MANILA, Philippines - Still celebrating its centennial, the University of the Philippines pulled out all stops for its big ?Pamantasang Hirang? (Beloved University) concert at the Cultural Center of the Philippines?a history of UP through song, dance, theater spectacle, poetry, symphonic music and film.
One did not have to be a UP product to enjoy and appreciate the explosion of talent, rare footage, and the mustering of hundreds of performers from the ranks of the studentry, professors, and noted alumni.
The full-scale recreation of the First Quarter Storm years was stirring. The drum corps and the gymnasts were awesome. And the haunting, majestic anthem by the great Nicanor Abelardo, ?UP Naming Mahal? (UP Beloved), for any lover of music, was affecting. So, from this music lover, kudos.
Feel-good
In ?Altar Boyz? (Repertory Philippines, directed by Chari Arespacochaga, On Stage Greenbelt I), five members of an all-male band go on a supposed world tour (including Manila) to preach good, old-fashioned Catholic values (like virginity), using the jargon and the music of the young.
A desire of some to go solo triggers a crisis, but the group emerges with their faith and friendship intact.
The rock musical is feel-good and disarming. And the five young, fresh talents act, sing and dance (choreography by Jason Zamora) up a storm: PJ Valerio, Red Concepcion, Reuben Uy, Reb Atadero and Chevy Mercado.
US-based Eugene Castillo capped his eventful, four-year stint as music director and principal conductor of the Philippine Philharmonic Orchestra with the soaring 1937 oratorio of Ralph Vaughn Williams, ?Dona Nobis Pacem? (Give Us Peace). It was an emotional swansong for Castillo, who was given a standing ovation.
Three major choirs breathed life into the libretto (from Walt Whitman, John Bright and JeremiahVIII.15-22): the Philippine Madrigal Singers, under Mark Anthony Carpio; the Ateneo de Manila College Glee Club, organized way back in 1921 and now led by Ma. Lourdes Hermo; and the College of the Immaculate Conception Chorale from Nueva Ecija, under Alfred Allan Samonte.
The soloists were baritone Andrew Fernando (who projected well although he had done better work) and American soprano Sandra Walden (who was adequate). The PPO?s 25th season opens on Sept. 12.
Intense singing
At the Francisco Santiago Theater (BDO Tower), at the close of the MCO Foundation?s Summer Arts Festival, we witnessed intense singing and emoting from baritone Fernando and, even more, from mezzo soprano Clarissa Ocampo.
The production was the one-hour opera by Bela Bartok, ?Bluebeard?s Castle,? with its menacing atmosphere and appropriately dissonant music (as excellently interpreted by pianist Mary Anne Espina). Reigning soprano Rachelle Gerodias, fresh from her triumph in the Vienna production of Puccini?s ?Turandot,? took on a surprising walk-on role as one of Bluebeard?s ghostly wives.
It?s said that choirs in any international or regional competition become nervous upon hearing that a Philippine choir is participating. This formidable reputation we owe to the trail blazed by our multi-awarded choirs like the Madz, University of Santo Tomas Singers, the Ateneo Glee Club, and many others.
This richness and gratifying quality of our choirs was evident in ?The Colors of Worship V? (at the Philamlife Theater), a concert of sacred choral music with a distinct contemporary?and at times indigenous?sound, backdropped by ethnic percussion instruments.
The six participating choirs were: Union Church of Manila Choir, Manila Adventist Medical Center Church Choir, Metropolitan Children?s Choir, Himig Sanghaya Chorale, Barlin Cantorei (from Camarines Sur), Coro de San Sebastian, and the Manila Chamber Singers.
Fundraiser
?You Raise Me Up? (at Philamlife Theater) was a fund-raising, all-Methodist concert which brought together four choirs: Central UMC (United Methodist Church) Festival Choir, under Joy T. Nilo; St. Paul UMC Chancel Choir, under Ruth P. Santos and Mark Glen Enriquez; Church of the Saviour Vested Choir, under pianist Noel de la Rosa (substituting for choirmaster Harold Galang, who was in Europe); and the Pandacan UMC Chancel Choir.
A fifth choir, Southwest Metro Manila District Workers Fellowship, rendered an intermission number.
The repertoire was sacred and secular, folk, Pinoy pop and Broadway. Expectedly the showbiz numbers elicited the most applause: ?Only You,? with the Vested Choir hamming it up; and ?Cabaret,? performed by dancing, umbrella-wielding pastors.
The star of the show was ageless pop diva Carmen Patea, whom I had last seen way back in 1970 when she performed at a Christmas party for my magazine then, the Graphic, published by Don Antonio Araneta. She remains the same madcap comedienne with a booming voice, and enjoying great rapport with the audience.
Overall musical director was the indefatigable Bert Robledo, program host, pianist and noted baritone.
