MANILA, Philippines - As we celebrate the triumphs of Cecile Licad, Otoniel Gonzaga, Jonathan Zaens, and, lately, Rachelle Gerodias in Europe, let's take note of the fact that other Filipinos were actually making waves in that part of the world much earlier.

The late baritone Aurelio Estanislao and conductor Oscar Yatco figured in a European competition way before Gonzaga's time as a major prizewinner.

Way before soprano Evelyn Mandac was singing Susanna in "The Marriage of Figaro" opposite the Countess of Kiri Te Kanawa at the Salzburg Festival, mezzo soprano Conchita Gaston was the definitive Carmen in Holland and Germany.

Many years earlier, composer Richard Strauss was coaching our own Jovita Fuentes in the German production of "Salome," and soprano Isang Tapales was making waves in Opera Comique in Paris opposite Beniamino Gigli, the idol of Luciano Pavarotti.

Before Zaens debuted in Prague, José Mossessgeld Santiago-Font went straight to La Scala in Milan after his stints as a Caruso scholar.

Cagayan-born soprano Eleanor Calbes toured Germany and sang over a dozen performances of a major part in Bernstein's "West Side Story"-in German!

Next week, Licad plays Gerswhin's Concerto in F (her first) again in Germany before a series of Rach 3 in the United States.

Double victory

What does it take to make it in Europe?

One found a lot of insight from the transcript of my last interview with violinist Carmencita Lozada before she passed away a couple of years ago.

While Yatco was teaching in Hannover and Mandac was making her debut at the Metropolitan Opera, Lozada was taking Europe by storm.

After her double victory at the Paganini Competition in Genoa, Lozada was harvesting acclaim in Germany, Holland, Austria, Great Britain, Belgium Greece, Poland.

In west Germany, Lozada was described by German critics as the violinist with "volcanic temperament and fascinating with exotic sparkle." Still others saw "the devil of a violinist in her blood."

In Holland, a critic noted: "Lozada played with nearly superhuman virtuosity, passionate yet controlled musical temperament and a remarkably right feeling for rhythm."

Lozada admitted that her earlier stint at the Vienna Academy made her absorb different musical periods and styles and exposed her to musical buoyancy.

"In Europe is where you feel a lot of musical energy," she said of that time. "Both young talents and seasoned artists have the chance to join festivals and competitions."

One of the highlights of her European sojourn was being chosen as a last-minute substitute for a famous violinist to play a Sibelius concerto in Frankfurt.

In France, she discovered her recital was graced by a famous violinist, Henryk Szeryng, who was very enthusiastic when he greeted her backstage.

Lozada further reflected: "To be a real artist in its truest sense is always a tough one. It is never easy. But if your talent for that is great, it becomes a compulsion and probably a responsibility. I am reminded of a concert I accepted in Holland.
"I was called as a last-minute substitute for a sick artist a day before a recital. I could no longer engage my accompanist, who was also not available at the time. Nevertheless, I accepted to play the concert and proposed an evening of violin sonatas for violin alone. My repertoire consisted of solo sonatas by Bach, Hindemith, Max Reger, Jean Martinon and Prokofiev.

"In the morning of the day of the concert, I warmed up routinely in the huge podium. And to conserve energy, I asked for a chair for my practice. On the evening of the performance, as I was about to go onstage, I saw the same lonely chair in the middle of the huge stage-a sight which made me almost break into laughter. With that chair, the audience probably expected a grandmother violinist. The audience broke into laughter when I pushed the chair out of my way with my feet. I was 26 then!

"After the concert, I had a headache for three days due to the concentration I mustered because of the tough unaccompanied repertoire. I believe very few artists would dare face such a challenge on one-day notice. But the audience response, which was overwhelming, made up for all that preparation.

"To be an artist, it is important to have spiritual insight, individualistic nuances within the confines of the style. Once the mastery of the piece is achieved, the artist surrenders to the dictates of the music as in a trance. There is no substitute for total immersion in the music."

Fortunately, Lozada made a recording of her European and Philippine engagements before she passed away. For inquiries, please call 0906-5104270.

Here and there

The National Music Competition for Young Artists (Namcya) is now accepting entries for the 2008 competition.

This was learned from Namcya program director Ramon "Montet" Acoymo, who announced that the competition will be in various categories: Piano (category B); Choir (category B); Woodwinds and Strings (category C); Philippine Traditional Ensemble (category B); Contrabass (category C); and Ballet (senior category).

This year's competition has for its theme "Paghubog sa Kabataan, Paghubog sa Sangkatauhan" (Shaping The Youth to Shape Humanity) and is dedicated to National Artist for Music Lucrecia R. Kasilag.

Said Acoymo: "Tita King [Kasilag] has spent all her life encouraging and shaping young artists. It is but proper that this competition should pay tribute to her as a music mentor and exponent of music."

He added that the master class workshop for both winners and non-winners and the interaction with past Namcya winners would remain vital components of the competition.

The string-and-wind instruments category will cover competitions in bassoon, clarinet, flute, oboe, violin, viola, violoncello and contra double bass.

The regional competition for all instruments shall be undertaken with the submission of two copies of a VHS, VCD or DVD format by mail, courier or personal delivery to the Namcya secretariat, containing only the required performance-related contents specified by the particular instrument guidelines.

Deadline for submission of admission packets is on Friday, Aug. 1.

For inquiries on the admission and repertoire requirements of the various categories of the competition, call the Namcya secretariat at 5515041 or 8323701.