EPOULOGUE Parley: Unfurling the Splendour of Mandarin Classics with Janet Lee

On a sunlit Wednesday afternoon, far removed from Kuala Lumpur’s restless rhythm, a quiet reverence settles behind the hallowed stage of Dewan Filharmonik PETRONAS. 

Here, in a softly lit conference room steeped in musical history, EPOULOGUE finds itself in the rare company of Janet Lee and Izen Kong—poised, luminous, and brimming with anticipation. They are gathered not merely to promote a concert, but to unveil an experience: Symphony of Memories: A Journey Through Mandarin Classics.

There is something exquisitely transportive about Mandarin classics—their melodies linger like perfume on silk, their lyrics etched into the emotional fabric of generations. For many, they are not simply songs, but fragments of youth, love, longing, and quiet introspection. And now, under the masterful embrace of a full orchestra, these cherished works are set to bloom anew.

Hailed as the Shanghai Jazz Queen and a versatile performer with three albums, including Cinnabar Rouge which earned a recognition at the PWH Music Awards, under her belt, Taiping-native Janet Lee speaks with a graceful certainty and eloquence of a revered dame of the industry.

Her voice carrying both nostalgia and daring. From the sultry intrigue of Carmen, reimagined with cinematic flair and rhythmic audacity, to the haunting poetry of Olive Tree, each piece promises not only reinterpretation, but revelation.

It is a delicate balance—honouring memory while igniting surprise—and one she navigates with effortless elegance.

Backed by the Malaysian Philharmonic Orchestra, whose legacy has long shaped the nation’s cultural heartbeat, the evening promises grandeur without excess, intimacy within scale. Strings will swell like unspoken confessions; brass will shimmer with quiet triumph. Every note, a bridge between eras.

As the 28th of March approaches, the air feels charged with a certain inevitability and Lee shares with EPOULOGUE the juicy bits of her upcoming concert, featuring three other performers—Izen Kong, Layla Sania and Daniel Cheah—under the baton of Hong Kong-born maestro Francis Kan.

This, after all, is not merely a concert—it is an invitation. To remember. To feel. To be utterly, beautifully undone.

What was it about Symphony of Memories: A Journey Through Mandarin Classics with the Malaysian Philharmonic Orchestra at Dewan Filharmonik PETRONAS that made the invitation irresistible to you?

An offer to perform with a full-size orchestra in Malaysia feels magical and when that orchestra is the Malaysian Philharmonic Orchestra at Dewa Filharmonik PETRONAS, I couldn’t say no. I have spent 20 years interpreting Chinese classics with jazz ensembles and singing these classics in an orchestral setting is a refreshing and exciting opportunity.

Classic Mandarin songs occupy a deeply nostalgic space in the Asian musical canon. As a singer, what kind of personal or artistic relationship do you have with this repertoire?

My relationship with Mandarin classics is deeply personal and rooted in my childhood. Growing up in Taiping, those songs were the soundtrack of our home. I remember long Sunday afternoons on the cool cement floor, watching Taiwanese films with my family and listening to those melodies; these soundtracks left a lasting imprint on me.

Among the pieces you will be interpreting during the concert, are there particular songs that you hold especially dear? What is it about these works that continues to resonate with you?

First, I’m thrilled to sing Carmen (the iconic Grace Chang Chinese version) in an arrangement by Leonard Yeap adapted from my bandleader and friend Tay Cher Siang. Tay Cher Siang and I reworked Carmen for my second solo album, Cinnabar Rouge, adding a dramatic riff and unusual metres. Leonard’s arrangement that I’ll perform at DFP feels like the James Bond theme meets Mission: Impossible; it moves through a swinging section, a bossa groove and ends with that thrilling 5-4 Mission: Impossible-style motif. It’s cinematic, playful and daring.

Second, Li Tai Siang’s Olive Tree is a song I’ve loved since childhood. Li Tai Siang’s melody and San Mao’s words capture a paradoxical yearning; a desire for freedom and belonging at once. It’s not a conventional love song; it feels like a prayer for inner peace. This will be the first time I perform it ‘live’ and that makes it especially meaningful.

Having previously collaborated with Dama Orchestra and now with the Malaysian Philharmonic Orchestra, how would you describe the differing musical atmospheres or working dynamics between the two ensembles?

Working with Dama Asia was a theatrical, highly collaborative process with extended rehearsals with dialect coaches, vocal directors and a communal approach, to staging and music. This MPO project is different; it started more independently, with each artist preparing their parts individually, and then coming together for a shorter, intensive rehearsal with the conductor to shape the performance. Both processes are rewarding, just structurally different.

You will share the stage with artists such as Izen Kong, Layla Sania and Daniel Cheah. As an established performer, what does it mean to you to perform alongside a younger generation of talents?

Although they’re younger, my fellow performers are already respected artists in their own circles. I’m honoured to share the stage with them; it’s energizing to stand alongside the next generation and celebrate what each of us brings to the music.

As the performance approaches, how have you been preparing, both vocally and emotionally, to step into this particular musical journey?

I practise diligently while exploring different narrative approaches for each song; recording myself, testing phrasing and choosing the interpretation that feels most true. Then, I refine those choices and wait for the MPO rehearsals where everything comes together. The preparation is equal parts technical and emotional, honing technique and discovering the story I want to tell.

Many beloved Mandarin classics are almost theatrical in their emotional storytelling. How do you approach embodying the characters and narratives within these songs so that they feel vivid and authentic to today’s audience?

I start with what feels natural and sincere; that emotional authenticity is my first layer. After that, I evaluate recordings of my practice and get feedback from teachers or trusted ears to refine choices. The balance of personal truth and disciplined craft helps the characters feel vivid for contemporary audiences.

Arrangement often determines how a familiar song is re-imagined in a concert setting. How crucial is the arrangement in guiding the way you interpret and ultimately present a piece?

Arrangement is crucial; success often depends on the chemistry between arranger and singer. I ask whether a re-imagining pushes a song’s boundaries in meaningful ways or if it celebrates the singer’s temperament within the genre. I’ve been fortunate to perform arrangements that suit my voice; on rare occasions an arrangement has pushed me beyond my comfort zone but those moments are valuable tests of my abilities.

Nostalgia and sentimentality are powerful forces in music, particularly with classic repertoire. How much do those emotional undercurrents influence the way you perform, whether in the intimacy of a recording studio or the immediacy of the concert stage?

On stage, I see my role as an entertainer who blends vocal craft with stagecraft. I love inhabiting the emotional richness of these songs and sharing that vulnerability with the audience. Nostalgia can make things larger than life and that grandeur is a gift: it lets us connect deeply and leave the theatre changed.

Finally, beyond the music itself, what lasting impression or feeling would you hope audiences carry with them after experiencing this evening of Symphony of Memories with the MPO?

Above all, I hope the evening rekindles curiosity and joy. Live music invites people to slow down and experience something together; if audiences leave feeling inspired to seek out more music, more theatre and more curiosity in their daily lives, I’ll feel we’ve done our job.

Catch Symphony of Memories: A Journey Through Mandarin Classics on 28 March 2026 (Saturday), 8.00pm at Dewan Filharmonik PETRONAS. For tickets and more information, visit www.mpo.com.my today.

*Photos courtesy of Dewan Filharmonik PETRONAS.