Getting into some action at the 3rd German Film Week

The Goethe-Instut Philippinen delivers an action packed 3^rd German Film Week with the movie  Nur Gott kann mich richten/Only God Can Judge Me headlining the festival celebrating contemporary German cinema happening this November 6-11, 2018 at the SM Aura Premier and SM City North EDSA.

The film, directed by Özgür Yildirim and starring the famous German actor Moritz Bleibtreu, serves as the festival’s opener with a free screening (first-come first served basis) on November 6, 2018, 7:00 PM at the SM Aura Premier.

But it’s not just all action as nine other films from various genres like comedy, romance, drama, historical, and those touching upon contemporary European politics are lined up in this festival. Regular screening of these films (including Nur Gott kann mich richten/Only God Can Judge Me) takes place on November 7-11, 2018 at SM Aura Premier and SM City North EDSA. As always, the films will be shown in their original language with English subtitles.

Admission for these screenings are priced at P100 each. Subsequent screenings will take place in Baguio, Cebu and Cagayan de Oro after the opening Metro Manila run.

And as an added treat, a lucky viewer can win a 4 day trip to Berlin via the festival’s Watch ‘n Win raffle promo. Visit the German Film Week homepage for the quiz and full mechanics of the promo.

3^rd German Film Week Line-Up

Nur Gott kann mich richten/Only God Can Judge Me (2017)

Director: Özgür Yildirim

Starring: Moritz Bleibtreu, Edin Hasanović, Kida Khodr Ramadan, Franziska Wulf, Birgit Minichmayr

Following his award-winning feature debut Chiko, writer-director Özgür Yildirim returns to the world of petty gangsters – this time on the mean streets of Frankfurt. Moritz Bleibtreu – who also dons the producer’s hat for the first time – stars as Ricky, a small-time gangster about to be released from prison after doing time for a heist which was botched by his brother Rafael and partner-in-crime Latif. Shortly after his release, Latif makes him an offer that seems too good to be true and ultimately too good to refuse. However, the surefire plan is jeopardized by the sudden emergence of Diana, a police officer with a hidden agenda, triggering a nerve- wracking game of cat and mouse.

Aus dem Nichts/In the Fade (2017)

Director: Fatih Akin

Starring: Diane Kruger, Denis Moschitto, Numan Acar, Johannes Krisch, Ulrich Tukur, Uwe Rohde

Katja's life in Hamburg is completely derailed when her husband Nuri and their son Rocco are killed in a terrorist bombing. She hits rock bottom, starts taking drugs and contemplates suicide. Eventually, the police identify and arrest the perpetrators: André und Edda, a neo-Nazi couple. It was André's own father, who led the police on the right track. Yet Katja's hope that the murderers receive their sentence in court is shattered. Following a harrowing trial, in which Nuri's best friend Danilo serves as Katja's lawyer, Edda und André are acquitted for want of evidence. Katja is devastated, but soon her desperation gives way to an urge for vigilante justice.

Transit (2018)

Director: Christian Petzold

Starring: Franz Rogowski, Paula Beer, Godehard Giese, Maryam Zaree

The German troops are just outside Paris. Georg escapes to Marseille at the last moment. His luggage contains the legacy of a writer named Weidel, who took his own life out of fear of persecution. This legacy comprises a manuscript, some letters and the Mexican Embassy’s assurance of a visa. Only those who can prove that they will leave are allowed in this port town, and this means you need an entry permit from a potential host country. Assuming the identity of Weidel, Georg tries to obtain one of the few scarce passages on a ship. Talks between refugees take place in the corridors of his small hotel, the waiting rooms of consulates, and the cafés and bars down at the harbour. Georg befriends Driss, the son of his late comrade Heinz, who died whilst trying to flee. But when he meets the mysterious Marie, his plans change.

Transit is based on Anna Seghers' eponymous novel which she wrote in exile. The film is set in contemporary Marseille where these characters from the past move around. And so, refugees from back then meet refugees from today, history meets the present, and all of their stories combine to create one eternal transit space.

Die Unsichtbaren - Wir wollen leben/The Invisibles (2018)

Director: Claus Räfle

Starring: Max Mauff, Ruby O. Fee, Alice Dwyer, Aaron Altaras, Victoria Schulz, Florian Lukas

Berlin, February 1943: The Nazi regime declares the Reich's capital “free of Jews.” At this point in time, 7000 Jews have succeeded in going underground. Almost 1700 will survive the horrors of the war in Berlin. The Invisibles (WT) tells the stories of four of these contemporary witnesses.

Hanni Lévy, who has just turned 17, has lost both of her parents. Thanks to her dyed, blonde hair, she is practically invisible to her pursuers, and strolls along the Ku'damm to pass the time away. Cioma Schönhaus has also gone underground and leads an adventurous life that consists of buying a sailboat, dining in Berlin's best restaurants, and becoming a forger of passports, through which he saves the lives of dozens of other Jews. And while Eugen Friede joins a resistance group that distributes anti-government leaflets, Ruth Arndt and a friend dream about life in America during the daytime; at night, she pretends to be a war widow and serves black-market gourmet foods in the apartment of a Nazi officer.

Leanders letze Reise/The Final Journey (2017)

Director: Nick Baker-Monteys

Starring: Jürgen Prochnow, Petra Schmidt-Schaller, Tambet Tuisk, Suzanne von Borsody, Artjom Gilz, Jevgeni Bobyleva

92 year-old Eduard Leander, a former German officer, has never talked of his wartime experiences, despite the dark shadows they cast over his family. His granddaughter Adele can’t stand the old man. When Eduard’s wife dies her mother tries to move him to a home. But he sets off, instead, to find Svetlana, the woman he fell in love with during the war when he fought with the Cossacks against the Red Army, not knowing if she survived. Sent to remove him from the train to Kiev, Adele finds herself joining him, unwillingly, in his quest. On the way they meet Lev, a Ukrainian of Russian origin, he and his family similarly trapped in the past. Adele falls in love with him, but it is 2014 and conflict between Russia and Ukraine is looming.

303 (2018)

Director: Hans Weingartner

Starring: Mala Emde, Anton Spieker

Jan believes that people are selfish by nature, so he's not surprised when the person who was supposed to give him a lift leaves him stranded in Berlin. Jule, however, thinks that people are fundamentally kind and sociable, and she offers Jan a lift in her camper van. They are both heading towards the Atlantic: Jan to Spain, and Jule to her boyfriend in Portugal. They only plan to travel as far as Cologne together, but with every passing mile, they discover more about each other's lives. Does capitalism turn people into Neanderthals? Does monogamy lead to unhappiness, and can you choose who you fall in love with? A road trip across Western Europe, romantic and hungry for life, about two people torn between wanderlust and the longing to finally arrive.

Styx (2018)

Director: Wolfgang Fischer

Starring: Susanne Wolff, Gedion Wekesa Oduor, Alexander Beyer, Inga Birkenfeld

Rike is forty, she is a successful doctor whose job demands everything of her. She intends to use her much- needed annual holiday to fulfil her long-cherished dream of sailing single-handedly from Gibraltar to Ascension, a small tropical island in the middle of the Atlantic. Her desire for a carefree holiday seems to be coming to pass but then, after a storm, her beautiful adventure suddenly turns into an unprecedented challenge when she spots a badly damaged, hopelessly overloaded refugee boat nearby. More than a hundred people face drowning. Rike tries to organise help, but she increasingly feels that humanitarianism has deteriorated into mere wishful thinking. Wolfgang Fischer's film depicts a struggle for survival at sea which makes palpable the cruelty of the situation for people in dire straits whose fate is determined by others. The ocean becomes the scene of an allegorical, existential drama.

Der Hauptmann/The Captain (2018)

Director: Robert Schwentke

Starring: Max Hubacher, Frederick Lau, Bernd Hölscher, Waldemar Kobus, Alexander Fehling, Samuel Finzi

While escaping from the patrols through the bleak Ems estuary, 19-year-old private Willi Herold discovers the abandoned uniform of a highly decorated Luftwaffe captain. Now masquerading as "Captain Herold", Willi gathers soldiers around him to complete an imaginary assignment allegedly given by Hitler himself – and reveals an unexpectedly dark side to his character...

Rock My Heart - Mein wildes Herz/Rock My Heart (2017)

Director: Hanno Olderdissen

Starring: Lena Klenke, Dieter Hallervorden, Emilio Sakraya, Annette Frier, Vedat Erincin, Johann von Bülow, Michael Lott, Milan Peschel, Anneke Kim Sarnau

Jana (16) has a heart defect that could end her life at any moment. Furious at her fate, she rebels against her illness and her despairing parents. She also rejects a new treatment for fear of the side effects. When she meets the reclusive racing trainer Paul (75) and the seemingly wild stallion Rock My Heart, it becomes clear that she is the only one who can work with the highly sensitive animal. Paul convinces her to enter a prize race with Rock, training her to be a jockey. Although at her physical limits, Jana hides her illness from Paul. Not even her parents know of her plans. Even when her illness seems to strike her down, she doesn't let go of her dreams. She knows it takes courage to race, but it takes even more to say yes to life again.

Viel Lärm um Nick/Forget About Nick (2017)

Director: Margarethe von Trotta

Starring: Ingrid Bolso Berdal, Katja Riemann, Haluk Bilginer, Tinka Furst, Fredrik Wagner, Lucie Pohl, Vico Magno

The only thing that Jade and Maria have in common is their twice unfaithful ex-husband. Because of this legal treachery, the two very different women end up sharing the luxurious loft where Maria once lived, and Jade still clings to as her own. They wage a small war over a very large chunk of New York City real estate, but this is a battle in which words are more valuable, and far more entertaining, than money.

Here is the schedule for the opening Manila leg of the 3^rd German Film Week.

SM Aura Premier

November 6, 2018

7:00PM Nur Gott kann mich richten/Only God Can Judge Me

November 7, 2018

7:00 PM Viel Lärm um Nick/Forget About Nick

9:30 PM Der Hauptmann/The Captain

November 8, 2018

7:00 PM Rock My Heart - Mein wildes Herz/Rock My Heart

9:30 PM Die Unsichtbaren - Wir wollen leben/The Invisibles

November 9, 2018

7:00 PM Transit

9:30 PM Leanders letze Reise/The Final Journey

November 10, 2018

7:00 PM Styx

9:30 PM Aus dem Nichts/In the Fade

November 11, 2018

7:00 PM Nur Gott kann mich richten/Only God Can Judge Me

9:30 PM 303

SM City North EDSA

November 7, 2018

7:00 PM Rock My Heart - Mein wildes Herz/Rock My Heart

9:30 PM Die Unsichtbaren - Wir wollen leben/The Invisibles

November 8, 2018

7:00 PM Nur Gott kann mich richten/Only God Can Judge Me

9:30 PM 303

November 9, 2018

7:00 PM Styx

9:30 PM Aus dem Nichts/In the Fade

November 10, 2018

7:00 PM Transit

9:30 PM Leanders letze Reise/The Final Journey

November 11, 2018

7:00 PM Viel Lärm um Nick/Forget About Nick

9:30 PM Der Hauptmann/The Captain

The German Film Week, the only film festival in the Philippines featuring the best and latest in contemporary German cinema is presented by the Goethe-Institut Philippinen. This event is made possible through the partnership with SM Lifestyle Malls and SM Cinemas and the support of the Film Development Council of the Philippines.

Past and recent winners share the spotlight in NAMCYA's 45th anniversary concert

Diomedes Saraza Jr., Rachelle Gerodias, Gerard Salonga, Renato Lucas,
Andrew Fernando, Nicole Pugeda, Radnel Ofalsa,
and the ABS-CBN Philharmonic Orchestra

The celebrations for the 45^th anniversary of the National Music Competitions for Young Artists (NAMCYA) continued with a concert featuring past and recent winners that was recently held at the Cultural Center of the Philippines.

The one night affair, billed as Bayan ng Musika, Alay ng NAMCYA, featured violinist Diomedes Saraza Jr., soprano Rachelle Gerodias, baritone Andrew Fernando, soprano Nicole Pugeda, tenor Radnel Ofalsa, and the ABS-CBN Philharmonic Orchestra under the baton of Gerard Salonga and Renato Lucas.

Violinist Diomedes Saraza Jr., conductor Gerard Salonga,
and the ABS-CBN Philharmonic Orchestra

To kick things off, Gerard Salonga led the orchestra with a delightful Overture from Così fan tutte, K. 588 by Wolfgang Amadeus Mozart. Then it was Diomedes Saraza Jr. (2002 1^st Prize Violin Category) who took to the stage performing Felix Mendelssohn’s Violin Concerto in E minor, Op. 64. This piece has been a popular choice among violinists at the NAMCYA. There was a year when 5 out of the 7 competitors had this piece. It was a taxing experience to sit through that many and with just a piano accompaniment to boot. But not taxing at all was Diomedes Saraza, Jr. breezing through it with such security during the concert. His encore was an upgrade of his staple, Willy Cruz’s Sana’y Wala Ng Wakas, performed that night with the orchestra.

Baritone Andrew Fernando, soprano Rachelle Gerodias,
conductor Renato Lucas, soprano Nicole Pugeda, tenor Radnel Ofalsa,
and the ABS-CBN Philharmonic Orchestra

The second half had Renato Lucas conducting the orchestra with an interesting mixed bag of Filipino songs, arias and rarely heard Filipino short orchestral pieces namely Jullio Nakpil’s Salve Patria and Rosendo Santos’ Maglalatik that evoked images of processions and celebrations in rural areas.

Soprano Nicole Pugeda (2017 2^nd Prize Senior Voice Category) performed Ano Kaya ang Kapalaran by Francisco Santiago showcasing a rich timbre still retaining that sparkle and lightness of youth. Her luscious lower tones were heard in great effect especially when in contrast with Rachelle Gerodias during their duet of Duo des fleurs/Sous le dôme épais aka the popular The Flower Duet from Léo Delibes' opera Lakmé.

Tenor Radnel Ofalsa (1^st Prize Senior Voice Category) did the challenging Ecco, ridente in cielo from Gioachino Rossini’s Il barbiere di Siviglia. He is clearly one of the young tenors whose range is impeccable and when he finds more polish in his runs, I won’t be surprised if he gets substantial roles in opera productions soon.

As always, baritone Andrew Fernando (1998 2^nd Prize Voice Category) had such physical and vocal presence on stage with his performance of Votre toast, je peux vous le rendre, the Toreador song from Georges Bizet’s Carmen. He remained in character throughout the aria and it would not have been difficult for people to figure out what his character was all about despite not knowing any French nor the story of Carmen.

As a staunch supporter of young and upcoming talent through the Klassikal Music Foundation, Andrew made sure that he didn’t overpower Radnel and let the younger one shine too in their duet of Au fond du temple saint from Bizet’s Les pêcheurs de perles/The Pearl Fishers.

I do have to commend soprano Rachelle Gerodias (1990 2^nd Prize Voice Category) who exemplified what professionalism is that night, giving a masterful performance despite a most difficult personal circumstance. Her take on Nicanor Abelardo’s Mutya ng Pasig was impassioned. Having heard performances of this song with just a piano accompaniment throughout the years has made me forget how much more moving this music could be with an orchestra. She also capped the program with an English version of Mein Herr Marquis, aka Adele's Laughing Song from Johann Strauss II’s Die Fledermaus.

Encore was I Love You So from Franz Lehar’s The Merry Widow with the four singers that gave the audience an idea on how NAMCYA has paved the way for musicians to achieve greater things beyond the competition. See who follows their footsteps as the 2018 NAMCYA National Finals Competition happens this November20-25, 2015 at the Cultural Center of the Philippines.

ConChords bags Akapela Open International title

ConChords

After bagging the top prize at the International Category of the A Cappella Championships in Singapore competition, Conchords emerged as the Grand Prize winners at the Akapela Open International besting nine other a cappella groups at the finals night held at the Cultural Center of the Philippines.

Conchord’s well balanced voices, technically complex arrangements, and overall polish and sophistication in their performances of Remember Me from the movie Coco and Gary V’s ‘Di Bale Na Lang sealed them the title and the P250,000 prize money. The group from Quezon City improved on their runner up finish back in 2016.

Astrafellas

Baguio based Astrafellas ended up as this year’s 1^st Runner Up winning P150,000 but falling short in their bid to become the competition’s first ever back-to-back champions. Their rendition of APO’s When I Met You highlighted their very suave dynamics but it felt like they ran out of steam halfway through their Bon Jovi medley.

PhiSix

Rounding out the top three is PhiSix from Makati placing 2^nd Runner Up and winning P100,000 with a very contemporary take on Callum Scott’s You are the Reason and Freddie Aguilar’s Estudyante Blues. The group’s Kier Franco bagged the Best Arranger award and P50,000 with his updated arrangement of the Aguilar 1980’s classic about teenage angst.

The other finalists were Calafellas from Pangasinan, KNKTD from Manila, MVibe from Quezon Province, PSquare from Davao, Sayil and Syncofellas both from Bulacan, and Vocalmyx from Cagayan de Oro.

Akapela Open International Winners

The required song for this year is an original arrangement of a Filipino composition that was released during the 1980’s. A popular choice that night was songs by APO with When I Met You and Doo Bidoo each performed twice by different groups. And it was only a matter of which arrangement was more effective and who sold their performance more. Some groups even went a decade back with their other song choices, apart from the required one, that made some performances feel too retro. It still remains a challenge for these groups (and future competitors) to have a more contemporary sound and feel even if some of the songs are some decades old already.

Overall, the competition was intense at the top. The rest of the field, while overflowing with talent and charm, still lacked the conviction and wasn’t able to own the stage. I found myself urging them in my seat to let loose and perform up to those who were seated in the farthest rows. I learned afterwards just how young some of the members of these groups were and I could only imagine how daunting it was for them to compete at the Cultural Center of the Philippines stage of all places. It would be great to see which of these groups will be back to compete once again now that they’ve had some experience tucked under their belts. Also invaluable to these groups are the lessons learned from Mr. Ryan Cayabyab himself, the man responsible for the Akapela Open International.

The competing teams also should take some notes from the guest performers, the two time champions Acapellago. The 2013 & 2015 title holders and winners of various competitions abroad not only had the vocal chops but also had the stage presence that made them the champions that they are.

The Akapela Open International was presented by the Cultural Center of the Philippines and the Music School of Ryan Cayabyab.

An introduction to the saxophone on one French, cultural Thursday

Pianist Mariel Ilusorio and saxophonist Adam Campbell

An intimate concert by South African saxophonist Adam Campbell and Filipina pianist MarieI Ilusorio that highlighted the French influence in the saxophone’s repertoire was the main course at the premiere edition of Les Jeudis culturels presented by the Cultural Section of the Embassy of France to the Philippines and the Alliance Française de Manille.

South African saxophonist Adam Campbell talking to the audience

Campbell and Ilusorio showed a different side of the saxophone that night through music by French composers like André Jolivet’s Fantaisie Impromptu, Paule Maurice’s Tableaux de Provence, Jules Demersseman’s Fantaisie, Darius Milhaud’s Scaramouche, Eugène Bozza’s Aria, and Jean Matitia’s Devil’s Rag. The composers may have been French but some of the influences came from across the Atlantic in the case of the bouncy Brazilian rhythms of Scaramouche and the delightful left hand syncopation inherent in the American ragtime of Devil’s Rag. A taste of non-French music were heard with the encores: Czárdás by the Spanish Pedro Iturralde and Oblivion by the Argentinean Astor Piazzolla.

Filipina pianist Mariel Ilusorio sharing info about the music

Scaramouche is always a pleasure to hear and it was my first time to experience live the saxophone and piano version of it. The two piano version of the piece is among my favorites. I positioned myself near the back of the venue so as not to distract other people as I swayed my head from side to side in time with the beat during the reprise of the third movement Brazileira for the duo's third and last encore.

I also have to say my apologies to Campbell since my focus was solely on Ilusorio during the Devil’s Rag. Never did I imagine seeing her play ragtime music, so this was special.

Mariel Ilusorio and Adam Campbell

The concert was also filled with information as both Campbell and Ilusorio annotated in between pieces. Audience members learned that the saxophone was invented by the Belgian Adolphe Sax in the early 1840’s. But the instrument started to flourish in the 20^th century as evidenced by the wealth of music that was composed during that time, some of which were performed at the concert. And despite looking like a brass instrument, the saxophone actually belongs to the woodwind family. So it's safe to bet that those who initially expected a jazz filled night were nonetheless swayed in the end by the gems of the "classical" saxophone repertoire.

Le Jeudis culturels (Cultural Thursdays) is a monthly event (happening on a Thursday) presented by the Cultural Section of the Embassy of France to the Philippines and the Alliance Française de Manille that will showcase different aspects of French culture form like music, theater, dance poetry, gastronomy, etc. in each edition.

A star is born: 17 year old violin phenom KayCee Galano steals show at PPO concert

Violinist KayCee Galano with the Philippine Philharmonic Orchestra

Seventeen year old violin phenomenon Kristine Clair “KayCee” Uchi Galano made her mark in the Philippine classical music scene with an outstanding debut with the Philippine Philharmonic Orchestra under the baton of Yoshikazu Fukumura at the orchestra’s most recent season concert held at the Cultural Center of the Philippines.

Kaycee, a late replacement for originally scheduled guest violinist Lee Chin Siow, delivered a performance of Max Bruch’s Violin Concerto in G minor, Op. 26 that defied her years. Her rendition was a well balanced mix of youthful vigor and elegant composure, with her handling phrases with clarity and finesse while not giving in to fatigue that has been the bane of most violinists around her age. And I can’t remember someone so young making double stops sound so sweet.

Her two encores, Niccolò Paganini’s Caprice No. 21 in A major, Op. 1 and Singaporean violinist Ning Kam’s jazzy/bluesy/rocking arrangement of John Newton’s Amazing Grace, brought the house down with the audience showering KayCee with loud cheers and thunderous applause.

Yoshikazu Fukumura with the Philippine Philharmonic Orchestra

This was truly remarkable since prior to the concert, people were wondering who KayCee was since she was still a relative unknown among concertgoers. I just had to take the word of Gerard Salonga who had been singing her praises and claiming that she's the real deal some days leading to the concert. Apparently, KayCee has toured with Gerard and the ABS-CBN Philharmonic Orchestra earlier this year so he definitely knew what he was talking about.

Such was the impact of KayCee’s performance that the rest of the concert, Hector Berlioz’ Le Corsaire Overture, Op. 21 and Pyotr Ilyich Tchaikovsky’s Symphony No. 4 in F minor, Op. 36 almost felt like an afterthought. Listening to the dynamic Berlioz piece had me reeling with anticipation since I (and probably a lot of the audience present that night) wasn’t able to attend the season opener due to weather woes. And very likely spurred by KayCee, Fukumura led the PPO to an inspired take of the Tchaikovsky symphony.

Overall, the night really belonged to KayCee, and this memorable evening has somehow turned things around for the PPO’s 2018-2019 season that didn’t have the most ideal of starts due to the weather putting a damper at the opening night. KayCee may have been a late replacement in the program, but I wouldn’t be surprised if in the near future, she returns for another engagement with the PPO and this time with her as the headliner.