Takeshi Oi Gives a Heartfelt Recital at His Singapore Debut
Takeshi Oi’s debut recital in Singapore on 9th March 2025 at Victoria Concert Hall was a memorable occasion, drawing both new listeners and dedicated followers of his work. Performing on a C. Bechstein D282 grand piano, he captivated the audience with his warmth and sincerity, guiding them through a thoughtfully selected program that ranged from Baroque to contemporary, including Romantic and Impressionist masterpieces.
The concert opened with Oi’s own Fragments of Lyrics, a brief yet expressive prelude, before he delved into his Bach repertoire. The Prelude from The Well-Tempered Clavier was beautifully smooth and well-proportioned, followed by the Aria from the Goldberg Variations, where the Bechstein’s crystalline high notes sparkled. Jesu, Joy of Man’s Desiring flowed with a steady rhythm, concluding with clarity and poise.
In Chopin’s Nocturne in B-flat minor, Oi created a delicate, dreamlike atmosphere, gradually building the intensity in the development. His rendition of the Nocturne in E-flat major felt refreshingly new, thanks to subtle changes in tempo and phrasing, drawing the listener back into the moment. The Nocturne in C minor, Op. 48 No. 1 began with a commanding presence, the firm block chords striking without being overpowering, while the quieter sections were filled with refined elegance. Liszt’s Consolation No. 3 was another highlight, showcasing Oi’s ability to bring depth and intimacy to reflective pieces.
Following the intermission, Oi turned to Debussy. His Rêverie was played at a brisker pace than usual, but the clarity of his voicing made the piece intriguing. La fille aux cheveux de lin was effortless, flowing naturally without hesitation. In Clair de Lune, a timeless favorite, Oi’s performance was unforced and free from overt sentimentality, yet still full of wonder.
Poulenc’s Improvisation in C minor exuded warmth, though some of the cascading passages felt slightly hurried, yet the richness of the texture was still captivating. In Pavane pour une infante défunte by Ravel, Oi’s phrasing revealed the harmonic depth of the piece, though a bit more space between the notes could have enhanced its meditative character.
The segment featuring Japanese composers was deeply personal. Oi’s rendition of Sakamoto’s Merry Christmas Mr. Lawrence, dedicated to the late composer, was played with great sensitivity, highlighting its quiet beauty and leaving many listeners misty-eyed. VOICES, the piece that first earned him international acclaim, shimmered in the Bechstein’s upper register. His arrangement of Jupiter (Holst), transcribed in 4/4 rather than its original 3/4, gave the melody an expansive, cinematic quality while retaining its intimate, sentimental nature. Oi’s own composition, Piano Love, brought the program to a joyous close with radiant energy and warmth.
The audience’s heartfelt applause was met with three exquisite encores:
- Kunihiro Nakamura: Yama-Yuri
- Rachmaninoff: Variation 18 from Rhapsody on a Theme of Paganini
- Chopin: Aeolian Harp Etude (Op. 25 No. 1)
The evening transcended the typical recital experience, creating a profound sense of shared connection between the performer and the audience. Many had come specifically to witness his Singapore debut, and Oi responded with warmth and sincerity, both through his music and his personal presence, making it an unforgettable evening of music, intimacy, and appreciation.
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