next. The Clarinets followed with an agile passage, showcasing their smooth mellow tone, and the Bassoons finished off the performance from the Woodwind section.

Sara then highlighted the main voices of the orchestra – the Violins, Violas and Cellos – and the warm, rich sound they produce. This was succeeded by passages from the Double Basses and the Harp, following which the Brasses took the spotlight.

The mellow, gentle tone of the French Horns was followed by the familiar ring of the Trumpets’ and Trombones’ fanfares. The Tuba ended off the introduction of the Brasses with its heavy, booming voice.

Next in line was the Percussion family, starting off with the Timpani, followed by the powerful Bass Drum and the ring of the Cymbals. Sara then proceeded to the lighter percussion instruments, such as the Tam-bourine, Triangle, Snare Drum and Chinese Block. The Xylophone, Castanets and Gong

with the kind old lady who sheltered him, his return home to the great jungle, his engagement to Celeste, and lastly, his wed-ding ceremony and coronation as King of the Elephants. Each scene was accompanied by delightful music performed by the SSO featuring melodies that ranged from ponderous to playful. After a carefully unfolded banner announced that it was “The End”, the captivated audience treated the SSO and Really Inventive Stuff to thunderous applause!

The afternoon performance culminated in an autograph session with Really Inventive Stuff. A snaking line of young audience members eagerly queued to have their programme books signed. Michael, Sara and Antony gamely posed for photographs with families and enthusiastically chatted with the children. Having just watched such a splendid performance, these kids sure left the concert brimming with their own exciting stories to tell!

Sara Valentine, in her character of Ms. Symphonia Semi d’Quaver, gave an ‘orchestra tour’ to the music of The Young Person’s Guide to the Orchestra. She introduced each family of instruments in turn – Strings, Woodwinds, Brass and Percussion – as well as each individual instrument in each family. She started with the Piccolo and the Flute, explaining the range of these instruments and the sort of tone they produce. The melodies these higher wood-winds played were light and sweet, which Sara contrasted with the

An element of child-like wonder came with this performance of The Story of Babar, the Little Elephant as Michael, Sara and Antony charmed the audience with their light-hearted story-telling and ingenious use of everyday objects such as umbrellas, shuttlecocks and broom-sticks as props. All eyes were focused on the stage as the actors shared Babar’s story, how his mother cared for and nurtured him when he was young, his escape from the evil hunter, his interactions with the human world and the friendship he formed

RhapSSOdy 4 RhapSSOdy 5

By Mona LiMIGOr StravInSky anD hIS Petrushka!

Hello, my name is Igor Fodorovich

Stravinsky. I was born on 17 June 1882 in Oranienbaum, a suburb of Saint Petersburg, the imperial capital of Russia. Father, Fyodor was a bass

some of Chopin’s works for the ballet Les Sylphides. But it was my second collaboration with Diaghilev, Petrushka, that brought us our first “multimedia” success! Petrushka is a work that fuses music, ballet, choreography and history in perfect balance. It evokes Richard Wagner’s “Gesamtkunstwerk” (total artwork), but with a Russian approach. I was now a name in the Parisian music scene!!

After my earlier composition, The Firebird, I was commissioned by Diaghilev to work on composing the music for another story with a solemn pagan rite and sage elders, seated in a circle, watching a young girl dance herself to death. They were sacrificing her to please the god of Spring. That was the inspiration for my next success – The Rite of Spring..... but that’s another story.

The idea of Petrushka suddenly came to me. I was living in Clarens, Switzerland at that time. While I was supposed to be working on The Rite of Spring, I had in my mind a distinct picture of a puppet, suddenly endowed with life, exasperating the patience of the orchestra with diabolical cascades of arpeggios. The orchestra in turn retaliates with menacing trumpet blasts.

So during the winter of 1910-1911, I worked on the music for Petrushka. Although it was initially meant to be a piece of pure concert work – a Konzertstück – Diaghilev immediately realized its theatrical potential. And so, Petrushka was premiered in Paris at the Théâtre du Châtelet on 13 June 1911 under conductor Pierre Monteux, with choreography by Michel Fokine and sets by Alexandre Benois. The title role was danced by Vaslav Nijinsky.

The work is characterized by the so-called Petrushka chord (consisting of C major and F major triads played together), a bitonality device heralding the appearance of the main character. Petrushka was whimsical music, playful yet balanced with emotional

CLASSIPeDIA

Ms Mona Lim is a music consultant, educator and composer. She also manages and develops talents and writes curriculums for music education.

depth. He is playful, quarrelsome, mercurial, anti-authoritarian, naughty, but of course indestructible, which is the reason for his appeal. Other characters evolved in my mind: the Moor – Petrushka’s nemesis and eventual murderer; the Ballerina – pretty, flirtatious, shallow, irresistible; and the Magician – who reveals Petrushka’s immortality.

The concert version of Petrushka comprises four tableaux (likened to 4 movements). The first tableau depicts the last days of Carnival, 1830, Admiralty Square, old St. Petersburg. The music opens with a bustling fair day: crowds and glittering attractions everywhere are reflected in the constantly shifting rhythms and harmonies. The orchestration alternates and ultimately merges high winds and bell-like tones in piano with thrusting low strings, erupting into a fantastic, oddly accented full-orchestra fiesta.

Tableau two: clarinet, bassoon, horn, and muted trumpets evoke Petrushka alone in a gloomy cell. Piano arpeggios accompany his dream of freedom, which escalates to enraged cries in the trumpets and trombones. Solo flute re-enters with a flirty little tune, shifting the mood to portray the Ballerina, whom Petrushka loves. She will tease but of course wants nothing to do with him. Who the Ballerina really wants is the Moor. The Moor is the centre of the third tableau. A clumsy, banal tune played by solo winds and pizzicato strings, all sounding slightly out of sync with each other, accompanies their romance. Petrushka crashes the party, and The Moor chases him into the crowd.

In the final tableau, after the music of the fair scene, the Moor pursues Petrushka and murders him. The Magician realizes that Petrushka is a puppet, and when Petrushka’s ghost appears the Magician runs away scared; the recurring “Petrushka chord” gives the last laugh. I later said I was “more proud of these last pages than of anything else in the score.” Haha!

More about my life...... In order to find work and patronage, I moved around and lived in

three different countries before World War I: Russia, Switzerland and France. Following the outbreak of the war and the Russian revolution, it became impossible for me to return to my homeland. I did not set foot upon Russian soil again until October 1962. *sigh*

I lived in Switzerland and France after World War I broke out. My whole family became French citizens in 1934 and we lived in Paris. In March 1939, Katya died of tuberculosis. I myself contracted the disease, and spent almost five months in hospital. During this time, I developed professional relationships with key people in the United States: I was already working on my Symphony in C for the Chicago Symphony Orchestra and also agreed to deliver the prestigious Charles Eliot Norton Lectures at Harvard University during the 1939-40 academic year. This created the path for my move to the United States. Despite the outbreak of World War II on 1 September 1939, I sailed for New York City and then to Cambridge, Massachusetts, for my engagement at Harvard.

I remained in the United States thereafter and became a naturalised citizen in 1945. I also received many awards for my contributions to the music world. In 1959, I was awarded the Sonning Award, Denmark’s highest musical honour. In 1962, I accepted an invitation to Moscow for a series of concerts and met several leading Soviet composers, including Dmitri Shostakovich and Aram Khachaturian. In 1969, I moved back to New York, and lived until 6 April 1971, where I died of heart failure at age 88. I was buried at San Michele, close to the tomb of Diaghilev.

I even became a star on the Hollywood Walk of Fame and in 1987, I was posthumously awarded the Grammy Award for Lifetime Achievement. Imagine…… acknowledgement even after death!

singer and mother, Anna, a talented pianist. I began piano lessons as a young boy, studying music theory and composition. Did you know that when I was just 15 years old, I mastered Mendelssohn’s Piano Concerto in G minor? That was quite a challenge. *wink*

Despite my enthusiasm for music, my parents wanted me to study law instead. So, in 1901, I reluctantly enrolled at the University of Saint Petersburg to please them. But I really did not like it. I skipped many classes. But, my young readers, please do not follow my example… It was only because I was so interested in music!

In the summer of 1902 I got to know Nikolai Rimsky-Korsakov. He was the leading composer in Russia at that time and he suggested that I take private lessons from him! That same year, my father died of cancer and I began concentrating on musical studies. In 1905, I began to take twice-weekly private lessons from Rimsky-Korsakov, whom I came to regard as a second father. These lessons continued until his death in 1908.

Around that time, I was betrothed to my cousin Yekaterina Gavrilovna Nosenko (Katya) and we married on 23 January 1906. My first two children, Fyodor (Theodore) and Ludmila, arrived in 1907 and 1908 respectively.

In 1909, the founder of the Ballets Russes, Sergei Diaghilev, invited me to orchestrate

RhapSSOdy 6 RhapSSOdy 7

roberto alvarez Flute and PiccoloHi Roberto! Can you share a little about yourself with our readers – where you are from and what brought you to Singapore?

Hello everybody! I am from Asturias, in the Northern coast of Spain. I was looking for a new orchestra and found the SSO auditions in London. When I passed the audition I spent a few weeks performing with the SSO here in Singapore and really liked the city and felt very welcome here!

You are very proficient in both the flute and piccolo, and have international awards to your name! What drew you to both instruments and is there anyone who has influenced your playing style?

My brother was studying violin at the conservatory in our hometown and he helped me decide on the instrument when I was a kid. I used to listen to recordings of Michala Petri on the recorder, and I guess that was a big hint of what my career would be some years later. Michala came to perform a few years back with the SSO. It was a fantastic week for me! Of course my former teachers influenced my playing style greatly. Without their help I wouldn’t be the same musician I am today. That’s for sure!

You have been with the SSO since 2007. Do you still get nervous when you go on stage to perform?

To perform is a very special experience. I don’t know if I would call this feeling as nervousness, but there are always these butterflies in my stomach every time I go on stage!

gettIng to know you

Fun FacTs:

Favourite Music: Classical, Celtic, Funk

Favourite composer: Depends on the day. Today: Stravinsky

Favourite Holiday Destination: So many… Italy is great!

Favourite Food: Laksa

Favourite Hangout: Wherever family and friends are

If you had to choose another instrument to play in the orchestra other than the flute and piccolo, what would it be?

Erm… Alto flute?

Many Singaporeans turn to music for leisure and recreation. As a professional musician, what recreational activities do you partake in?

I am a moviegoer, and I like to run quite a lot these days. I have taken part in a few popular runs here in Singapore.

As someone who also teaches flute, do you have any helpful tips for beginners, or words of encouragement to those who are considering a career in flute, or in music in general?

Studying music is hard as you will have to spend a lot of time practising on your instrument. But once you make the decision, music is a truly rewarding career. My advice would be to not to give up on your dreams and to believe in your potential!

RhapSSOdy 8 RhapSSOdy 9

Musical Maze!The violinist needs your help to get ready for the concert! can you help him get to the concert hall while collecting all the things he needs to perform with the orchestra?

ViolinThe violin is the baby of the string family, and like babies, makes the highest sounds. There are more violins in the orchestra than any other instrument!

ScoreA score is important for every musician in the orchestra as it tells them how and when to play their instrument during a concert.

TuxedoWhen playing in a venue like a concert hall, musicians have to dress their best! Male musicians often wear a tuxedo, while female musicians may choose to put on a dress or a classy blouse and pants.

Help the violinist find these items!

RhapSSOdy 10

Answers to be revealed in the next issue!

RhapSSOdy 11

fun & gAMeS

Here are the answers to last issue’s Matching Inspiration!Left (top to bottom): Right (top to bottom):

Sea Italy

Sunshine Elephant

Family

recent happenings

SSo on Campus @ Hwa Chong Institutionand Paya Lebar Methodist girls’ School

SPH gift of Music Series: SSo @ gardens by the BayMusic @ tampines: SSo @ tampines

6 & 7 March 8 & 9 March

the SSO would play. Braving the humidity soon proved worthwhile as the SSO impressed with popular tunes such as the Carnival Overture and a suite from The Sound of Music. Following the lively rendition of Do Re Mi and the haunting melancholy of Edelweiss, the audience rewarded the SSO with roaring applause and the VIPs even gave the SSO a standing ovation!

It is always the SSO’s joy to be able to spread the love of classical music to the heartlands. For those who were unable to accommodate these free concerts into their busy schedules, fret not! The SSO will continue to perform at many other outdoor venues in the future, and we look forward to seeing you next time!

Following rapturous applause from the boisterous crowd, the SSO replied with six movements from Ballet Suite No. 3 by Dmitri Shostakovich, and ended the evening with the Cuban Overture by George Gershwin.

The SSO was truly glad to have been able to perform to a full house in both campuses, giving back to the community and spreading the love of music!

On 6 & 7 Mar, the Singapore Symphony Orchestra held two of its free SSO on Campus concerts at the Cheng Yi Auditorium of Hwa Chong Institution and the Agape Concert Hall of Paya Lebar Methodist Girls’ School (Secondary) respectively. It felt good to be back performing with the support of our school partners!

Conductor Joshua Tan began the concert by asking the audience a simple question: “What made you interested in music?” He then shared light-hearted moments of his childhood and first exposure to music, and went on to introduce the pieces which the audience members would be hearing that night. The SSO began its performance with the energetic Carnival Overture by Czech composer Antonín Dvorák, followed by Ancient Airs & Dances: Suite No. 2 by Italian composer Ottorino Respighi.

The SSO performance on 8 Mar, a concert in the popular SPH Gift of Music Series, saw thousands of people coming together at Gardens by the Bay! Visitors at the park were treated to an evening of fantastic music as they enjoyed their picnics and various outdoor activities. As the evening approached, the breeze grew stronger and temperatures dropped, and the Meadow quickly filled with people eager to hear the SSO perform.

While children flew their kites and tossed their frisbees, the SSO, led by Maestro Joshua Tan, treated the delighted audience to light-hearted tunes such as excerpts from Ballet Suite No. 3 by Shostakovich, the Cuban Overture by Gershwin and the Carnival Overture by Dvorák. These pieces certainly set the mood for an enjoyable evening in the park, and the end of the concert saw the audience cheering for an encore, to which the SSO gladly obliged with Tahiti Trot by Shostakovich.

The following day, the open field beside Tampines MRT Station was transformed into a lively musical venue! The Music @ Tampines event co-organised with Tampines Grassroots Organizations under ‘Our Tampines, My Best Home’ Programme was graced by three Grassroots Advisers to Tampines Grassroots Organisations: Mr Heng Swee Keat, Mr Masagos Zulkifli and Mr Baey Yam Keng. Despite the sweltering afternoon heat, the tentage soon brimmed with audience members curious to hear what

RhapSSOdy 12 RhapSSOdy 13

Dear Xiao Yi, That’s a great question! Musicians like violinists and other string players have very valuable instruments, and they have to keep them in good shape. This means that they have to hold on to their instruments while the audience applauds and don’t have both hands free to clap. They gently tap their bows on their music stands or bob them in the air to show their appreciation for the soloist instead – it’s their own way of applauding!

There are special exceptions to using this tapping action to applaud a performer – in Gioachino Rossini’s Overture to Il Signor Bruschino, the score instructed the second violinists to tap their bow on their music stands as part of the music!

Dear K, There are many answers to your question, depending on which aspect of the concert- watching experience you look forward to the most. A front row seat will put you right next to the action on stage if you want to watch facial expressions of the musicians and conductor’s conducting techniques. But sitting in the front row does not always give the best sound experience as you will be hearing specific instruments, instead of the overall sound of the orchestra. Your visual experience will also be limited to the front row of musicians as you have to tilt your head upwards to look at the stage.

However, if there is a soloist performing, sitting closer to the front is ideal in order to enjoy watching their technical prowess! For example, to have a close up view of a pianist playing, many people like to sit near to the front, on the left side so that they can watch the dazzling

Dear auntie Melody,I attended an SSO concert with a piano soloist and he played really well! after he finished playing, the musicians from the string section started tapping their bows while the audience clapped. Why do they do that? – Xiao Yi, 12

Dear auntie Melody,Where should I sit when I listen to an orchestra play to get the best experience? – K

email your questions to hazel@sso.org.sg

or snail mail them to: SSO Community Outreach Department, 4 Battery road #20-01,

Bank of China Building, Singapore 049908 Don’t forget to include your name, birth date,

identification number, address and contact number!

Winners will be notified by phone or post

*all questions are subject to

editing for clarity.

Do you have any burning questions about music?

auntie Melody is here to help! If your question

is featured, you will win a surprise gift!

children, five of whom died in their infancy. Only a girl, Nannerl, and a boy, Wolfgang, survived.

Leopold Mozart was a musician working in the court of the Prince-Archbishop of Salzburg. He taught his children how to read and write; he also taught them music, arithmetic and languages.Four year old Wolfgang taught himself to play the pianoforte by simply watching his father teach Nannerl.

One day Leopold came home to find the living room floor covered with chalk marks. Wolfgang explained that he was composing a keyboard concerto. He then played it perfectly for his family and Leopold wrote it down. Wolfgang was just five years old!

By the time he was six, Wolfgang and Nannerl had performed for the Viennese imperial court.Wolfgang’s father would cover his hands with a piece of cloth as the boy played complicated works. But, all was not smooth sailing: Wolfgang developed a rash, a kind of scarlet fever, the first of many childhood illnesses he would experience.

The following year, Leopold asked for a leave of absence from his job and took his family on a three-year grand tour of European cities: Frankfurt, Paris, Brussels, and London. Leopold was keenly aware of young Mozart’s phenomenal talent and wanted to show him off.

Compared to modern day travel, the “grand tour” was not at all grand. The horse drawn carriage, which was their main means of travel, was often cold and wet. Food was poor and lodgings on the road were often cramped and dirty. Mother Mozart would wrap her children’s feet in felt and bury them in the straw on the floor of the carriage to keep them warm.

THE YOUNG MOZART

hand movements. When in doubt, sit at the middle or back of the concert hall – there you get the bigger picture and the blended sound of the orchestra. Hope that helps you to decide where to sit the next time you attend a concert!

On the first day, a carriage wheel broke and in the 24 hours required to fix the wheel, Leopold took Wolfgang to a nearby church where he proceeded to play the pedals of the church organ as if he had been playing forever. He was just six years old.

In London, where they lived for more than a year, Mozart played for King George III and his Queen. There, Leopold got quite sick and could not work. Wolfgang began composing symphonies, possibly because of a meeting with J.C. Bach who later became a very close family friend.

By the time Mozart was ten, he had composed six violin sonatas, at least three symphonies and a motet, God is my Refuge.

The following year he completed an opera, Bastien and Bastienne.

In 1769, father and son travelled to Italy. At the Vatican, Mozart heard Allegri’s Miserere Mei. The Pope kept this 16th-century work under lock and key, and it was only performed once a year during Holy Week. Mozart heard it once and wrote it down verbatim. He then made the score available to many fellow musicians. Later, the Pope summoned him. With fear and trepidation, Mozart appeared before the Pope, who to his great delight, not only congratulated him for his rare gift, but also lifted the ban on Miserere Mei!

Mozart would live for another 22 years, writing at least 41 symphonies, 14 operas, numerous masses, many concertos for piano, violin, horn, bassoon, flute and harp; sonatas, string quartets, piano trios and other chamber compositions. He was probably the most musically talented person who ever lived, and quite possibly, we shall not look upon his like again.

By Dr Margaret Chen

Dr Margaret Chen is an organist, curator, consultant, and Senior Lecturer of Music History and Liturgy at the Singapore Bible College

Wolfgang Amadeus Mozart was born on

27 January 1756 in Salzburg, Austria.

His parents, Leopold and Maria Anna had seven

RhapSSOdy 14 RhapSSOdy 15

Published by the Singapore Symphony Orchestra Printed by Ngai Heng Pte. Ltd.

The SSO brings you the best outdoor music in Singapore at the Singapore Botanic Gardens! Pack a picnic and bring your family, friends and loved ones and enjoy an evening of great classics!

Free admissionConcert subject to prevailing weather conditions.

SSO Pre-Tour Concerts:Fri, 22 Aug 14, 7.30pmThu, 28 Aug 14, 7.30pm

Free admissionDetails to be announced

September........................................Concerts for Children:Roald Dahl’s Little RedRiding HoodSat, 13 Sep 14, 2pm & 4pmSun, 14 Sep 14, 2pmVictoria Concert Hall

Dandi Productions artistes

July........................................Pre-Concert Talks: Fri, 4 Jul 14Fri, 11 Jul 14Fri, 18 Jul 14*Thu, 24 Jul 14*Fri, 25 Jul 14*

6.30pm – 7pm library@esplanadeFree admission*Venue to be announced

August........................................Classics in the Park:SSO @ Botanic GardensSun, 10 Aug 14, 6pmShaw Foundation Symphony Stage

Stravinsky and his Petrushka! p.6

Getting To Know You – SSO Flautist Roberto Alvarez p.8

Information correct at time of print and is subject to change.

For more information, please visit us at www.sso.org.sg or email: hazel@sso.org.sg

All SSO events are endorsed by the National Arts Council and local schools are eligible for up to 50% claim/subsidy from Totalisator Board Arts Grant.

Singapore Symphonia Co Ltd 4 Battery Road #20-01Bank of China BuildingSingapore 049908Tel: 6602 4200Fax: 6602 4222Email: ssonet@singnet.com.sg

........................................

“The forest. Strange. Eerie. Mysterious. A place of magic and surprise...”

So begins the Orchestra version of Roald Dahl’s delightful and fast-paced Little Red Riding Hood, with a delightful full-orchestra score by Paul Patterson.

Each concert lasts one hour. Suitable for ages 4 to 14.

Pre-Concert Talk:Sat, 27 Sep 14, 6.30pmFree AdmissionVenue to be announced

uPCoMIng eventS

MICA (P) No. 017/03/2014Newsletter of the SSO Community Outreach Department

May - Aug 2014

www.sso.org.sg