Peace Notes
An Evening at the Opera
Maria Badstue, conductor
Cheryl Bains, soprano
Alok Kumar, tenor
Programme
Invocation: Maithreem Bhajata
Akshatha Rudrapatna, vocalist
Giuseppe Verdi (1813-1901)
La Traviata
Prelude to Act I
“Addio del passato”
“Lunge da lei… De’ miei bollenti spiriti”
Charles Gounod (1818-1893)
Romeo and Juliet
“Je veux vivre”
“Ah! Lève-toi, soleil!”
Cheryl Bains
The Legend of the Goddess
Ode
River Goddess
Georges Bizet (1838-1875)
Carmen
Overture
“Je dis que rien ne m’épouvante”
Entr’acte to Act III
Entre’acte to Act II
“La fleur que tu m’avais jetée”
Entr’acte to Act IV
“Parle-moi de ma mère!”
To view complete texts and translations of the works being performed, click the button below:
The South Asian Symphony Foundation would like to thank the Bangalore International Centre for their support in organising this concert.
With the Generous Support of
About the South Asian Symphony Foundation
The aim of the South Asian Symphony Foundation (SASF) is to promote greater cultural integration , through the medium of music and the creation of a South Asian Symphony Orchestra. The inspiration has come from Ambassador Nirupama Menon Rao’s years in diplomacy and what she saw as a felt need for providing a platform to promote more dialogue, cultural synergy, and friendly understanding beyond borders. The Foundation holds music workshops, master classes, lectures, and training in orchestral music for young musicians with the aim of fostering artistic talent and creativity . Performances of the South Asian Symphony Orchestra are organised in various cities of India. The development of orchestral repertoire based on the music of South Asia is another important focus and in the eight years since its founding the Foundation has been able to steadily build such repertoire. Orchestras are beautiful creations, they transcend race, religion, language, and borders. They are microcosms of the world –where different musicians and instruments join in harmony together, where walls begin to crumble, and differences recede. In an orchestra, all musicians are equal – music cannot be made without everyone doing their job. Habits of cooperation are inculcated and coordination and self-discipline are hallmarks. Friendships are formed and these friendships are taken home. Over time, the orchestra can be an avenue to greater cooperation and be a peace-builder. As its members play, they have to listen to each other to balance their sound within the larger sound and make a performance happen. The players develop empathy for those around them in the orchestra. We would like our Orchestra to point the way to recognition of the fact that South Asia is in many ways an integer, (as over the years we have had Afghan, Nepalese and Sri Lankan musicians as well as those from the South Asian diaspora across continents) bound more together by our commonalities than our differences. To quote the famous words of Ambassador Vijayalakshmi Pandit, before the United Nations, “Let us sweat in peace, not bleed in war”. Trustees of the South Asian Symphony Foundation: Nirupama Rao, Founder-Trustee Sudhakar Rao, Founder-Trustee Meenakshi Gopinath A P Parigi Cheryl Rebello
A Note from the Founder
Dear all, I’m often asked why I created an orchestra and about the underlying purpose of it all. Here’s my two cents! The Orchestra as a Model for Society There is something profoundly symbolic about an orchestra. It is more than a group of musicians gathered to perform a piece of music; it is a living metaphor for what society could be — and perhaps what it must be, if we are to thrive together. In an orchestra, every individual has a role, but no role exists in isolation. The violinist does not dominate the flutist; the percussionist does not drown the clarinet. Each part matters, whether it plays the melody or the harmony, whether it is heard boldly or barely at all. Some instruments sound only once in a piece — a triangle chime, a soft oboe line — yet their absence would leave the whole work feeling incomplete. This is a powerful image for how we might view our places in society. In the orchestra, difference is not just tolerated — it is essential. The rich resonance of a cello would lose its magic without the brightness of the trumpet, the elegance of the harp, or the grounding heartbeat of the bass drum. Harmony does not mean sameness; it means finding the beauty in difference and placing it in a structure where it can contribute fully. And yet, despite this dazzling complexity, there is no chaos. Why? Because there is a score — a shared vision, a direction that all agree to follow. And there is a conductor, a unifier: someone whose job is to listen, interpret, and guide. Not to silence, but to shape. The conductor does not make a sound themselves, yet their presence brings cohesion and energy to the group. In a healthy society, our laws, values, and collective goals act as the score. Our leaders are conductors — not soloists but stewards of balance. And we, the people, are the musicians: unique, essential, interdependent. The orchestra also teaches us about humility. A soloist may shine for a moment, but even they are wrapped in the support of others. No one plays all the notes. No one can. The music only exists when all contribute — in tune, in time, and in relationship. This metaphor becomes even more powerful in today’s world, where individualism often overshadows community, and noise threatens to replace music. The orchestra reminds us that true greatness lies not in volume, but in harmony — in listening, adapting, and playing our part with care and respect. Let us aspire to live as an orchestra lives: honoring our differences, tuning to one another, and creating something together that none of us could ever create alone.
A Brief History of Opera
The Italian Renaissance of the 16th century was a period of revival for the music, dance, drama, and art of classical antiquity. Greek dramas were the talk of the town, and scholars believed that these dramas were to be chanted or sung. Opera was an art form that combined music, poetry, and drama, retelling ancient Greek stories in a new (at the time) way. Claudio Monteverdi’s L’Orfeo (1607) is considered one of the earliest operatic masterpieces. The rich orchestration, emotionally expressive songs, and the depth and complexity of the characters set the tone for opera to evolve into an art form that captures the imagination and emotion of audiences, reaching into the deepest layers of the human soul. What started in Italy soon spread to other regions in Europe. Jean-Baptiste Lully’s works in France (such as Armide in 1686) became a symbol of French royalty and grandeur under the “Sun King” Louis XIV’s rule. In England, the short and intense opera Dido and Aeneas (1689), composed by Henry Purcell, portrayed Dido’s grief through song and music, with a descending bass line reminiscent of a heart-wrenching lament. But lest you think that opera was always a serious and tragic affair, the genre of opera buffa started to gain prominence during the 18th century. Where older plots featured gods and heroes, these told stories of ordinary people - maidservants, bumbling nobles, merchants, and more. The plotlines involved comical romantic mixups, mistaken identities, and social satire. Some examples of opera buffa are Pergolesi’s La serva padrona (1733) and Mozart’s The Marriage of Figaro (1786). These were popular and funny, and yet, deeply human, sharp, and witty. The Romantic era (generally considered the period from 1820 to 1900) brought themes like intense drama, individual expression, exoticism, and national identity to the forefront in its operas. The arias for SASO’s upcoming concert are selected from this very era. Read on to find out more about these arias and the characters behind them!
Notes on the Programme
Invocation
Maithreem Bhajata
Maithreem Bhajata is a Sanskrit hymn composed by Sri Chandrashekarendra Saraswati, the 68th Shankaracharya of the Kanchi Kamakoti Peetham. It is a call for universal friendship, compassion, and peace, urging humanity to overcome greed and live harmoniously. Set to music by Vasant Desai, it gained worldwide acclaim through M.S. Subbulakshmi’s historic performance at the United Nations in 1966. Cultivate friendship to conquer all hearts, Look upon others as yourself, Renounce war, forsake competition, Give up aggression on others. Mother Earth is ready to grant all our desires, The Lord, our father, is merciful to all, ‘Restraint, generosity, and compassion’, People of the World! May all people be happy and prosperous!
Giuseppe Verdi's
La Traviata
This is the tragic story of Violetta Valéry, a glamorous Parisian courtesan who falls in love with Alfredo Germont, a young nobleman. They leave high society to live a quiet life together, but their happiness is short-lived. Alfredo’s father, Giorgio Germont, urges Violetta to leave Alfredo to preserve his family's honor. Heartbroken, she sacrifices her love and departs without explanation. Alfredo, unaware of the reason, publicly humiliates her. When he finally learns the truth, he rushes to her side, but it is too late. Gravely ill with tuberculosis, Violetta dies in his arms. The text is in Italian, set to some of Verdi’s most beautiful and emotional music.
Charles Gounod's
Romeo and Juliet
As in Shakespeare’s classic, Roméo and Juliette come from two feuding families (the Montagues and Capulets) in Verona, Italy. That doesn’t stop them from falling head over heels for each other at a masquerade ball. Their love is instant, intense, and doomed from the start. They secretly marry, and things spiral quickly—duels, misunderstandings, and a whole lot of heartbreak. One of the biggest differences between the opera and Shakespeare’s version is in the final scene: Juliette wakes up briefly before Roméo dies, and they sing a heartbreaking duet as she dies beside him. The text of the opera is in French and leans heavily into the romance, with less politics and more passion.
Cheryl Bains'
The Legend of the Goddess
A note from the composer: The Legend of the Goddess is a work that has sprung from the depths of my meditation both as a musician, and a devotee of timeless stories that have moved the hearts of generations before me, 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, I am accustomed to performing repertoire depicting ancient European legends. As a composer, with a background in Hindustani classical music, I felt it was time to start honoring the folkloric stories belonging to my 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, 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.
George Bizet's
Carmen
The story takes place in 19th-century Seville, Spain (though the opera is in French, since Bizet was a French composer). Carmen, a fierce and seductive young gypsy woman, works at the cigarette factory, charms army officer Don José even though he is already engaged to the sweet and (total opposite of Carmen) innocent Micaëla. Carmen’s frequently shifting affections and refusal to live by anyone’s rules (save her own) cause Don José to get into trouble several times - he goes to prison for her, and he even abandons his position in the army. Don José’s jealousy and fury continue to build, and he ultimately ends up stabbing Carmen - a tragic ending to an emotionally heavy drama.
To view complete texts and translations of the works being performed, click the button below:
About the Artists
Maria Badstue, conductor
Innovation, passion, and versatility are the hallmarks of India born Danish conductor Maria Badstue, praised as “one of the best young Danish conductors of today,” (Berlingske Media). An accessible collaborator and innate communicator, Badstue’s popularity as a guest conductor outside of the Nordic countries continues to grow. In addition to her work as Artistic Director and Founder for Nordic Masterclass for Conductors and INDK Symphonic Collaboration, two acclaimed initiatives that she launched in 2012 and 2018 respectively, she is also the co-founder of Copenhagen’s The Ørestad Klassiske MusikFestival, a three-year-old music festival focusing on youth and the environment. Amongst the orchestras with which she has appeared are Italy’s Orchestra di Padova e del Veneto; France’s Orchestre Philharmonique de Nice; Denmark’s the South Denmark Philharmonic, symphony orchestras of Odense, Aarhus, Aalborg, the Randers Chamber Players, the Royal Danish Orchestra/Det Kongelige, Svenska Kvinnoorkestern, and Danish National Chamber Orchestra, Sweden’s Gothenburg, Helsingborg, and Malmö symphonies; Finland’s Orkester Norden; Norway’s Kristiansand Symphony, and the Romanian Radio Orchestra. Opera house credits include Germany’s Theater und Orchester Neubrandenburg/Neustrelitz; the United States’ Portland Opera Theater, Sweden’s FolkOperan, Denmark’s Koncertkirken with musicians from the Royal Danish Opera and Nontardar, the Copenhagen Opera Festival at Den Røde Plads/BLOX Copenhagen, the Copenhagen Phil and the Royal Danish Opera. Badstue is a recipient of a prestigious 2019-2021 Taki Alsop Conducting Fellowship, and a prizewinner in the 5th Lovro von Matatic Competition with the Croatian Radio and Television Orchestra. She worked professionally as a trumpetist in Denmark and Finland before focusing on a career in conducting. She holds master’s degrees in orchestral conducting from the Norwegian State Academy, and in Trumpet Performance from the Danish National Academy of Music.
Cheryl Bains, soprano
Cheryl Bains is an operatically trained soprano and a classical-crossover composer and performer. A graduate of the Manhattan School of Music (MSM), New York, Cheryl was well received in roles such as Gretel in Hansel and Gretel, Zerlina in Don Giovanni, Lakmé in Lakmé, and Maria in The Sound of Music in concert work. At MSM, she was featured as a soloist with the MSM Chamber Choir and Chamber Orchestra under the baton of acclaimed conductor Kent Tritle, and invited to perform at choice events including the MSM Annual Spring Gala. In New York, Cheryl also had the opportunity to work with and perform in masterclasses for such renowned singers, directors, and coaches as Lisette Oropesa, J’Nai Bridges, Margo Garrett, Tazewell Thompson, and Carolyn Marlow. A scholarship recipient for Classic Lyric Arts, Cheryl was also invited to train and sing in the Emilia-Romagna region of Italy, where she performed in concert and in roles such as Susanna in The Marriage of Figaro. During her time in conservatory, Cheryl was selected to premiere her arrangements of traditional Indian music: the Saint/Poet Kabir’s Ghat ghat mein panchi bolta and the Indian national song Vande Mataram for western instruments at MSM’s 15th Annual International Student Concert & Live Webcast, which marked her debut as a composer-performer. Most recently in her home country, India, Cheryl composed and performed the world premiere of her original crossover opera The Legend of the Goddess to acclaim, in collaboration with Mumbai’s iconic Royal Opera House (and sponsored by Steinway India & Furtados Music), marking her first major compositional premiere. As a soloist in India, Cheryl has appeared with the Kolkata Sinfonietta Orchestra and Choir, at the Victoria Memorial Hall in Kolkata, under the baton of Dider Talpain, the French Consul General. In Delhi, she was invited to perform the Italian and Indian national anthems for Italian National Day with the Indian Air Force Band. Cheryl made her house debut at Mumbai’s Royal Opera House as the featured performer for the historic first chapter of “Les Entretiens de Royaumont” in India, hosted by the Indo-French Chamber of Commerce and Industry. Proud to be associated with Steinway India and Furtados Music, Cheryl had the honor to inaugurate a new instrument showroom in her home state of New Delhi, with a special Steinway-themed recital. She has also appeared in numerous recitals in New Delhi with The Neemrana Music Foundation, collaborating with world-renowned artists and coaches such as Vanessa Garcia, Arnaud Kientz, and Clémence Chabrand at venues such as The Liszt Institute, Stein Auditorium, and the Italian Embassy Cultural Center. Raised in Singapore, Cheryl has been featured and well reviewed as a soloist in numerous concerts, most notably in Rutter’s Mass of the Children (Singapore premier) with the Metropolitan Festival Orchestra, Beethoven’s Symphony No. 9 with the Braddell Heights Symphony Orchestra, and Bernstein’s Chichester Psalms with Orchestra of the Music Makers under the baton of Joshua Kangming Tan and the mentorship of Madam Khor Ai Ming at the Esplanade Concert Hall. Formerly based in Los Angeles on an Artist Visa, Cheryl is of one of the few mentees of critically-acclaimed composer, arranger and orchestrator Ladd McIntosh. She presently goes between India and Singapore.
Alok Kumar, tenor
Fresh off debuts in Austria, Canada and Australia, and returns to Scotland, Hong Kong, and the United States, tenor Alok Kumar makes his debut concert appearance in 2025 in his native India. He reprises the role of Rodolfo in La bohème to open Portland Opera’s 2025–2026 season, following his Metropolitan Opera return as Caesar for the Met’s premiere of John Adams’s Antony and Cleopatra, and concerts with Hawaiian Symphony Orchestra in Beethoven’s Symphony No. 9. In 2024 Alok Kumar made several house debuts, including those with Vancouver Opera as Don José in Carmen, Volksoper Wien as Lazarus in Adams’s Gospel According to the Other Mary, State Opera South Australia in Adelaide as Edgardo in Lucia di Lammermoor, and Fort Worth Opera as Rodolfo in La bohème. In the titled roles of Gounod’s Faust and Massenet’s Werther he was featured with the Orchestra of Scottish Opera following his highly acclaimed 2023 Scottish Opera debut and four-city tour as Don José in Carmen. That same year, he returned to Hong Kong as Percy in Donizetti’s Anna Bolena, and made his Portland Opera debut in Sankaram’s Thumbprint. In 2020 the London Philharmonic Orchestra reprised Ravi Shankar’s opera Sukanya for the Shankar Centennial Celebration. Featuring Alok in the leading tenor role of Chyavana, the concert was followed by the BBC album release. At the invitation of the Royal Opera House, in 2017 he toured Sukanya with the LPO, giving the opera its world premiere. Since his 2018 stage debut with the Metropolitan Opera, Alok Kumar is continuously re-invited to join their seasons, having joined the Met’s leading tenor roster for productions of Der Rosenkavalier, Der fliegende Holländer, Gianni Schicchi, The Rake’s Progress and The Hours. He has also been seen and heard around the world in Met Opera – Live in HD productions of Lucia di Lammermoor, Ariadne auf Naxos and La fanciulla del West. Kumar has sung with Los Angeles Opera, Houston Grand Opera, Florida Grand Opera, Michigan Opera, and Opera Omaha, amongst others, and has also appeared at Carnegie Hall in New York, Walt Disney Concert Hall in Los Angeles, Royal Festival Hall in London, Symphony Hall in Birmingham, Bridgewater Hall in Manchester, Spoleto Festival in Spoleto, Le Domaine Forget International Music Festival in Quebec, and Santa Fe Opera in New Mexico. Alok Kumar is an alumnus of The Peabody Conservatory of Music, Rice University’s Shephard School of Music, Boston University’s Opera Institute, and Suffolk Law School. He resides in Los Angeles, CA with his wife and daughter, and maintains a private law practice.
Orchestra Roster
Violin I
Carol George, concertmaster
Arun Rozario
Samyuktha Rajagopal
Martina Charles
Violin II
Lim Jae Sern
Sandip Halder
Anirban Mazumder
Viola
Aibek Ashirmatov
Joy Peter
Cello
Kristina Winiarski
Michelle Simons
Double Bass
Jasiel Peter
Flute
Meera Gudipati
Clarinet
Ruslan Galilov
Bassoon
Kittima Molee
Horn
Nivanthi Karunaratne
Trumpet
Daniel Venglar
Piano/Keyboard
Soundarie David Rodrigo
Percussion
Ishwinder Singh
Akshay Nagmule
A Word of Thanks to Our Supporters
Peace Notes: An Evening at the Opera has been made possible through the generosity of our valued sponsors, with Adani Power Limited as our principal supporter. We are deeply grateful for their commitment to the arts and to the South Asian Symphony Foundation’s mission of peace-building through music.
We extend our heartfelt thanks as well to the Bajaj Group Charitable Trusts and the Serum Institute of India—champions of cultural dialogue and harmony—for their generous support.
A special note of appreciation goes to Pheroza Godrej, Prashanth Prakash, Vinita Bali, and Prateeti Ballal for their invaluable encouragement and contributions.
Support the Foundation
The South Asian Symphony Foundation is a not-for-profit organization registered u/s 12 (A)(1) of the Income Tax Act (India) as a Charitable Trust. The support the work of the Foundation, please visit the link below. Your support goes a long way to furthering our cause to promote peace through music. Donations to the Foundation are eligible for deduction u/s 80G (5) of the Income Tax Act.
