Christian Bautista joins Ballet Manila's Ballet & Ballads

Singer Christian Bautista joins Ballet Manila in the latest edition of the company’s signature series Ballet & Ballads opening this February 10, 2018, 6:00 PM at the Aliw Theater.

Christian will perform music from his latest album, along with musical theater hits, in this show that falls right smack during the Valentine’s season. I think it was during the promotional tour of the Soundtrack album back in 2014 when I last saw Christian so it’s high time that I see him perform live once again. With this show, Christian joins the ranks of singers like Ariel Rivera, Lani Misalucha, Jaya, Nyoy Volante, Karylle, Kyla, and Freestyle who were featured in previous Ballets & Ballads that has singers sharing the stage with ballet dancers.

The inclusion of opera singers from the Klassikal Music Foundation (KMF) namely baritone Andrew Fernando, sopranos Jade Riccio and Stephanie Aguilar, mezzo soprano Krissan Manikan-Tan, tenor Leo Angelo Lanuza, along with the special participation of tenor Dr. George T. Yang, gives this year’s edition a newer dimension.

These opera singers are very familiar to me and I’ve seen them perform numerous times before. I am actually excited for the other audience members who are not into opera to have their first taste of this art form via this show. I have a great hunch that they will be singing during Martin Lawrance’s Aria, a five act work set to opera music that will have its world premiere in this show.

The ABS-CBN Philharmonic Orchestra will be providing live music throughout the evening and to say that I am very curious to see for the very first time Joshua Dos Santos’ conducting on local soil is such an understatement.

Ballet & Ballads is geared towards bringing new audiences to the ballet through music, the “Ballads”, that is familiar to the public. I may not be that new audience but I’m very much looking forward to seeing the new work by Martin Lawrance, the Vaganova method trained dancers in a new light, and ultimately Lisa Macuja-Elizalde’s Ballet Manila moving forward through the introduction of new works.

Ballet & Ballads with Christian Bautista opens on February 10, 2018, 6:00 PM at the Aliw Theater. Succeeding shows will be on February 11, 2018, 3:00 PM, February 17, 6:00 PM, and February 18, 2018, 3:00 PM.

Revisiting Mario Lanza’s legacy in concert

I first became aware of who Mario Lanza was through the 1994 film Heavenly Creatures, one of the most disturbing movies that I’ve ever seen. The film, featuring two deranged teenage girls who imagine Mario Lanza in their fantasy world (the two eventually end up as murderers), was hardly the ideal way to get acquainted with the legendary Hollywood actor credited to bringing opera music to the masses.

Soprano Stephanie Aguilar

But now, a chance to relive Mario Lanza in all his glory comes our way as soprano Stephanie Aguilar and tenor Nomher Nival perform in a concert entitled The American Song Book: Mario Lanza Revisited happening this June 1, 2017, 6:30 PM at the Ayala Museum. Collaborating artist for this evening will be award winning pianist Gabriel Paguirigan.

Tenor Nomher Nival

The American Song Book: Mario Lanza Revisited is presented by the Ayala Museum and the Cultural Arts Events Organizer with the support of Lyric Piano and 98.7 DZFE The Master’s Touch.

The American Song Book: Mario Lanza Revisited

June 1, 2017, 6:30 PM | Ayala Museum

Featuring:

Stephanie Aguilar, soprano

Nomher Nival, tenor

Gabriel Paguirigan, piano

Ticket prices:

P1000 | P700

Discounted rates for Ayala Museum members, AGC employees, ARC members, senior citizens and students are available

For inquiries:

Ayala Museum 759-8288 local 8272, concerts@ayalamuseum.org

CAEO (0917)347-3027

TicketWorld 891-9999

BGC Arts Center Festival Day 2: The Opera Gala

Going back for the second day of the BGC Arts Center Festival was not a question for me mainly because of the Opera Gala featuring international tenor, Arthur Espiritu. Joining him in this concert presented by MusicArtes, Inc. and directed by Leo Rialp was a dozen (initially) young and upcoming classical artists. What also drew me in was getting to experience the new Globe Auditorium and see how this space can cater to classical music performances such as a concert featuring operatic singers like this one.

A bit of drama unfolded even before the start as it was announced that baritone Noel Azcona would not be appearing on stage due to illness. He was supposed to be the first to perform and his booming voice in Si può? Si può? from Ruggiero Leoncavallo’s Pagliacci could’ve been an awesome start to the concert.

Opening the concert then fell to tenor Ervin Lumauag with Ich baue ganz auf deine Stärke from Wolfgang Amadeus Mozart’s Die Entführung aus dem Serail. A duet between tenor Christian Nagaño and soprano Anna Migallos performing Lippen Schweigen from Franz Lehár’s Die lustige Witwe followed before Christian going solo with Dein ist mein ganzes Herz from Das Land des Lächelns also by Lehár. It was my first time to see both Ervin and Christian perform and I felt that Ervin sounded a bit nervous who, probably owing to starting the affair on such short notice while I think that Christian’s timbre is more suited for a classical crossover repertoire.

A selection from Giuseppe Verdi’s Rigoletto featured the promising soprano Stephanie Aguilar displaying great control with Caro nome. But the normally well-composed Nomher Nival was out of sorts with a rough La donna è mobile that sounded more shouted than sung. This was very uncharacteristic of him since he was top on top form during the press conference of Noli Me Tangere, the Opera. With Noel’s absence, Bella figlia dell’amore with him, along with Nomher, Stephanie, and Krissan Manikan was no longer performed.

A “dolled up” Lara Maigue brought some color and humor to the stage with Les oiseaux dans la charmille aka The Doll’s Song from The Tales of Hoffman by Jacques Offenbach. Pianist Dingdong Fiel gamely joined in on the action when he had to do the winding up of the doll. And the winding up probably did the trick enabling Lara to hit that high Ab in the end.

The most anticipated man of the night, Arthur Espiritu gave me a sampling of something new, his duet with soprano Stefanie Quintin in Prendi l'anel ti dono from Vincenzo Bellini’s La Sonnambula, and a soaring Ah! lève-toi, soleil from Charles Gounod’s Romeo et Juliette. Both these pieces were unknown to me but Arthur’s superb storytelling gave me a clearer picture of what these songs were all about. Although it doesn’t take much to know what Romeo’s aria was all about.

At the start of the second half, it became more obvious that the females provided more character, color and flavor to the concert as proven by Marielle Tuason’s exotic rendition L'Air des clochettes aka The Bell Song from Lakmé by Léo Delibes. Not to be outdone, mezzo soprano Krissan Manikan delivered an emotionally intense Adieu, forêts from Jeanne d'Arc, La Pucelle d'Orleans by Pyotr Ilyich Tchaikovsky with such rich, dark timbre.

An unexpected surprise occurred as Andrew Fernando, who was really just there as part of the audience, came in to the rescue and took over the Noel’s part in a duet with Kay Balajadia-Liggayu in Là ci darem la mano from Don Giovanni by Mozart. Only urged by Madame Fides Cuyugan-Asencio to step in during the intermission, Andrew nonetheless performed as if he was indeed part of the original line up and had ample rehearsals. I wish that someone had informed him before the concert started so that he could’ve taken over entirely Noel's part and sung more than just the duet.

A scene from Giacomo Puccini’s La bohème with Arthur as Rodolfo and Anna Migallos as Mimì followed. What had come before were just bits and pieces from various operas, so this portion that included Arthur’s Che gelida manina, Anna’s Sì, mi chiamano Mimì, and their duet of O soave fanciulla really told a story. I bet that those who had not seen La bohème before, upon seeing how these two neighbors fall in love at first sight, would want to see the entire thing now.

Kay Balajadia-Liggayu revisited Micaëla with her aria Je dis que rien ne m'épouvante from Carmen by Georges Bizet. Having done La voix humaine, the night before, Kay spent her weekend portraying broken hearted women so it was no wonder that she enjoyed her duet with Andrew. As I’ve said earlier, the female singers were on fire and Tanya Corcuera was no exception in singing Sola, perduta, abbandonata from Manon Lescaut by Puccini. I still remember being blown away by Stefanie Quintin a year ago and she did once again with the same number that had me take notice of her: Ombre légère from Giacomo Meyerbeer’s Dinorah.

Arthur then put a close to the evening by dedicating Gioachino Rossini’s Cessa di più resistere from Il barbiere di Siviglia to Juan Antonio Lanuza who was one of the most ardent supporters of the classical music scene here in the country, even predating the establishment of the Cultural Center of the Philippines. Hearing the flurry of notes in this aria made me scratch my head as to how Arthur could switch from Puccini to Rossini which is so musically different from each other.

The finale, with everyone back on stage, was Questo è il fin di chi fa mal from Mozart’s Don Giovanni that once again made me feel the absence of a baritone voice. Nessun dorma from Puccini’s Turandot was the encore with the audience getting giddy once the first two words were sung. As always, this aria never fails to stir the emotions and the audience were up on their feet soon after the final Vincerò! was sung.

As far as the Globe Auditorium is concerned, I would need to experience being seated from different sections first like the two balconies in order for me to gauge the acoustics fully. The sound was okay (not great, not bad) from where I was seated at the orchestra section but whenever the two mics in front of the stage pick up the voice especially during the louder moments, a distracting reverb blares out from the speakers above. More distracting was the noise from outside, like the chatter from the lobbies and the vehicles passing by the road, that can be heard inside the auditorium. Measures should be undertaken in soundproofing both the Zobel de Ayala Recital Hall and the Globe Auditorium to keep outside noise to the minimum.

I was very pleased with the audience turnout of the inaugural BGC Arts Center Festival. I saw students making up the long line to get into Katips while the senior citizens were given seats to make themselves comfortable while waiting for the Opera Gala to start. I now await with great interest what this new cultural hub has lined up, especially in the field of classical music, for the rest of the new year.

Carmen at the FEU

The cast of Carmen

Featuring:

Ana Feleo, soprano

Randy Gilongo, tenor

Noel Azcona, baritone

Stephanie Aguilar, soprano

UST Symphony Orchestra

William Barkyhmer, conductor

The FEU Auditorium played host to two Carmens in their Cultural Calendar for the school year 2013-2014 bearing the theme of Debuts and Farewells. The first Carmen to take to the stage was prima ballerina Lisa Macuja-Elizalde, who danced the title role for the last time when her company Ballet Manila presented the ballet Carmen. Less than a couple of months later, Ana Feleo reprised the role of Carmen in the repeat run of the opera by the Lyric Opera of the Philippines.

The Lyric Opera of the Philippines first staged Carmen back in 2012 at the St. Cecilia’s Hall at St. Scholastica’s College, Manila. In this repeat run, Ana Feleo was joined by a mix of returning and new cast members. Reprising their roles once again were Randy Gilongo as Don Jose, and Noel Azcona as Escamillo. But this was the first time that Feleo and Gilongo were paired together for the previous run had them playing alongside different partners. Laurice Guillen once again was at the helm as the stage director. New to the cast was Stephanie Aguilar as Micaela, the UST Symphony Orchestra and conductor William Barkhymer who made his Philippine debut with this production. Completing the main cast were Gereberne Lozada (Mercedes), Patrice Pacis (Frasquita), Pepe Herrera (Dancairo), Nomher Nival (Remendado), Jun Jaranilla (Zuniga) and Greg de Leon (Morales).

This production of Carmen was stripped to the core by having almost a bare stage having only minimal props. This somewhat enabled the audience to focus solely on the performers and also to the music composed by Georges Bizet. For those who are familiar with the music of the opera, they would’ve noticed that the Avec la garde montante that was supposed to be sung by a children’s chorus during the changing of the guards in Act I was omitted in this production. This production may not have been as grand as other operas out there but one thing that they managed to have was the FEU Auditorium’s much improved acoustics. The performers were able to project their voices without the aid of microphones so they were able to focus more on acting and their characters instead of exerting too much effort in order to be heard.

I can only imagine how much of a challenge this Carmen was for conductor William Barkhymer. For one, the orchestra was placed at the back of the stage and not at the pit which is the norm for opera. It probably wasn’t very easy for him to conduct while not facing the singers who were performing on stage right behind his back. This production also didn’t have the opportunity to have a dress rehearsal since the super typhoon Yolanda led to the cancellation of the all important final rehearsals before the curtain rose.

Remarkably, the UST Symphony Orchestra was in tiptop shape, sounding a lot better compared to performances I’ve seen and heard in recent years. Members of the orchestra sacrificed their semester break in order to rehearse for up to five hours a day in preparation for this opera.

But probably the most pleasant surprise of all was the scene stealing presence of popular actress Marian Rivera who came to support her dear friend Ana Feleo. I never expected Marian to be a fan of the opera but she clearly enjoyed watching the show. She was particularly very impressed by Aguilar’s take on Micaela’s showstopping aria Je dis que rien ne m'épouvante during Act III. And in the end, she led in cheering the whole cast and production team during the curtain call.

Carmen was presented by the Lyric Opera of the Philippines and the Far Eastern University’s President’s Committee on Culture.

An Evening of Bel Canto

Tenor Arthur Espiritu

Featuring:

Arthur Espiritu, tenor

Elainne Vibal, soprano

Myramae Meneses, soprano

Stephanie Aguilar, soprano

Najib Ismail, piano

Programme:

George Frideric Handel Tornami a vagheggiar from Alcina

Wolfgang Amadeus Mozart Ruhe Sanft from Zaide

Gioachino Rossini

     Ah come mai non senti from Otello

     Sombre forêt from William Tell

Vincenzo Bellini

     Qui la Voce from I Puritani

     Vieni,vieni  fra questa from I Puritani

     Prendi, l’anel ti dono from La Sonnambula

     Si, fuggire a noi non resta... Ah, crudel, d'onor ragioni from I Capuletti e i Montecchi

Gaetano Donizetti

     Quel guardo, il cavaliere from Don Pasquale

     Tornami a dir che m’ami from Don Pasquale

     Chacun le sait from La Fille du Regiment

     Ah! Mes amis from La Fille du Regiment

Bel canto, or beautiful singing in English, is a term that I often encounter whenever I dabble into the world of opera. But being the opera newbie that I still am, my idea about bel canto is still somewhat vague and I still couldn’t say if a certain aria was sung bel canto or not. Thankfully, the MCO Foundation, together with the Ayala Museum, came up with the concert, An Evening of Bel Canto that served as a great way for me to familiarize myself with this singing style.

Performers during this evening were Arthur Espiritu, possibly the most celebrated Filipino tenor today and promising young sopranos Elainne Vibal, Myramae Meneses, and Stephanie Aguilar. Accompanied by pianist Najib Ismael, they performed arias that are rarely heard during concerts in here. The MCO Foundation felt that it was time to steer away from the usual arias, offer something new and also have Arthur Espiritu tackle some challenging material.

I learned that bel canto may be an Italian term but it’s application isn’t limited to operas from Italy or in the Italian language, or by Italian composers. The opening number, Elainne Vibal’s Tornami a vagheggiar from Alcina was by George Frideric Handel who was born in Germany but flourished in Britain during the Baroque era. Ruhe Sanft, performed by Stephanie Aguilar, from the unfinished opera Zaide by Wolfgang Amadeus Mozart was in German. And the final couple of numbers from Gaetano Donizetti’s La Fille du Regiment were in French. I initially thought that bel canto came to be during the Romantic period but based on the two opening numbers, it seemed that bel canto already existed during the Baroque and Classical period.

Honestly, the unfamiliar program, taken out of context, meant that the meaning of the songs were lost in me. But I was able to relish the various tones, textures and colors of the sopranos especially Myramae Meneses who stood out with her solo Quel guardo, il cavaliere from Don Pasquale by Gaetano Donizetti. I felt bad for missing her solo concert a while back and I was pleased to be able to have another chance to hear her again.

The most highly anticipated part of the concert was the last song, Ah! Mes amis from Donizetti’s La Fille du Regiment in which Arthur Espiritu was awaited to hit the nine high C’s of this very challenging piece. During that night, I heard that Arthur was struggling with colds (not surprising considering the freaky weather at the time) but despite some barely noticeable strain, he was able to hit those C’s. After this number, he humorously let out a huge sigh of relief while basking in the applause of a very appreciative audience.

Arthur along with Elainne Vibal, Myramae Meneses, and Stephanie Aguilar then sang an encore, Libiamo ne' lieti calici from La Traviata by Giuseppe Verdi, which he explained is not bel canto. Several members of the audience at the back joined in as the chorus giving this number a sort of surround audio experience.

An Evening of Bel Canto was made possible in partnership with the Ayala Museum, BusinessWorld, HighLife, 98.7 DZFE The Master’s Touch and Lyric Piano and Organ.

Arthur Espiritu leads an evening of bel canto vocal music at the Ayala Museum

October 26, 2013, 7:00 PM

Ayala Museum 

Makati Avenue corner De La Rosa Street

Greenbelt Park, Makati

Featuring:

Arthur Espiritu, tenor

Elainne Vibal, soprano

Myramae Meneses, soprano

Stephanie Aguilar, soprano

Najib Ismail, piano

Internationally acclaimed tenor Arthur Espiritu headlines the MCO Foundation’s An Evening of Bel Canto, a special concert highlighting the art of beautiful singing this October 26, 2013, 7:00 PM at the Ayala Museum.

Arthur Espiritu, considered as the country's premiere tenor today, holds the distinction as being the only Filipino to have sung at the prestigious Teatroalla Scala along with other major opera houses in the world. He has also won the Belvedere Vocal Competition in Vienna. Joining him in this evening are sopranos Elainne Vibal, Myramae Meneses and Stephanie Aguilar. Vibal is a winner at the Jovita Fuentes Vocal Competition, while Meneses won the top prize at the National Competition for Young Artists. Aguilar on the other hand was last year’s third prize winner of the Jovita Fuentes Vocal Competition. Accompanying the vocalists is Najib Ismail, one of the most sought after collaborating pianists in the country.

Tenor Arthur Espiritu

The press release says that bel canto which means beautiful singing in Italian is a vocal fad made popular during the late 17^th century that requires singers to possess incredible virtuosic vocal technique and impeccable musicality. Composers such as Gioachino Rossini, Vincenzo Bellini and Gaetano Donizetti wrote music with limpid melodic lines that would encompass a singer's whole vocal range with a lot of ornate embellishments. Operas like I Puritani, La Sonnambula, Norma, Lucia di Lammermoor are some of the well-known bel canto opera. The concert will include some of the most challenging and rarely performed arias and scenes from great operas like the duet from Bellini’s I Puritani, Rossini’s Semiramide and Donizetti’s La Fille du Regiment.

I still consider myself as an opera newbie who still has very limited knowledge of the vast opera works out there. And I admit that I’ve yet to hear any of the music from majority of the works listed above but I welcome the opportunity to learn more through this concert. Supertitles/surtitles will be projected during this concert for those who want to understand what is being sung.

An Evening of Bel Canto is made possible in partnership with the Ayala Museum, BusinessWorld, HighLife, DZFE.FM The Master’s Touch and Lyric Piano and Organ.

Ticket prices:

P1500 Center

P1000 Side

For inquiries:

MCO Secretariat at 750-0768, (0920) 954-0053

COEA 782-7164 or (0918) 347-3027

TicketWorld 891-9999