Tsinoys take spotlight in Pasinaya 2013

The Filipino-Chinese community, its arts and culture will be the focus of the annual Pasinaya festival happening this February 3, 2013 at the Cultural Center of the Philippines in partnership with Kaisa Para sa Kaunlaran, Inc. and Bahay Tsinoy. The biggest one day multi-arts festival in the country, Pasinaya 2013 will feature sneak previews of the CCP’s 2013 performance season along with other presentations with over 120 shows and 3,000 artists performing.

Popular crooner Richard Poon leads the Filipino-Chinese participating in Pasinaya 2013 that also include the Ling Nam Athletic Federation, Lion Cubs, Fire fighters groups and Diabolo. Also featured throughout the day-long event are the Philippine Buddha Care, Voce Fich, Filipino-Chinese classical singers Sherwin Sozon, Elaine Lee, Joanna Go and Roger Saldo Chua, Philippine Cultural College Chinese Orchestra, the Philippine Cultural College Folk Dance Troupe, Lion Cub-Tiong Se. Other exciting activities in store in the said festival include exhibit on Chinese medicine and Chinese Language, Poetry Reading. Playing of Chinese games will be available and calligraphy to be done by the Ateneo de Manila Confucius Institute. Lion dance performances will also be one of the highlights of the festival.

Performances happening at the Tanghalang Nicanor Abelardo (CCP Main Theater) will be led by the CCP resident companies namely the Philippine Philharmonic Orchestra, the UST Symphony Orchestra, the Philippine Madrigal Singers, Tanghalang Pilipino, Bayanihan Philippine National Folk Dance Company, the Ramon Obusan Folkloric Group, Ballet Philippines, Philippine Ballet Theater and the winners of the National Music Competitions for Young Artists. The closing performance will be the People’s Gala which will feature Richard Poon.

Aside from the Main Theater, every possible venue at the CCP, theaters, lobbies, hallways, promenade areas, the alley beside the Production Design Center is used during the Pasinaya. The venues are categorized into different zones according to the genres of music, theater, dance, film, literature, visual arts, children and family, variety and the artists market. The event also features crash workshops, film screenings, visual arts exhibitions and activities for children.

All of these can be experienced at the Pasinaya 2013 just by shelling out a one time donation of at least P50. For those who felt that they had to return to the CCP at a latter time to watch more shows, a one day sale of tickets to upcoming and festivals will be offered during this time as well. Up to 50% off on tickets will be available on selected shows.

A limited number of Pasinaya Ballers are available for P300 which gives its wearer priority lane entrance to all the shows at the Tanghalang Huseng Batute (CCP Studio Theater), Tanghalang Aurelio Tolentino (CCP Little Theater) and the Tanghalang Nicanor Abelardo (CCP Main Theater). VIP Boxes can also be availed by groups for P3000 which ensures them hassle free viewing of all the shows at the CCP Main Theater throughout the day.

Pasinaya is always brimming with a lot of people and the organizers are hoping to exceed the 50,000 attendees from last year. Once again, people who go to Pasinaya need to come up not just with a plan A, but also with plans B to Z. Or they can just go wherever their feet may lead them. Schedule of performances for Pasinaya 2013 can be downloaded here. Festivities start at 7:00 AM and will continue on until the People’s Gala happening at 6:00 PM.

Ticket:

P50 Suggested Donation

P300 Pasinaya Baller

For inquiries:

CCP Performing Arts Division 832-1125 loc. 1606-1607

Katy

Isay Alvarez

The Philippine theater scene got off to a very good start when the revival staging of Katy finally opened at the Cultural Center of the Philippines’ Tanghalang Aurelio Tolentino. I’ve been looking forward to seeing this musical ever since it was first announced many months ago. Right after the opening performance of Rama Hari, I still remember telling theater veterans Isay Alvarez and Robert Seña, the show’s producers via their company Spotlight Artists Centre how much I was looking forward to Katy. I told them that just like Rama Hari, I was too young when it was first staged so having it revived now was just a case of perfect timing since I’ll be able to appreciate productions like this a lot more.

Scenes from the Backstage

Tricia Jimenez, Poppert Bernadas, Isay Alvarez and Epy Quizon

I was among the three people (a journalist, photographer and I) who were able to drop by the CCP a couple of days before the show formally opened. And we were able to see firsthand how everybody who was involved in the production was working hard in trying to put the show together as sets were being moved around, costumes were being fitted and rehearsals were in progress.

Despite the hustle and bustle, we were still able to have a few words with Isay Alvarez, who plays the title role of Katy de la Cruz in the musical. She said that she and the cast felt like pop stars when they did a promotional tour at various SM Malls. She was very pleased with the audience turnout with the people already in their seats even before the show started. And after every show, the audience always gave them a standing ovation. She confessed that it was difficult trying to get corporations to support the show but she’s grateful that SM supported them.

Sheng Belmonte

We were also able to see Gian Magdangal and Epy Quizon who share the same dressing room along with Tirso Cruz III. Gian said that the first act is a breeze for him compared to the second act where he had to portray an old and sick man. He had to work hard and do research at a hospital in order to prepare for this role which is different from what he has portrayed before. In Epy’s case, the biggest challenge for him in portraying his father, the legendery comedian Dolphy, was the dancing. He knows that his father was an excellent dancer and that whatever dancing skills he has doesn’t hold a candle at all to what his father could do.

During the trip backstage, I was able to see friendly faces among the cast like Poppert Bernadas and Celine Fabie who are both members of the Ryan Cayabyab Singers. I was also able to see Sheng Belmonte, who was stunning in her hot red costume that had me lost for words. Seeing friends who are part of the cast as well as industry veterans like Tirso Cruz III, Lou Veloso and Dulce whose body of work earned them my admiration and respect only made me look forward to Katy a lot more. Before we left backstage to let the actors rehearse, we were very fortunate to be invited to come back the day after to watch the press preview.

Robert Seña and Sheenly Gener

The Press Preview

Aicelle Santos and Gian Magdangal

Katy had its first show before a live audience when it had its press preview performance the night before it formally opened. Excitement was high even during the cocktails before the show started. And just like Rama Hari, I was very excited since I was only moments in seeing the entire production which would complete the whole picture since all I had for months were just fragments of the show like certain song numbers.

All I knew coming in was that Katy was all about Katy de la Cruz, reigned as the Queen of the bodabil stage many decades ago. And that the songs Ang Entablado ay Mundo and Minsan Ang Minahal Ay Ako came from this musical written by Jose Javier Reyes with music composed by Ryan Cayabyab. The original production's director, Nestor Torre also directs this revival staging.

Tirso Cruz III

With such strong material, it’s up to the cast to give stellar performances and thankfully they all did. Aicelle Santos, as the teenage Katy gave a career defining performance. I think that she’s one extremely fortunate person whose theater debut had her singing a duet with the one and only Dulce. As Olivia, a washed out singer whose career was on a decline, Dulce gave a heart wrenching performance highlighted by the memorable duet with Aicelle. This number gave me major goose bumps and it was one of the most applauded scenes in the whole musical.

I’ve seen Lou Veloso in Walang Kukurap and Stageshow last year and reprising his role as the director only proved that he is still one of the most consistent and dependable character actors in the industry. While Lou Veloso’s excellent performance was expected, Tirso Cruz III’s portrayal of Katy’s father caught me by surprise since I didn’t expect him to sing that well. Gian Magdangal as Peping fit the role during Act I when he was still Katy’s persistent suitor. But it was difficult for me to be convinced of his character, the philandering husband during Act II since he had to portray someone a lot older than he is.

One can’t talk about this production of Katy the Musical without mentioning Isay Alvarez. Not only does she play the adult Katy, but she and her husband Robert produced the musical along with co-producers Dr. Carl Balita and Tricia Amper-Jimenez. And she has been the face of Katy since this revival’s inception tirelessly promoting the show.

Isay’s part during Act I was limited only to the prologue for Leana Tabuñar and Aicelle played the role of Katy during her younger years. This setup only served to heighten the anticipation when Isay takes over the role of Katy upon her return in Act II. While I had a hard time trying to buy the idea of Gian as the old and sick Peping, I had no trouble at all in believing that Isay is Katy. Displaying a combination of spunk, sass and vulnerability, Isay’s performance gave me a clear picture of who Katy de la Cruz was.

Epy Quizon, Isay Alvarez, Aicelle Santos and Gian Magdangal

There was a line in the musical that really got through me when Katy said that the audience need not know what’s happening backstage upon learning some tragic news. This basically means that for a performer, the show must go on no matter what. And Isay acknowledged in her message in the souvenir program that she had to go through Katy rehearsals while coping with an illness. It felt surreal when I realized how poignant and relevant that line was to Isay at that moment.

Other noteworthy cast members were Katy’s friends played by Tricia Jimenez as Hanna San, Celine Beatrice Fabie as Patsy Patchochay and CJ Mangahis as Mary Walter. I do remember Mary Walter as I saw her play numerous grandmother roles and I still find it very hard to imagine that she used to be a Hawaiian dancer back in her youth. Sheng Belmonte and Epy Quizon also had their time on the spotlight as Sheng played the new generation of performers (sexy and vulgar) with Epy playing a young Dolphy showing his naughty side.

The press preview did have its share of technical setbacks like microphones not working and the speakers acting up during the overture. I also wish that the transition in between scenes could’ve been a lot smoother. But the strength of the material and the performances were more than enough for me to overlook the production’s shortfalls.

Jose Javier Reyes and Ryan Cayabyab

I was really pleased that live music accompaniment was provided by AMP Big Band led by the show’s musical director Mel Villena. The brass section really gave the music more life and I would’ve been very disappointed if the production had to resort to canned music.

Katy resumes this January 24, 2013 at the CCP Little Theater and will run until January 27, 2013. I’ve learned that it’s becoming increasingly difficult to get tickets to the remaining dates The shows during the first week had been sold out. Those doesn’t bode well for those who want to watch the show and yet still haven't bought their tickets. But for Spotlight Artists Centre, the whole cast, creative team and production crew, it’s a good problem to have. I wouldn't be surprised if Katy would have a repeat run in the future.

Japanese guitarist Shin-Ichi Fukuda to perform in Manila

Concert

January 26, 2013, 8:00 PM

Francisco Santiago Hall

South Tower, BDO Corporate Center

Makati

Masterclass

January 27, 2013, 9:00 AM

Pasay Function Room

Makati Shangri-La Hotel

Featuring:

Shin-Ichi Fukuda, guitar

The Guitar Friends and Yuichi Imai, together with BDO, Makati Shangri-La Manila and Philippine Airlines present Japanese concert guitarist Shin-Ichi Fukuda who will perform in a concert happening on January 26, 2013, 8:00 PM at the Francisco Santiago Hall at the BDO Center. Fukuda will also conduct a masterclass on January 27, 2013 at the Pasay Function Room at the Makati Shangri-La Hotel. The concert and the masterclass are both free of charge and open to the public on a first-come, first-served basis.

According to the press release, Fukuda started his classical guitar lessons at the age of 12 back in his hometown in Osaka, Japan. He then continued his studies at L’Ecole Normale de Musique de Paris in France and also at Accademia Musicale Chigiana in Italy. He is also the winner of the first prize at the 23^rd Paris International Guitar Competition organized by Radio France back in 1981. Fukuda has performed extensively in and outside Japan, in many guitar recitals in the USA, France, Italy, Spain, Argentina, Brazil, Czech Republic, Hungary, Bulgaria, Greece, Israel, Mexico, Finland, China, Uruguay, Colombia, Taiwan, Korea, Cuba, and Singapore. And soon, he will add the Philippines to this list.

Guitarist Shin-Ichi Fukuda

Fukuda’s teachers have included maestros Tatsuya Saitoh, Alberto Ponce and Oscar Ghiglia. Now a highly gifted teacher himself, his Japanese pupils who have made a name for themselves in the world of classical guitar include Akiko Saito, Kaori Muraji, Daisuke Suzuki and Yasuji Ohagi.

Tickets:

Free admission. First-come, first-served basis

Lorenzo Medel Solo Piano Recital 2013

Pianist Lorenzo Medel

Featuring:

Lorenzo Medel, piano

Manila Symphony Orchestra

Arturo Molina, conductor

Programme:

Johann Sebastian Bach Prelude and Fugue No. 23 in B major, BWV 892

Ludwig van Beethoven Piano Sonata No. 23 in F minor, Op. 57 Appassionata

Nicanor Abelardo First Nocturne

Frédéric Chopin Étude in A minor, Op. 25, No. 11 Winterwind

Franz Liszt Grandes études de Paganini No. 6 in A minor Theme and Variations

Claude Debussy Préludes Book 2 No. 12 Feux d'artifice, L 123

Béla Bartók Two Romanian Folk Dances, Op. 8a

Sergei Rachmaninoff Piano Concerto No. 2 in C minor, Op. 18

I can still remember the time when I asked young pianist Lorenzo Medel when he would play a piano concerto by Sergei Rachmaninoff which could be either the Rach 2 or 3. And he responded by saying that he wanted to but that he had to increase his hand span first. I guess that right after that, his hands have gotten bigger (he has also gotten a lot taller too) since I learned soon after that he would be playing the very popular Rachmaninoff Piano Concerto No. 2 in C minor, Op. 18 with the Manila Symphony Orchestra.

Fast forward some months later, that time finally came as Lorenzo “Enzo” Medel mounted his third solo piano recital at the Philam Life Auditorium. It had been about a year and a half since I saw him perform the Liszt Piano concerto at the same venue.

Enzo with the Manila Symphony Orchestra

Enzo, dressed in a sheer and glossy, black barong, began the night by playing Johann Sebastian Bach’s Prelude and Fugue No. 23 in B major, BWV 892 from the Well-Tempered Clavier Book II. I’ve always been honest that Bach’s music doesn’t get through me and that it’s really challenge for me since a lot of pianists start their performances with a Bach piece. I am just glad that the next piece, Ludwig van Beethoven’s Piano Sonata No. 23 in F minor, Op. 57 also known as the “Appassionata”, is a very familiar one. This section of the program got my brain right on track with Enzo performing this comfortably despite the tempestuous and violent nature of the piece which has been on his repertoire for quite some time now. Enzo then slowed things down with Nicanor Abelardo’s First Nocturne which was the calm before the storm considering the pieces the immediately followed.

Enzo then played virtuosic pieces one after the other: Frédéric Chopin’s Étude in A minor, Op. 25, No. 11 also known as the “Winterwind”, Franz Liszt’s Grandes études de Paganini No. 6 in A minor “Theme and Variations”, Claude Debussy’s Préludes Book 2 No. 12 “Feux d'artifice”, L 123 and Béla Bartók Two Romanian Folk Dances, Op. 8a. It seemed to me that these demanding pieces were just another walk in the park for Enzo. For people who were there just for the Rach 2 and thought that they had to sit out an hour of solo piano pieces before hearing the concerto, they were treated to a display of Enzo’s technical brilliance that only served to heighten the anticipation for the most awaited piece of the night.

For Enzo’s performance of Sergei Rachmaninoff’s Piano Concerto No. 2 in C minor, Op. 18, he was accompanied by the Manila Symphony Orchestra under the baton of Arturo Molina. During this time, he has donned his signature blue barong. At the start of the piece, I immediately thought about the time when he mentioned increasing his hand span since I didn’t hear any arpeggiated chords at the opening. And it’s not only his wider hand span that I noticed but also his maturity as a pianist. When he played the Liszt concerto back in June 2011, he still seemed like a kid playing in a sandbox which was a concert grand piano. And during the Rach 2, he has grown a lot (literally and figuratively) and started to exhibit some dashes of sensitivity, finesse and depth.

I admit that the programme prepared for this evening was quite heavy with pieces designed to impress that they almost overwhelmed me. I really wanted another change of pace and Enzo somehow heard my plea when he played his encore, Chopin’s Étude in E minor, Op. 10, No. 3 Tristesse. Enzo did show a huge improvement during this concert but he is still far from being a complete pianist. Yes, he can pound those keys and do extremely fast and difficult passages with his eyes closed and probably not miss a beat, but he still has a long way to go in effectively communicating and playing more than just the notes in the music sheet. At 17 years old, he is still very young and I’ve always believed that maturity in music can only be achieved through time and life experiences. Speaking of experiences, Enzo will add more experience that can improve his performances as he prepares to fly over to the US for a series of auditions in music institutions there. I wish him all the best and may he get his desired results.

Lastly and on a lighter note, Enzo has considerably improved his walk entering the stage and the way he bows to the audience is rather peculiar and yet amusing.