World-class artists set the stage for Intramuros Evenings: La Voix Humaine this November 12

IMPORTANT ANNOUNCEMENT

Intramuros Evenings: Francis Poulenc’s ‘La Voix Humaine,’ originally scheduled for November 12 (Wednesday), has been rescheduled to November 13 (Thursday), 7:00 PM, at the Centro de Turismo, Intramuros, Manila.

The Cultural Center of the Philippines (CCP) and the Intramuros Administration (IA) team up for another night of artistic bliss for the third installation of Intramuros Evenings, featuring Francis Poulenc’s Aubade Concerto and La Voix Humaine (The Human Voice) on November 12, 2025, 7 p.m. at Centro de Turismo in Intramuros, Manila.

Intramuros Evenings: La Voix Humaine begins with Poulenc’s Aubade. Originally conceived as a ballet, the piece is now performed as a chamber concerto for piano and 18 instruments. This blend of 18th-century neoclassicism and 20th-century French style will be headlined by world-renowned pianist and former CCP President Raul Sunico, with the University of Santo Tomas Symphony Orchestra (USTSO) providing music accompaniment.

Following Aubade is La Voix Humaine, a one-act monodrama revolving around Elle, who exchanges goodbyes with her lover through a series of fragmented phone calls. Under the baton of Maestro Herminigildo Ranera, Filipina soprano Armela Fortuna breathes life into the protagonist as she sings with USTSO’s resonating harmonies.

A powerful collaboration for a one-night-only show

Harnessing the power of the arts to surpass cultural barriers, Intramuros Evenings: La Voix Humaine is brought to life with the brilliant collaboration of Gawad CCP Para sa Sining awardees.

2020 Gawad CCP awardee Nonon Padilla directs, while 2024 Gawad CCP awardee Gino Gonzales takes the helm of production design, and Gawad CCP and current CCP Trustee Monino Duque, for lighting design.

Gonzales is known for repurposing local materials in his set designs. Duque, on the other hand, will decorate the historic walls of Intramuros with his expertise.

Works of the late projection and video designer GA Fallarme will also illuminate the special production of Poulenc’s La Voix Humaine.

Meanwhile, world-renowned Filipino fashion designer Josie Natori lends her elegance and sensuality to the costume design of the production. With generosity and creative touch, Natori dresses the soprano performer, transforming the stage into a gallery of elegance where music and fashion intertwine.

Behind the stage of Intramuros Evenings

Behind the scenes, the collaborative work of renowned theater practitioners will mount Intramuros Evenings: La Voix Humaine. The collective efforts of production manager Nikki Garde-Torres, assistant production manager Myka Cheong, and technical director Louie Alcoran maintain the seamless flow and integration of music and visual art. Stage managers Nenen Espina, Pearl Boronilla, Raine, and June Niel Belisario also safeguard the artistic vision of the performance.

Intramuros Evenings: La Voix Humaine comes after Tanghalang Pilipino Inc.’s devised production of Ganito Na Kami Noon, Paano Na Ngayon? and Serenata ng Banda last July and September 2025, respectively.

Transforming the Walled City into a cultural hub, the longstanding partnership between the CCP and the IA reaffirms the goal of both institutions to further immerse the Filipino community in opera and theater.

With La Voix Humaine as the third of four productions planned for the year, Intramuros Evenings remains committed to showcasing the voices, instruments, and designs of formidable Filipino artists, while promoting and pursuing classic and modern arts.

Witness a raw staging of heartbreak in Intramuros Evenings: La Voix Humaine, on November 12, 2025, 7 p.m. at the Centro de Turismo, Intramuros, Manila. The event is free and open to the public, and seating is on a first-come, first-served basis.

For more information on CCP’s events, visit its official website (https://culturalcenter.gov.ph/). You may also follow CCP’s official accounts on Facebook, Instagram, X, and TikTok for updates on future events, productions, and workshops.

BGC Arts Center Festival Day 1: Performances at the Zobel de Ayala Recital Hall

The BGC Arts Center Festival held over the weekend not only started the 2017 performance calendar rolling for me, but it also introduced the BGC Arts Center as the newest cultural hub in Metro Manila. Located at the Bonifacio Global City, the center hosted a diverse line up of dance, theater, and of course, music performances over the course of two days, thus positioning itself as a major venue for the performing arts and more.

Braving the long and arduous getting there, I dropped by the festival and caught a trio of shows to see how the BGC Arts Center, especially the Maybank Performing Arts Center, measure up as a venue for classical music performances. A quick tour was first given to the press first wherein we found out that the center is actually composed of an open park (Alveo Central Plaza), a 300 seater amphitheater (Sun life Amphitheater), and the main building (Maybank Performing Arts Center) that houses an auditorium (Globe Auditorium), a recital hall (Zobel de Ayala Recital Hall) and a classroom/exhibit space.

Happiness is a Pearl

Standing: Paul Jake Paule, Rody Vera, Roeder Camañag, and Jesse Lucas
Seated: Cathrine Go, Tomas Miranda, and Ira Ruzz

The first day of the festival for me consisted of watching two shows at the Zobel de Ayala Recital Hall located at the second floor of the Maybank Performing Arts Center. First up was Artist Playground’s Happiness is a Pearl, a titillating one act play penned by Rody Vera and directed by Paul Jake Paule. This play, about a love triangle between a Japanese gigolo Kenji (Tomas Miranda), a lonely Japanese wife Mari (Cathrine Go), and a Filipina entertainer Maria (Ira Ruzz), explored the concept of happiness, on whether happiness can be bought by money or be attained when the odds are stacked against you. Or if happiness is tangible like a pearl stitched under the skin of a penis like in the case of Kenji.

What particularly astounded me with this production was not the subject matter nor the sensual scenes, but how the tango was integral to the course of the story as a way to show the tug of war between the two rivalling women. With precise, sharp and deliberate motions and secure feet, both Cathrine and Ira led me to believe that they were dancers first who later ventured into acting. But I was, in fact, mistaken as I learned afterwards that the two just had a few months’ worth of intense dance training in preparation for their roles under choreographer Lezlie Dailisan. Tomas, was quite a charmer, making it believable for the two women not only to fall for him, but also to fight over him as well. And I was very relieved that Tomas also proved himself as a stable dance partner matching his two feisty partners in intensity. While the dancing left me impressed, the singing that served as a prologue to the play was rather anemic. It went far too long for my liking and it didn’t really segue smoothly into the actual beginning of the play.

La Voix Humaine

Rudolf Golez, Jay Glorioso, and Kay Balajadia-Liggayu

Still at the same venue later that evening, soprano Kay Balajadia-Liggayu starred in MusicArtes, Inc.’s La Voix Humaine, a one woman operatic monologue by Francis Poulenc adapted from the play by Jean Cocteau. Accompanied by pianist Rudolf Golez, Kay portrayed the role of an unnamed woman going through an emotional rollercoaster of a phone conversation after getting dumped by her lover. A one woman show in such an intimate setting made me feel like a voyeur peeping into hers most private and vulnerable moments. It was strange and unsettling to bear witness and hear what she claimed over the phone while actually seeing otherwise. And all this without her knowing that the audience knows since the fourth wall wasn’t broken at all.

Seating right beside the piano made me more aware of the music: the abundance of dissonance and complex chords, the almost speech like rhythm of the notes, and the constant and sudden shift in tempo, going from agitated at one moment and then relaxed at the next. And whenever there is a hint of a melody, it was always short lived as more uneasiness just crept around the corner (or the next measure).

It’s not easy for anyone, including myself, to comprehend this work fully at the first viewing. I found myself shifting my gaze quickly from the projected surtitles to Kay so as not to miss anything. I know that there would be so much more to discover with the nuances of the text and the music with repeated viewing and listening of this work.

My overall experience watching two different performances at the Zobel de Ayala Recital Hall was indeed a satisfying one but was marred by outside noise that managed to penetrate through the walls of the hall. The noise came from the chatter above at the 3^rd level viewing deck and also from the sound of car engines outside in the streets. Measures to improve sound proofing the recital hall must be taken to ensure a more pleasant viewing experience free from unnecessary distractions.

UST Symphony Orchestra looks forward in New World concert

Featuring:

Anthony Say, piano

Fe Marsha Nicolas, piano

UST Symphony Orchestra and Alumni

Herminigildo Ranera, conductor

Programme:

Franz Liszt

     Les préludes S.97

Francis Poulenc

     Concerto for Two Pianos and Orchestra in D minor, FP 61

Antonín Dvořák

     Symphony No. 9 in E minor, Op. 95, B. 178, From the New World

Encore:

Derrick Atangan (arranger)

     2015 Playlist

Watching the young members of the UST Symphony Orchestra in their latest concert, I had a sense that I was seeing a preview of the future of the orchestra scene here in the country. Led by conductor Herminigildo Ranera, the concert also featured pianists Anthony Say and Fe Marsha Nicolas. With a line up consisting of groundbreaking pieces by Franz Liszt, Francis Poulenc, and Antonín Dvořák, the concert lived up to its billing of New World, New Generation.

I couldn’t help but notice the massive orchestra made up of UST Conservatory of Music students, UST SO Alumni, and some faculty members assembled on stage as they started their opening piece, Liszt’s Les préludes S.97. From where I was seated, I could count around six flutes and the other sections had a few more instruments/chairs than what is typical. I doubt that List wrote this piece with this number of instruments in mind. As a result, the brass and winds somehow drowned the strings section that probably because of their size (around seven stands in the first violins alone), weren’t as tight and even. Despite the orchestra’s slight hiccups, their performance became a lightbulb moment for me as I was finally able to grasp the piece. The main motif and how it was repeated and transformed throughout the symphonic poem’s six sections, somehow became clear to me.

For obvious reasons, the main highlight of the concert for me was Francis Poulenc’s Concerto for Two Pianos and Orchestra in D minor, FP 61 with pianists and UST Conservatory of Music faculty Anthony Say and Fe Marsha Nicolas as the two soloists. Since it was my first time to see this piece played live and I had no idea how the piano parts were divided, I paid extra attention to this performance. Say, who was Piano 1, had a more prominent part than that of Nicolas’ Piano 2. It may not be as virtuosic like a Rachmaninoff concerto, the Poulenc concerto with its eclectic themes was still tricky nonetheless that demanded precise timing between Say and Nicolas as well as the orchestra.

The sheer number of musicians on stage was utilized to great effect with the orchestra’s take on Antonin Dvořák’s Symphony No. 9 in E minor, Op. 95, B. 178, From the New World. Again, the strings were a bit wild at the start, but somehow found their groove during the inner movements. I wish that the second movement Largo was played slower than they did it but that would’ve been extremely difficult on the English horn player who had to do the very famous melody. Towards the end, the orchestra started to strain a bit, with the horns getting unpredictable, and some out of sync bowing here and there. I guess that this was probably fatigue or a loss in concentration thinking that it’s just smooth sailing to the finish. One thing’s for sure, these students learned that they have to pace themselves well in order to finish strong, especially if it’s a long work like the New World Symphony.

With the main program already out of the way, everyone on stage was able to let their hair down with the encore, 2015 Playlist arranged by Derrick Atangan. The crowd pleasing medley featuring recent chart topping songs like Mark Ronson’s Uptown Funk feat. Bruno Mars, Justin Bieber’s Sorry and Love Yourself, and Brandon Beal’s Twerk It Like Miley was such a hit among the UST students inside the Cultural Center of the Philippines’ Main Theater. But what was particularly amusing for me was seeing the alumni and faculty (especially those who also play with the Philippine Philharmonic Orchestra) on stage performing this number.

Clarinetist Andrew Constantino wraps up MCO Foundation's Young Artists Series 2014

October 8, 2014, 7:00 PM

Ayala Museum

Makati Avenue corner De La Rosa Street

Greenbelt Park, Makati

Featuring:

Andrew Constantino, clarinet

Melissa Taqueban, piano

Programme:

Marcel Dautremer Récit et Impromptu

Francis Poulenc Sonata for Clarinet and Piano, FP 184

Claude Debussy Premiére rhapsodie

Robert Schumann Fantasiestücke, Op. 73 for Clarinet and Piano

Aaron Copland Clarinet Concerto

The MCO Foundation's Young Artists Series 2014 ends with a performance of one of the most promising young clarinetists today, Andrew Constantino on October 8, 2014 at 7:00 PM at the Ayala Museum in Makati.

Clarinetist Andrew Constantino first drew the attention of world renowned clarinetist Marcel Luxen in his masterclass two years ago. Luxen noted, "Andrew is a talent to watch out for, a major talent in the making".  

Andrew started his first clarinet lessons at a young age of nine under his father, Ariel Constantino and become a member of his grandfather's band, Imus Youth Symphonic Band. At 12, he was accepted as a music scholar under the tutelage of Prof. Ariel Sta. Ana at the Philippine High School for the Arts.

As a member of the Philippine Youth Symphonic Band, he was able to perform in various venues such as Cultural Center of the Philippines, the defunct Philam Life Auditorium to name a few. Last year, he participated and performed at the Il Convegno Clarinet Festival held at the UST Conservatory of Music. An avid participant in various masterclass including those conducted by John Schertel, Wendy Mazon, Brian Gnojek, Marcel Luxen and recently Andrew Simon.

This concert marks Andrew's professional solo debut. He will be performing Marcel Dautremer’s Récit et Impromptu, Francis Poulenc’s Sonata for Clarinet and Piano, FP 184, Claude Debussy’s Premiére rhapsodie, Robert Schumann’s Fantasiestücke, Op. 73 for Clarinet and Piano, and Aaron Copland’s Clarinet Concerto with Melissa Taqueban as his collaborating pianist.

Clarinetist Andrew Constantino

This concert is made possible through partnership with Ayala Museum,  NCCA, Friends For the Cultural Concerns of the Philippines, Raintree Group of Restaurants, BusinessWorld, Her Words, Highlife, Lyric Piano and Organ and 98.7 The Master's Touch.

The MCOF Young Artists' Series is one of Manila Chamber Orchestra Foundation's core programs.  The MCO Foundation, established in 1985, has a mission of promoting classical music. Every year the foundation selects four of the most promising young artists, who are given the endorsement, performance opportunities, and exposure to a wider public. Oftentimes, the recitals of young artists under the MCO Foundation aegis have become the artists’ official debut as performers.

Ticket prices:

P1000 Premiere

P800 Regular

For inquiries:

MCO Foundation 750-0768, (0920) 954-0053

CAEO 762-7164, (0918) 347-3027

TicketWorld 891-9999 

Flutopia: A Flute Celebration at the CCP Gala Concert

Flutist Jin Ta

Featuring:

Jin Ta, flute

Hercules Santiago, flute

Gary Silangcruz, flute

Olivier Ochanine, flute

Kiko Candelaria, flute

Marie Poblete, flute

David Jerome Johnson, flute

Lin Shumei, piano

Rommel Cruz, bass

Gian Vergel, drums

Programme:

Francis Poulenc Sonata for Flute and Piano

Claude Bolling Baroque and Blue from Suite for Flute and Jazz Piano Trio

Giulio Briccialdi Flute Quartet in A major

Friedrich Kuhlau Flute Quartet in E minor, Op. 103

Astor Piazzolla Oblivion

Paul Taffanel Fantasy on Themes from Der Freischütz

For someone like me who isn’t very familiar with the flute repertoire, the Flutopia: A Flute Celebration at the CCP provided a great opportunity for me to acquaint myself with the instrument. For two days, the Cultural Center of the Philippines’ was bustling with various activities highlighting the flute that included free mini-concerts, exhibits, flute repair services, masterclasses and workshops. But the main highlight of the two day festival was definitely the Gala Concert held at the Tanghalang Aurelio Tolentino (CCP Little Theater) that featured Jin Ta, principal flutist of the Singapore Symphony Orchestra and also pianist Lin Shumei.

Pianist Lin Shumei

I only got to know the concert programme only a few hours before the performance started, so I really had no idea what to expect from the pieces that they’ve prepared. The concert started with Jin Ta and Lin Shumei performing Francis Poulenc’s Sonata for Flute and Piano, which is what I expected from this concert: a sonata featuring the flute while accompanied by the piano. But the following piece provided a bit of a surprise. The two, now joined by bassist Rommel Cruz and drummer Gian Vergel performed Claude Bolling’s Baroque and Blue from Suite for Flute and Jazz Piano Trio which was a delight to hear. An all too familiar flute passage opened the piece and then was followed by a cool jamming by the jazz piano trio before joining forces. I started to wonder why I hadn’t been aware of this piece of music in the first place.

The two flute quartets that followed also served as an introduction for me of this chamber music setup. The first quartet was composed by Jin Ta, Hercules Santiago, Gary Silangcruz, and Olivier Ochanine playing Giulio Briccialdi Flute Quartet in A major while the second quartet had Kiko Candelaria, Marie Poblete, and David Jerome Johnson, joining Jin Ta in performing Friedrich Kuhlau’s Flute Quartet in E minor, Op. 103. I noticed that all the flutists in both quartets used the standard flute. I wondered how having the same flutes would sound since I half expected seeing a piccolo and perhaps an alto flute in the mix. Remarkably, listening to flute quartet music proved not too challenging for me. I liked how most of the melody/top line played by flute 1 was paralleled (mostly in thirds) by flute 2 while the other two either provided a counterpoint or long, sustained low notes. It was indeed like listening to multiple birds chirping in perfect harmony.

Flutist Olivier Ochanine

In Astor Piazzola’s Oblivion (featuring the same musicians who did the Bolling piece) provided a dramatic moment in the concert which was a nice contrast to the Bolling that they did earlier. But the truly virtuosic piece was the one that ended the concert, Paul Taffanel’s Fantasy on Themes from Der Freischütz. I am not familiar at all with Der Freischütz so I feared that I wouldn’t be able to grasp the themes in this piece. Thankfully, I didn’t need to be familiar with it to appreciate Jin Ta handling it with such mastery. I was very impressed towards the end when he maintained a clear melodic line amid a flurry of ascending and descending arpeggios. For a single voiced instrument, Jin Ta was able to create multiple layers as if there was another flutist playing with him. For an encore, Jin Ta and Lin Shumei presented a Filipino piece, Lagi Kitang Naaalala by Levi Celerio. It may not be a showstopper like the Taffanel but it was an exquisite way to end the night.

Marimbist Aimee Mina-De la Cruz

I do think that I’ve learned a lot about the flute during the Gala Concert for the show presented a very varied repertoire compared to the usual recitals that I’ve been too. And for those who still didn’t get enough of the flute, they should not fret for a flute concerto is coming soon courtesy of the opening performance for the new concert season of the Philippine Philharmonic Orchestra.

Piano Duet featuring Raul Sunico and Aries Caces

July 10, 2011 8:00 PM

Philam Life Theater

UN Avenue, Manila

Featuring:

Raul Sunico, piano

Aries Caces, piano

Programme:

Johann Sebastian Bach Prelude and Fugue for Four Hands

Witold Lutosławski Variations on a Theme by Paganini for Two Pianos

Frédéric Chopin Rondo in C major for Two Pianos, Op. 73

Francis Poulenc Sonata for Two Pianos

Franz Liszt Concerto Pathétique

Probably the most interesting thing about this piano duet concert by renowned Filipino pianists Raul Sunico and Aries Caces would be how these two who came from different schools of music, with different approaches to piano music would be able to perform together. Sunico studied at the Juilliard School in New York, USA while Caces studied in Austria. I guess that the only way for me to find out how this very interesting scenario would go is for me to drop by and watch the concert on July 10, 2011, 8:00 PM at the Philam Life Auditorium.

Pianist Raul Sunico

The programme for the evening will consist of compositions for four hands/two pianos by Bach, Lutosławski, Chopin, Poulenc and Liszt. All of them are familiar composers but I’ve never heard any of the works in the programme so it’s definitely going to be a very interesting evening.

Pianist Aries Caces

Proceeds for this Piano Duet concert, organized by the Cultural Arts Events Organizers in partnership with Lyric Piano, BusinessWorld, Vision Classic and PCSO will benefit the children of Concordia’s Children Services, Inc. which takes care of abandoned, neglected, abused and orphaned children from the Pasig and Sta. Mesa area.

For tickets and inquiries:

COEA (0918)347-3027, 782-7164