Manila Symphony Orchestra, Ballet Manila present joint season opener with Sleeping Beauty

The Manila Symphony Orchestra formally begins its Centennial Season by joining forces with Ballet Manila with the staging of the ballet Sleeping Beauty happening on March 13-15, 2026 at the Aliw Theater, CCP Complex in Pasay.

Ballet Manila's Sleeping Beauty features the choreography of Lisa Macuja Elizalde, the company's Artistic Director and CEO Lisa Macuja-Elizalde and is the final installment of her Princess Trilogy following Cinderella and Snow White.

Shapira Drapete and Joshua Enciso

The music of Pyotr Ilyich Tchaikovsky will be brought to life by the Manila Symphony Orchestra under the baton of Maestro Alexander Vikulov. The MSO, BM, and Vikulov have been frequent collaborators since 2011.

Music highlights of the ballet include the Rose Adagio and the popular Waltz known to most as Once Upon a Dream from the animated feature by Disney. Both the Tchaikovsky music, completed in 1899, and the ballet, premiered in 1890, predate by six decades the Disney adaptation that was released in 1959.

Alexander Vikulov

Another music highlight to look out for is Aurora's Variation featuring a special violin passage to be performed by MSO's concertmaster Alessio Benvenuti.

Manila Symphony Orchestra

Below is Manila Symphony Orchestra's updated Centennial Season Lineup.

Concert I: Centennial Opening: Sleeping Beauty

March 13-15, 2026

Aliw Theater

Ballet Manila

Alexander Vikulov, conductor

Concert II: From Mozart to Mahler

May 30, 2026

Proscenium Theater

Emanuel John Villarin, violin

Christian Wrona, viola

Joshua Dos Santos, conductor

Concert III: Concert Celebration: 80 Years of Filipino-American Friendship

July 4, 2026

Metropolitan Theater

Jeanne Marquez, violin

Jason Marquez, clarinet

Jose Lorenzo Reyna, Jr., conductor

Concert IV: Opera and Kundiman: The Legacy of Maestra Conching Rosal

August 29, 2026

FEU Auditorium

Rachelle Gerodias-Park, soprano

Michelle Mariposa, mezzo-soprano

Byeong In Park, baritone

Marlon Chen, conductor

Concert V: Cellist Camille Thomas with the MSO

October 24, 2026

Hyundai Hall, Areté, Ateneo de Manila University

Camille Thomas, cello

Marlon Chen, conductor

Concert VI: World Premiere: Filipino Master Composers

January 2027

Venue: TBA

New works by Ryan Cayabyab

Marlon Chen, conductor

Live performances resume at the CCP with Christmas dance show

After almost two years, the Cultural Center of the Philippines presents its first live performance onstage with A Christmas Celebration, a dance twin bill, happening on December 12, 2021, 7:00 PM with a matinee at 2:00 PM.

This performance, presented in cooperation with the BP Alumni Association, is the culminating program of the CCP's Professional Dance Support Program (PDSP) that provided dancers from various companies opportunities to maintain their technical skills, continue honing their artistry, and earn a living during the pandemic.

The twin bill consists of the divertessment from Sleeping Beauty and the live staging of Tuloy ang Pasko, an original Christmas themed production that was premiered online last year.

Katrene San Miguel and Victor Maguad
Photo by Victor Ursabia

With music by Pyotr Ilyich Tchaikovsky, the Sleeping Beauty divertessment, restaged by Victor Ursabia and Eugene Obille, sees Katrene San Miguel and Victor Maguad as Princess Aurora and Prince Désiré dancing the ballet's Grand Pas de deux.

Veronica Atienza
Photo by Lester Reguindin

Also dancing in the divertessment are Veronica Atienza as the Lilac Fairy, as well as Rissa Camaclang, Lester Reguindin, Stephanie Santiago, and Erl Sorilla as the Jewel Fairies.

Nicole Barroso and John Ababon dance Black Cat & Puss In Boots, while Sarah Alejandro and Kevin Cascaño as Red Riding Hood and The Wolf. Regine Magbitang and AL Abraham dance the Blue Bird Pas de deux.

Rounding up the ensemble are Monica Gana, Earl John Arisola, Jessa Tangalin, Bonifacio Guerrero, Rissa Camaclang, Renzen Arboleda, Joanne Tangalin, Justine Orande, Karla Santos, Ace Polias, Gianna Hervas, Alexis Piel, Christianne Uy, and Danilo Dayo Jr.

On the other hand, Tuloy ang Pasko is a nostalgia filled, original dance productoon celebrating the spirit of the traditional Christmas in the Philippines. Set in 1970s Manila, this production features music composed by National Artists Ryan Cayabyab and Levi Celerio, Felipe de Leon, Juan Silos Jr., Serapio Ramos, Andrei Dionisio, and Jose Javier Reyes all arranged by Cayabyab.

Erl Sorilla, John Ababon, Lester John Reguindin, Bonifacio Guerrero, AL Abraham, and Ronelson Yadao share choreographic duties.

The cast is led by Nonoy Froilan, Liliane "Tats" Manahan, Imelda Tatad-Pagdanganan, Gener Caringal, Mario "Butch" Esperanza as five old friends who reminisce their youth portrayed by dance artists Earl John Arisola, Monica Gana, Jessa Tangalin, John Ababon, and Erl Sorilla.

Sarah Alejandro, Katrene San Miguel, Veronica Atienza, Regina Magbitang, Stephanie Santiago, Nicole Barroso, Rissa Camaclang, Karla Santos, Joanne Tangalin, Gianna Hervas, Victor Maguad, Lester Reguindin, AL Abraham, Danilo Dayo Jr., Bonifacio Guerrero Jr., Ace Polias, Justine Orande, Alexis Piel, Renzen Arboleda, and Kevin Cascaño complete the cast.

A Christmas Celebration is presented in partnership with Century Tuna, with media partners Manila Broadcasting Company, ArtPlus Magazine, and ClicktheCity.

Due to safety and health guidelines and restrictions, seats to the two performances will be limited.

Philippine Spanish Dance Connection Project

Late last year, I was told that several Embassies and cultural institutions would be bringing dancers and dance companies here to perform and conduct workshops. I expected that these would happen by the middle of this year. It turned out that things got to a quick start even before the first quarter wrapped up when Ballet David Campos kicked things off by performing new versions of two ballet classics. This ballet company based in Barcelona, Spain has strong connections to the Philippines. David Campos, founder and artistic director of the company is married to Filipina Irene Sabas-Campos, co-founder who is also the associate artistic director and ballet mistress as well. Four Filipino dancers are also members of the said company (Elline Damian, Aileen Gallinera, Eduardo Espejo, Karina Campos). Hence, this event organized by Ballet David Campos of Barcelona, the Spanish Embassy of the Philippines, Instituto Cervantes, Cultural Center of the Philippines and the Institut Ramon Llull was called the Philipine Spanish Dance Connection Project. The project was also held in cooperation with Centunion, Mapfre Insurance Corporation, Ayala Land, San Miguel, Mercedes Benz and Ollé Beltrán.

Sleeping Beauty

I’ve always liked the music from the ballet Sleeping Beauty. The ballet’s score that was composed by Pyotr Ilyich Tchaikovsky was the main reason why I got interested in watching this performance in the first place. I’ve seen Ballet Philippines perform this ballet a few months back and when I heard that Ballet David Campos would be performing a new version of this piece, I decided to see it just to hear the Tchaikovsky music once again. I didn’t mind at all even if I knew that there wouldn’t be a live orchestra during the performance.

I was warned by some people to be prepared for a radical version of Sleeping Beauty since they know that I am somewhat a purist. But I assured them that I am ready for whatever surprises that the company had to offer. I added that I’ve already seen some very unusual contemporary dance performances before so there was no need to worry about me not getting the performance. I knew that as long as there was the familiar music by Tchaikovsky, I would be okay. But there were indeed many surprises in this version, the most notable was the clever use of technology through video screens in front and at the back of the stage. One thing that I never expected with a ballet performance was the use of special effects. And there were indeed neat effects like fairies flying and arrows firing that somehow felt like watching a movie in 3D because of the two screens. While the technology gave this production a literal modern twist, there were still nods to the classical aspect as the dancers still showed of their technical chops in some of the dances like the Pas de deux with Elline Damian as Princess Aurora and Vincent Gros as the Prince. The story also departed from the traditional as an entire section was devoted to what Princess Aurora could’ve dreamed of while she was asleep for a hundred years. And her century of sleep did take the story into the 21^st century with contamination suits, flat screen television and even a Sleeping Beauty ballet within the ballet itself. There was also humor in this staging with Puss in Boots having a rat in his mouth and also hinting that he ate the unfortunate blue bird as well. I was surprised also to see Vincent Gros, one of the guest dancers, since he doesn't have the typical physique of a danseur. And yet he managed to do leaps, pirouettes and partner work just like any principal danseur out there.

I was pretty pleased with this ballet with it's nice and interesting mix of the classic and the innovative. The smart use of technology left me at awe and the dancing sections (Pas de deux and the Blue Bird pas de deux) satisfied my desire to see some difficulty in the dancing. My only disappointment was that the Rose Adagio, my favorite piece of music from the entire ballet didn’t make it in David Campos’ version.

David Campos

Giselle

I went back the next evening when it was Giselle’s turn to be staged. If Sleeping Beauty was a fairy tale that ended in a happily ever after, Giselle ended in a sad and tragic note. This version is a modern take of the classic ballet and none could be more modern and contemporary than club music which was indeed used in here aside from the Adolphe Adam music. And Giselle, played by Ailleen Gallinera wasn’t the naïve peasant girl in here, but was an awkward woman who looks like Betty La Fea. Albrecht was played by the dashing Jesús Pastor, also one of the guest dancers, and he displayed tremendous turning ability with his numerous pirouettes.

Betty La Fea wasn’t the only reference to modern pop culture. The Wilis which were the vengeful spirits who are out to exact revenge on the men who had wronged them, looked and moved like Sadako from the Japanese horror film The Ring. One Sadako was scary enough but in here, there were a lot since all of the women in the company were dressed as such at one point. Again, this production used technology with the video screens just like in Sleeping Beauty. One memorable part was when the video that was shown made it look as if Giselle was running at a subway station although she was just running in place on stage. Since this version of Giselle was grounded in reality, the effects brought by the screens didn’t have the wow factor in them compared to Sleeping Beauty which had a fantasy setting.

The setting, the costumes and some of the music and dances may be modern but there were also throwbacks to the classic ballet like Giselle’s famous variation during the first act. I failed to recognize if there were other portions like this since I wasn’t really familiar with the entire Giselle ballet in its original form. There was more emotional depth in this ballet since the themes are more mature in nature like love, betrayal and revenge. I got a bit worried during the performance since there were kids among the audience and the ballet had some violent and scary moments especially the death scene. Overall, despite its shorter length compared to Sleeping Beauty, there was more emotional hook in here and the production catered to more adult sensibilities.

One thing that made me really glad during the two nights that I was able to watch was seeing a lot of children (some of them members of dance groups) at the shows. After watching Sleeping Beauty, these children along with a bunch of adults as well mobbed Lisa Macuja who was there to watch the entire run of this dance project. And she had a very good reason to be there since Elline Damian, Aileen Gallinera and Eduardo Espejo were founding members of Ballet Manila, the ballet company owned by Lisa Macuja herself. And after I watched Giselle, it was David Campos' turn to be mobbed by the people at the lobby who wanted to have their photos taken or their souvenir programmes signed. This was just the first of a handful of dance projects happening in here. I am not a dancer but I like to watch dance performances and after having a taste of what Spain had to offer, I can't wait to see what the others had in store.

Ballet Philippines' The Sleeping Beauty

My love for Pyotr Ilyich Tchaikovsky’s music always drives me to be at every concert that featured his works. For this year, I’ve only been to a couple of concerts that had live performances of his music and they weren’t enough. Fortunately, Ballet Philippines provided more Tchaikovsky music for me to savor by staging the ballet The Sleeping Beauty as part of their 42^nd Season lineup. I knew that I couldn’t afford to miss this ballet held at the Tanghalang Nicanor Abelardo (CCP Main Theater) at the Cultural Center of the Philippines especially since the Manila Symphony Orchestra, under the baton of Jeffrey Solares, would be providing the live music in some performances. I did manage to watch the gala night which featured Japanese guest artist Nobuo Fujino and the international award winning, BP principal dancer Candice Adea and also the live music by the MSO which I really was looking forward to.

It’s been more than two decades since Ballet Philippines last staged Sleeping Beauty. So for a lot of people who were there during the gala night, it was their first time to see this ballet performed live. But I did have a glimpse of the Grand pas de deux from the ballet during the CCP Gala and seeing it made me want to watch the full length ballet with the live music no matter what. And it was truly a different experience watching a ballet production since it felt like being transported to a different time and place and yet all the action was there happening live right before my eyes.

Candice Adea

And right before my eyes, Candice Adea exhibited a lively, spirited and enthusiastic portrayal of Princess Aurora. She lit up the stage as she entered during the scene when the Princess celebrated her 16^th birthday and she was indeed the life of the party. The character and personality she displayed gave more impact to her eventual slumber as part of the curse given to her by Carabosse played by Olga Bankova. Guest artist On the other hand, Nobuo Fujino was a towering presence in his role as Prince Desiré despite his part not being as meaty as that of Candice. Individually, they shone in their variations and solo parts especially Candice during the exquisite Rosa Adagio but it was a different matter when the two did the Adagio during the Grand pas de deux. Their partner work left me thinking how more impressive they could’ve been if they had some years’ worth of experience dancing with each other. But given the limited time that they’ve had, they did pretty well and I do have to admit that while some of the hype went to Fujino being the guest artist, it was really Candice who was the star of the ballet. The Prince's role didn't have much in terms of characterization but Fujino was up to the task in letting Candice shine.

Nobuo Fujino

The rest of the company did well although there were some errors that my untrained eye was able to notice. But it only goes to show how technically difficult Sleeping Beauty was not only for the leads, but also for the other soloists and the rest of the company as well. The plot of the fairy tale is very shallow and thin and at first glance, the material may not be suitable for a full length ballet that lasted for more than two hours. But some of the minor characters like the fairies had short individual and group numbers throughout the ballet. And during Act III, there were guest characters from other fairy tales like Little Red Riding Hood and Puss-in-Boots for example and they also did some dancing as well. They were there for the wedding of Princess Aurora and Prince Desiré and I still wonder how on earth these characters served the story. I guess this is one ballet quirk that I have yet to understand.

Olga Bankova

I remember telling Candice right after the CCP Gala that seeing an excerpt from the ballet wasn't enough for me and that I promise to watch the whole thing. And I am extremely pleased that I was able to keep this promise. I did tell her about this during the meet and greet at the lobby where she, Fujino and the rest of the company were met with cheers and warm congratulations from the audience. I still have a lot to learn about ballet since I can’t recognize some of the moves yet and it’s still the music that draws me into watching them. But seeing two ballet productions during the past few weeks, I do admit that I’m already hooked and I look forward to seeing more ballet and dance productions from now on.