The Cinemalaya 2012 Experience Part 1

Cinemalaya 2012 winners along with Cinemalaya organizers

My maiden experience with the Cinemalaya back in 2011 was a rare feat which impressed a lot of people who knew what I was able to achieve back then. But going to this year’s edition, I knew that it would take a monumental effort for me to duplicate what I achieved last year when I saw all shorts, all films in competition, and the opening and closing films as well. Unfortunately, not only did I miss the opening film during the opening night, but I also missed the first few days of the festival due to bad weather. Out of the 15 films in competition, I was only able to watch seven and I entirely missed seeing all the shorts.

Here are the winners of the 8^th Cinemalaya Philippine Independent Film Festival 2012:

Short Feature Category

Best Screenplay - Sigrid Andrea Bernardo for Paghihintay sa Bulong

Best Direction - Sheron Dayoc for As He Sleeps

Special Jury Prize - Manenaya

Audience Choice - Ruweda 

Best Film - Victor

Directors Showcase Category

Best Sound - Ditoy Aguila  for Kalayaan

Best Original Music Score - Diwa De Leon for Kamera Obskura

Best Editing - Vanessa De Leon for Mga Mumunting Lihim

Best Production Design - Adolf Alix Jr. for Kalayaan

Best Cinematography - Albert Banzon for Kalayaan

Best Screenplay - Jose Javier Reyes for Mga Mumunting Lihim

Best Performance of a Supporting Actor - Art Acuna for Posas

Best Performance of a Supporting Actress - Iza Calzado, Janice de Belen, Agot Isidro and Judy Ann Santos for Mga Mumunting Lihim for Mga Mumunting Lihim

Best Direction - Raymond Red for Kamera Obskura

Best Performance of an Actor - Eddie Garcia for Bwakaw

Best Performance of an Actress - Iza Calzado, Janice de Belen, Agot Isidro and Judy Ann Santos for Mga Mumunting Lihim

Special Jury Prize - Kamera Obskura

Audience Choice - Bwakaw

NETPAC Award - Bwakaw

Best Film - Posas

New Breed Category

Best Sound - Albert Michael Idioma for Aparisyon

Best Original Music Score - Mikey Amistoso, Jazz Nicolas, and Diego Mapa for Ang Nawawala
Best Editing - John Wong and Rona Delos Reyes for The Animals

Best Production Design - Benjamin Payumo for Intoy Syokoy

Best Cinematography - Tristan Salas for Diablo

Best Screenplay - Rody Vera for REquieme!

Best Performance of a Supporting Actor - Joross Gamboa for Intoy Syokoy

Best Performance of a Supporting Actress - Anita Linda for Sta. Niña

Best Direction - Mes De Guzman for Diablo

Best Performance of an Actor - Kristoffer King for Oros

Best Performance of an Actress - Ama Quiambao for Diablo

Special Jury Prize - REquieme!

Audience Choice - Ang Nawawala 

NETPAC Award - Diablo

Best Film - Diablo

Fides Cuyugan-Asensio from Aparisyon and
Loy Arceñas from REquieme!

I was only able to start attending Cinemalaya at the Cultural Center of the Philippines during the fourth day of regular screening. That meant that if I targeted two screenings at the Tanghalang Nicanor Abelardo (CCP Main Theater) per day, I was already six films behind. Here are my thoughts of the films that I managed to see this year.

Kalayaan

Kalayaan (Wildlife), a film by Adolf Alix Jr., wasn’t a good way to start Cinemalaya for me. The film started interestingly and shockingly as well with a nude man walking down the shore and then engaging in a sexual act with of all things, a mermaid. After that the film rolled slowly, focusing on Julian played by Thai actor Ananda Everingham, a soldier stationed over at the Spratly Islands. The life of a soldier there is a lonely and boring one and I was indeed bored as well while watching the earlier part of the film. The film did pick up when other soldiers (Zanjoe Marudo and Luis Alandy) came into the picture during the second half. I felt that the hype surrounding Everingham’s inclusion in this film was just that, all hype. His role barely had any lines and I think that any other actor could’ve essayed his role to the same effect. I have a strong feeling that I would’ve responded a lot differently had this been a film that I saw midway during the festival.

Adolf Alix Jr. and Ananda Everingham from Kalayaan

Sta. Niña

My goodness, I never expected such pandemonium over Coco Martin. Even before I got out of the CCP Main Theater, I already heard some screaming coming from the lobby. I got a bit worried that these people might not be at their best behavior while watching the film. Thankfully, these people behaved well during the screening of the film. Sta. Niña, a film by Emmanuel Palo, tells the story of Pol (Coco Martin) who digs up the corpse of his daughter ten years later and yet showing no signs of decaying. Soon enough, he and the rest of his village start to believe that his child brings forth miracles. But the mother of the child, Mabel, (Alessandra da Rossi) remains skeptical and urges Pol to just bury their daughter and move on with their lives. Raising serious questions regarding religion that is often mixed with politics, superstition and commercialism as well as hinting an intriguing back story between Pol, Mabel and their families make Sta. Niña an engaging film. At times, the movie felt like reading a thick novel filled with many side characters and subplots. The movie lost a bit of its steam for me right after a crucial turning point in the plot when Pol and the rest of his entourage urged the bishop to make the corpse a saint. One of the main highlights of this film was the performance of veteran actress Anita Linda as the Alzheimer’s disease stricken grandmother of Pol.

Anita Linda from Sta. Niña

Getting to watch two films (both Gala Screenings) during my first night at the Cinemalaya was not bad at all. But I’ve already missed too much and it would be very difficult for me to catch up. I felt out of the loop whenever I heard people talk about the other films that they’ve already watched. But it felt good seeing a lot of people whom I got to know last year and started referring to as Cinemalaya classmates. It was just too bad that I didn’t have complete attendance just like last year.

Alessandra da Rossi from Sta. Niña

Part 2 Ang Katiwala, Mga Mumunting Lihim & Mga Dayo

Part 3 The Animals, Ang Nawawala & Awards Night

Pianist Victor Asuncion and the Manila Symphony Orchestra to perform all Russian programme

BREAKING NEWS: In light of the current weather situation, the MSO is postponing the concert to August 18, 2012, 8:00 PM, at the Francisco Santiago Hall at the BDO Corporate Center in Makati. Tickets purchased for both August 10-11, 2012 will be honored on the 18th.

August 10, 2012, 8:00 PM Postponed

Francisco Santiago Hall

South Tower, BDO Corporate Center

Makati

August 11, 2012, 8:00 PM Postponed
Philamlife Auditorium
UN Avenue, Manila

Featuring:

Victor Asuncion, piano

Manila Symphony Orchestra

Arturo Molina, conductor

Programme:

Pyotr Ilyich Tchaikovsky Francesca da Rimini: Symphonic Fantasy after Dante, Op. 32

Sergei Rachmaninoff Rhapsody on a Theme of Paganini, Op. 34

Dmitri Shostakovich Symphony No. 9 in E flat major, Op. 70

Russia (include also their Soviet era) is a country renowned for their music, literature and their vast contribution to the art and culture scene worldwide. For two nights (August 10-11, 2012), music by Russian masters Rachmaninoff, Shostakovich and Tchaikovsky will be celebrated by the Manila Symphony Orchestra under the baton of Prof. Arturo Molina for their next concert of their 2012 season. The August 10, 2012 concert will be at the Santiago Francisco Hall at the BDO Corporate Center while the August 11, 2012 performance will be at the Philam Life Auditorium. Both performances start at 8:00 PM.

Joining them is US based pianist Victor Asuncion who will be the featured soloist for Sergei Rachmaninoff’s Rhapsody on a Theme of Paganini, Op. 34 that includes the very popular Variation 18. Other pieces to be played in this concert are Pyotr Ilyich Tchaikovsky’s Francesca da Rimini: Symphonic Fantasy after Dante, Op.32 and Dmitri Shostakovich’s Symphony No. 9 in E flat major, Op. 70. I admit that I don’t much about Victor Asuncion although I’ve heard most of my pianist friends talk about him a lot especially when I told them about his upcoming performance here.

Pianist Victor Asuncion

According to the bio sent to me by the MSO that came from his website, Victor Asuncion is hailed by the Washington Post for his “poised and imaginative playing,” he is also “recognized as a pianist of innate musical sensitivity, fiery temperament, and superb technique”. He has already worked with conductors including Sergio Esmilla, Enrique Batiz, Zev Dorman, Arthur Weisberg, Corrick Brown, David Loebel, Leon Fleisher, Michael Stern, Jordan Tang, and Bobby McFerrin. As a chamber musician, he has worked with artists such as Lynn Harrell, Zuill Bailey, Andres Diaz, Antonio Meneses, Cho-Liang Lin, James Dunham, Ronald Leonard, Susanne Mentzer, H.K. Gruber, John O’Connor, Marc Neikrug, Liang Wang, Ensemble Sao Paolo, and the Vega and Emerson String quartets at venues that include the Phillips Collection, the Corcoran Gallery, 92^nd Street Y, Benaroya, Merkin, Spivey and Shriver Concert Halls, and the Santa Fe, Aspen, Madison, Virtuosi, Pera, and Amelia Island Music Festivals. He is currently an associate professor of piano, and Director of Collaborative Arts Studies at the Rudi E. Scheidt School of Music at the University of Memphis.  He received his Doctor of Musical Arts Degree in 2007 from the University of Maryland at College Park.  His principal teachers include Rosario Picazo, Avelina Manalo, Roberta Rust, and Rita Sloan.

This list is indeed impressive so don't blame me if I'll be having high expectations coming into the concert. Close friends know that I've always admired great works of literature by Russian authors like Dostoevsky's The Brothers Karamazov and Pasternak's Doctor Zhivago. This also contributed a lot to my affinity with Russian music. That's why, this upcoming concert by the MSO is a must see for me.

Ticket prices:

August 10, 2012

P1,000 Orchestra

P800 Balcony

August 11, 2012

P1000 Orchestra

P800 Orchestra Side

P600 Loge

For inquiries:

523-5712

sales@manilasymphony.com

The Philippine Popular Music Festival Experience (PhilPop) Part 5

The Philippine Popular Music Festival First Round Adjudicators

The buzz surrounding the recently concluded Philippine Popular Music Festival (PhilPop) has subsided. But for the songs that won, as well as the others that made it into the finals, the journey continue on as these works try to get some much needed radio airplay and get performed regularly by those who interpreted them, thus eventually finding its way among the great OPM hits of the past.

I guess that it’s a great time for me to look back on my journey as an adjudicator during the first and third rounds of the competition. Ryan Cayabyab, the festival’s executive director was the one who asked me to be part of the jury. It was an opportunity that I couldn’t let pass so I accepted without any hesitation.

Judging the earlier rounds

The night before the screening, I got excited and anxious at the same time. I had no idea who the other adjudicators were and most importantly, I didn’t know what to expect since this was a new experience for me. I made it to the early call time at the Remington Hotel where all the adjudicators were lodged. All my fears were unfounded since Patricia Hizon and the rest of the PhilPop team was so nice and made everyone feel at ease. I was impressed by the caliber of the other adjudicators since they were major players in the music industry: record executives, artists, musicians, studio people, managers and journalists. I felt humbled and honored to be among them which made me take more seriously the task of screening the almost 3,000 entries that made it before the deadline.

Team Leader Fonzi along with Erwin, RAd, Ms. Baby Gil and Mr. Jong Azores

During the first round, I was in a team made up of four adjudicators who had to listen to roughly 450 songs and grade each of them. The only thing we knew about each song was its title and a serial number attached to it. There were multiple entries with the same title so the serial number helped us in differentiating same titled songs. Other teams listened to different sets of songs and the average grades of the entries determine who would make it to the next round. I do think that the first round serve to weed out the bad from the good.

The Third Round Adjudicators

When I got called back for the third round a week later, our team, now made up of five adjudicators had to listen to just 109 songs, if I’m not mistaken. It was very interesting to hear a bunch of songs from the first round that made it this far. And it was also very surprising to know the songs that my team wasn’t able to hear during the first round. While it was easier to grade fewer songs compared to the first round, I had to be more discerning since the standard got higher as the songs left were now a lot better. The adjudicators during the third round were again a diverse mix of people involved in the music industry with some getting called back from the previous rounds while some judged for the first time.

Finally meeting Karl and the Akafellas

When the top 14 songs were announced, I was relieved to see that my personal bet made it. Whenever I was asked by anyone which song I was rooting for, I only told them that the first time I heard that song during the earlier rounds (even before the finalists were announced), I decided to place my bet on it, “every step” of the way. Keen observers found out that I’ve been alluding to Bawat Hakbang by Karl Villuga all along, since the song’s title is the Filipino translation of every step. I couldn’t be more pleased that this song won the top prize in the competition which is what I was really hoping for. I can still remember getting goosebumps when I first heard the song during the third round and I told myself that that is the winning song for me.

The Akafellas perform for Live at 2299 over at Radio Republic

When I found out that Karl, and the rest of the Akafellas would be the featured artists for Live at 2299 over at Radio Republic, I knew that I had to be there. I never told Karl how I personally felt about the song during the banquet after the finals. So this was the next ideal chance for me to do so. Besides, Radio Republic has become one of my favorite places on earth and going back there is always a pleasure. I got there with lots of time to spare and I was able to formally introduce myself to Karl and the rest of the Akafellas before the show started. It’s always a treat watching music acts over at Radio Republic since the studio makes for such a very intimate venue. And I admit that I am already old for screaming fans so my ears and I are glad that there aren’t any of those around the station. I was able to appreciate fully the Akafellas’ performance that night consisting of a cappella versions of Bongga Ka Day, Kaleidoscope World, Tuloy Pa Rin and of course, the PhilPop winning song Bawat Hakbang (with a backing track and without Mark Bautista). The Akafellas are really an eight man a cappella group but they were nine at the time since they had with them their newest member.

RAd and the Akafellas

Afterwards, we just hung around the studio for a bit, goofed around, posed for photos (as the "tenth" Akafellas member), and I answered some questions from the group regarding my PhilPop judging experience. It’s a bit sad knowing that Karl would be leaving the Akafellas and the country soon to pursue other things. I wish him well in his future endeavors and I congratulate him once again for winning and most importantly, composing such a good song.

Before I forget, the Philippine Popular Music Festival (PhilPop) album featuring the top 14 songs is already out in the market. To refresh everybody's memory, the finalists (in alphabetical order) are: 3 AM by Keiko Necesario and interpreted by Marié Digby; Bawat Hakbang by Karl Villuga and interpreted by Mark Bautista and the Akafellas; Bigtime by Trina Belamide and interpreted by Baihana; Brown by James Leyte and interpreted by Brownman Revival and James Leyte; Dulo ng Dila by Noah Zuñiga; Himig ng Panahon by Thyro Alfaro and interpreted by Duncan Ramos, Luke Mejares, Loonie, Thyro and Yumi; Kesa by Edwin Marollano and interpreted by Daniel Gorospe; Kontrabida by Soc Villanueva and interpreted by Sam Concepcion; Minsa'y Isang Bansa by Gary Granada and also interpreted by him; Negastar by Mike Villegas and interpreted by Cathy Go; Piso by Krist Melecio and interpreted by Joey Ayala; Slowdancing by Kennard Faraon and interpreted by Nyoy Volante; Takusa by Byron Ricamara and interpreted by Rocksteddy; Tayo-Tayo Lang by Toto Sorioso and interpreted by Ebe Dancel. This album, distributed by Ivory Music & Video is also available in digital formats via MyMusicStore Philippines.

Philippine Popular Music Festival 2012

Tracks:
1. 3 AM
2. Bawat Hakbang
3. Bigtime
4. Brown
5. Dulo ng Dila
6. Himig ng Panahon
7. Kesa
8. Kontrabida
9. Minsa'y Isang Bansa
10. Negastar
11. Piso
12. Slowdancing
13. Takusa
14. Tayo-Tayo Lang

The Philippine Popular Music Festival (PhilPop) Experience Part 1

The Philippine Popular Music Festival (PhilPop) Experience Part 2

The Philippine Popular Music Festival (PhilPop) Experience Part 3

The Philippine Popular Music Festival (PhilPop) Experience Part 4
The Philippine Popular Music Festival (PhilPop) Experience Part 6

ABS-CBN Philharmonic Orchestra Kapamilya Concert

ABS-CBN Philharmonic Orchestra

Featuring:

ABS-CBN Philharmonic Orchestra

Gerard Salonga, conductor

Programme:

Mike Hanopol Laki sa Layaw

Mikhail Glinka Overture from Ruslan and Lyudmila

Leonard Bernstein Overture from Candide

Antonino Buenaventura Mindanao Sketches

Ennio Morricone Cinema Paradiso

John Williams Schindler’s List Theme

                     Star Wars Suite

Constancio de Guzman Maalaala Mo Kaya

I can still remember Gerard Salonga telling me months ago (and asking me never to tell anyone else) about an exciting and intriguing development in the local classical music scene. He said that FILharmoniKA, his orchestra at the time, would no longer exist and that they would eventually be the ABS-CBN Philharmonic Orchestra. About a month after that, auditions were held at the Dolphy Theater and soon enough, the  orchestra performed publicly for the first time during the Icons at the Mall of Asia Arena: Masters of OPM concert which I was also able to see. There was another chance for me to see the 40 member orchestra again when they had the Kapamilya Concert at the Dolphy Theater but I unfortunately missed it due to conflict in schedule. But fate was kind and the orchestra gave another concert with almost the same programme. This was already my second chance and there was no way that I was going to let it pass.

The Kapamilya Concert was in many ways a unique orchestral performance. First of all, the concert programme wasn’t announced in advance compared to other concerts where the whole season’s programme is known beforehand. It was no use at all when I tried to convince several orchestra members before the first Kapamilya Concert to tell me what they’ve had prepared and they refused to give me any answers. Second, Gerard Salonga (the orchestra's principal conductor and music director) talked to the audience and introduced the pieces to be played, giving the mostly unaccustomed audience members enough information and background on the pieces so that they could appreciate the music more. He even told the audience that they could applaud whenever they feel like it. Lastly, there was a portion when some members of the audience were asked to volunteer and participate.

The programme consisted of a varied mix of standard orchestral repertoire (Glinka’s Overture to Ruslan and Lyudmila, Bernstein’s Overture to Candide), local compositions including both classical (Buenaventura’s Mindanao Sketches) and popular (Hanopol’s Laki sa Layaw and de Guzman’s Maalaala Mo Kaya) and a healthy serving of film tunes (Morricone’s Cinema Paradiso and John Williams’ Theme from Schindler’s List and Stars Wars Suite). Before performing Schindler’s List, Gerard introduced the new concertmaster of the orchestra, Ralph Waldo Taylan who will take over Rechelle Alcances, previous concertmaster even during the orchestra’s FILharmoniKA days, who will be leaving the country soon.

RAd conducts!
photo c/o the ABS-CBN Philharmonic Orchestra

And then there was the audience participation part. Gerard asked if any among the audience would want to sing The Prayer by David Foster and Carole Bayer Sager along with the orchestra. Two women, probably ABS-CBN employees, took the challenge and sang the duet. Then it was time for someone from the audience to conduct with the orchestra playing Star Wars. And that someone turned out to be me. It was a very exciting, nerve wracking and crazy moment for me since I don’t know how to conduct an orchestra at all. Conductors usually wield the baton with their right hand but I had to use my left (since I am left handed) to avert any disasters if ever I attempted to do it with my right. I asked for the music score, although Gerard told me that I did not need to do so. Looking back, I wish that I had just conducted the orchestra sans the score since it was a very intimidating and daunting experience looking at it for the first time, trying to work my way with it and all the while conducting the orchestra trying desperately not to miss a beat. My mind worked overtime figuring out which section of the orchestra I had to focus on shifting from one staff to another. And it was embarrassing when Gerard had to turn pages for me since I got lost reading the score. I remember almost panicking when I saw the tempo set to 108, then to 100 a few measures later, and not knowing how to lead the orchestra going into it. I admit that I didn’t do the best job in conducting but still, it was an awesome experience. After all this, I felt the adrenaline rush and a huge sense of relief which led me to enjoy the orchestra playing Leonard Bernstein’s Mambo from Symphonic Dances from West Side Story for their encore.

Gerard Salonga with the orchestra's executive director Mickey Muñoz

It’s not everyday that pianists who usually play alone are given the chance to conduct an orchestra. And having this chance got me thinking on how difficult conducting really is. What I did was very unconventional since conductors do study the music score a lot even before attempting to play the music with the orchestra. And what I did was totally the opposite, leading the orchestra having no idea how the score looked like. I thought that I knew Star Wars music but there’s a huge difference between knowing the piece because you’ve listened to it numerous times and really knowing the music because you’ve seen how John Williams scored it.

Gerard Salonga and RAd

This Kapamilya Concert was a performance exclusively for ABS-CBN employees and invited guests and members of the press. The ABS-CBN Philharmonic Orchestra will have its inaugural concert which is open to the public on August 18, 2012 at the Philam Life Auditorium featuring pianist Jovianney Cruz. He performs Liszt’s Piano Concerto No. 1 in E flat major, S. 124. Other pieces prepared for that night are the Roman Carnival Overture, Op. 9 by Hector Berlioz and Symphony No. 1 in C minor, Op. 68 by Johannes Brahms. Another concert catered specifically to families happens on September 2, 2012, 6:00 PM at the Meralco Theater. This concert features the music of composer John Williams known for his works on movies like Superman, E.T., Star Wars, Jaws, Indiana Jones, and Schindler’s List.