Brookside Baby
Showing posts with label Andrew Fernando. Show all posts
Showing posts with label Andrew Fernando. Show all posts
Monday, March 18, 2013
Sunday, May 27, 2012
Mme. Butterfly cast features best from Ph, Japan, Mexico
By PABLO A. TARIMAN
Opera is getting big-time exposure at the CCP this year thanks to the indefatigable effort of the present CCP president Raul Sunico who is succeeding in networking with people and institutions that are opera-friendly.
Truth to tell, staging opera is a noteworthy endeavor but getting the resources to be able to finance it is another story.
After CCP’s successful team up with Korean opera group with La Traviata, Madama Butterfly is up at the CCP main theater next month (June 22-23) this time in association with MusicArtes, Inc.
This new Puccini revival features Japanese soprano Mako Nishimoto, Mexican tenor Dante Alcalá, Filipina soprano Camille Lopez Molina and international baritone Andrew Fernando, with Gerard Salonga conducting the Philippine Philharmonic Orchestra.
In the early 80s, Madama Butterfly was seen at the CCP with the Cio Cio San of Israeli soprano Atarah Hazzan (a last-minute replacement for the indisposed Japanese soprano Yasuko Hayashi) and the Pinkerton of Vincenzo Manno and the Susuki of Joann Grillo.
I don’t recall any exceptional singer in this production but I do remember the ravishing performance of the Philippine Philharmonic under conductor Henry Lewis, ex-husband of mezzo icon Marlyn Horne and both close friends of the late Pavarotti.
In 1994, the Art and Music group of Joseph Uy presented a gem of a Cio Cio San in the person of Japanese soprano Yoko Watanabe who later passed away because of cancer. At that time, she was the best Butterfly in the US and European circuit and when I finally heard her, I thought she was the main highlight of that production.
It may be noted that between 1915 and 1920, Japan's best known opera singer, Tamaki Miura, won international fame as Cio Cio San. Her statue along with composer Giacomo Puccini, can be found in the Glover Garden in Nagasaki where the opera is set.
As I look forward to this new Butterfly, it’s just proper that we recall the country’s finest Puccini heroines.
For the record, the first Filipina to sing the title role of Madama Butterfly
was no other than Maestra Isang Tapales who sang the part – not in Manila – but in Teatro Donizetti in Bergamo, Italy in April 1924.
In 1925, it was the turn of Maestra Jovita Fuentes (a National Artist for Music) who sang Cio Cio San in a municipal theater in Piacenza, Italy.
In the late 40s, Maestra Dalisay debuted in the same role at the New York City Opera.
I have not seen a distinguished Filipina Madama Butterfly in recent times but I did know that soprano Eleanor Calbes sang it in Canada when she was already in her 50s.
Maestra Tapales would have been 112 this year and among her students were tenor Noel Velasco, baritone Gamaliel Viray, singing Joy Virata, among others.
Tapales’s opera credentials include 1047 performance of Madama Butterfly, more than 300 performances of La Boheme (as Mimi), Pagliacci (as Nedda) and over a hundred engagements of the little known opera, Iris, by Pietro Mascagni.
La Tapales was the first Filipino to sing at Opera Comique in Paris, followed by her student, Noel Velasco, several decades later. She was also the first Filipino soprano to sing with such opera icons as Giacomo Lauri-Volpi and Beniamino Gigli who inherited the crown of Caruso before the electronic age of PlacidoDomingo and Luciano Pavarotti.
The country’s first Butterfly is one of 24 (!) children of Silvestre Tapales, a composer and music teacher and a friend of former first lady Imelda Marcos’s uncle, Justice Norberto Romualdez who also dabbled in composition.
She put up a short-lived opera company in Manila in the 50s with Charito Planas as president and the soprano as music director.
Under Tapales, operas such as Il Trovatore, Cavaleria Rusticana and Pagliacci were staged in Manila with no less than Italian tenor Arrigo Pola (Pavarotti’s first teacher in Modena, Italy) in the lead roles.
When Japanese soprano Mako Nishimoto and Mexican tenor Dante Alcalá appear in Madama Butterfly on June 22-23, I cannot but help recall Maestra Isang Tapales’s opera conquests of Milan. Paris, The Hague and the 100 doves set loose on her farewell performance in Milan’s Teatro del Verme.
For tickets to June 22-23 performances of Madama Butterfly, call the CCP Box Office at (02)832.3704 or MusicArtes Inc. at (02)895.8098, (+63918)9085088 and TicketWorld (8919999).
Source: http://www.mnnetherlands.com/dir/_page/101907/
Opera is getting big-time exposure at the CCP this year thanks to the indefatigable effort of the present CCP president Raul Sunico who is succeeding in networking with people and institutions that are opera-friendly.
Truth to tell, staging opera is a noteworthy endeavor but getting the resources to be able to finance it is another story.
After CCP’s successful team up with Korean opera group with La Traviata, Madama Butterfly is up at the CCP main theater next month (June 22-23) this time in association with MusicArtes, Inc.
 |
| Mako Nishimoto |
In the early 80s, Madama Butterfly was seen at the CCP with the Cio Cio San of Israeli soprano Atarah Hazzan (a last-minute replacement for the indisposed Japanese soprano Yasuko Hayashi) and the Pinkerton of Vincenzo Manno and the Susuki of Joann Grillo.
I don’t recall any exceptional singer in this production but I do remember the ravishing performance of the Philippine Philharmonic under conductor Henry Lewis, ex-husband of mezzo icon Marlyn Horne and both close friends of the late Pavarotti.
In 1994, the Art and Music group of Joseph Uy presented a gem of a Cio Cio San in the person of Japanese soprano Yoko Watanabe who later passed away because of cancer. At that time, she was the best Butterfly in the US and European circuit and when I finally heard her, I thought she was the main highlight of that production.
It may be noted that between 1915 and 1920, Japan's best known opera singer, Tamaki Miura, won international fame as Cio Cio San. Her statue along with composer Giacomo Puccini, can be found in the Glover Garden in Nagasaki where the opera is set.
As I look forward to this new Butterfly, it’s just proper that we recall the country’s finest Puccini heroines.
For the record, the first Filipina to sing the title role of Madama Butterfly
was no other than Maestra Isang Tapales who sang the part – not in Manila – but in Teatro Donizetti in Bergamo, Italy in April 1924.
In 1925, it was the turn of Maestra Jovita Fuentes (a National Artist for Music) who sang Cio Cio San in a municipal theater in Piacenza, Italy.
 |
| Dante Alcalá |
I have not seen a distinguished Filipina Madama Butterfly in recent times but I did know that soprano Eleanor Calbes sang it in Canada when she was already in her 50s.
Maestra Tapales would have been 112 this year and among her students were tenor Noel Velasco, baritone Gamaliel Viray, singing Joy Virata, among others.
Tapales’s opera credentials include 1047 performance of Madama Butterfly, more than 300 performances of La Boheme (as Mimi), Pagliacci (as Nedda) and over a hundred engagements of the little known opera, Iris, by Pietro Mascagni.
La Tapales was the first Filipino to sing at Opera Comique in Paris, followed by her student, Noel Velasco, several decades later. She was also the first Filipino soprano to sing with such opera icons as Giacomo Lauri-Volpi and Beniamino Gigli who inherited the crown of Caruso before the electronic age of PlacidoDomingo and Luciano Pavarotti.
The country’s first Butterfly is one of 24 (!) children of Silvestre Tapales, a composer and music teacher and a friend of former first lady Imelda Marcos’s uncle, Justice Norberto Romualdez who also dabbled in composition.
She put up a short-lived opera company in Manila in the 50s with Charito Planas as president and the soprano as music director.
Under Tapales, operas such as Il Trovatore, Cavaleria Rusticana and Pagliacci were staged in Manila with no less than Italian tenor Arrigo Pola (Pavarotti’s first teacher in Modena, Italy) in the lead roles.
When Japanese soprano Mako Nishimoto and Mexican tenor Dante Alcalá appear in Madama Butterfly on June 22-23, I cannot but help recall Maestra Isang Tapales’s opera conquests of Milan. Paris, The Hague and the 100 doves set loose on her farewell performance in Milan’s Teatro del Verme.
For tickets to June 22-23 performances of Madama Butterfly, call the CCP Box Office at (02)832.3704 or MusicArtes Inc. at (02)895.8098, (+63918)9085088 and TicketWorld (8919999).
Source: http://www.mnnetherlands.com/dir/_page/101907/
Saturday, October 22, 2011
Priceless lessons and moments from the Intimate Concert Series
The white-haired fellow asked me, "How come this concert has little publicity?
When we heard about it, sold out na pala!" So he and his companion settled for matinee tickets.
I explained about the non-traditional media we use to drum up awareness of the series that has survived low-pressure area warnings, grand pianos stuck up in C-5 traffic snarls, drafty halls and, most of all, almost non-existent sponsorship.
Producer Pablo Tariman, a freelance writer who diligently meets deadlines for the culture page of one paper and the entertainment section of another apart from being a self-described guardian and caregiver to apo, Emmanuel Acosta, whose schooling in a Pasig public school, he takes care of apart from housekeeping, laundry and market errands, has had to rely on cultural volunteers in the persons of Mila Aguilar, Sinag de Leon, Efren Ricalde, Anna Leah Sarabia and this writer.
We use our cell phones and personal load (thank goodness for unlimited texts to all networks for the price of P25 or less), email, Facebook and Twitter accounts to promote the concerts. These still unquantifiable efforts seem to be paying off as the Oct. 21 matinee and evening performances of Esmilla and Golez proved.
Tickets for the evening concert sold out fast so Tariman dared to schedule a matinee on the same day to accommodate interested callers.
Then there are Tariman's unsung staff Ford Perez and Bong de Clarin who double as messengers or ticket sellers on concert night. One time, De Clarin's duty of bringing cash-on-delivery tickets to their destination almost compromised his life when he was held up.
There have been occasional patrons who would cover the artists' fees or part of the piano rental, angels like Auring Bautista of Baguio, Joy Buensalido of Buensalido and Associates, Dr. Andrea Dimayuga, Quezon City Councilor Roderick Paulate, the National Commission for Culture and the Arts, even flutist Ray Sison of ROS Music Center who would lend his pianos at below commercial costs.
The Balay Kalinaw hall was a third full yesterday afternoon (it was filled in the evening), but what gladdened this volunteer's heart was the easy rapport between performers and the audience. After the encore piece, Kreisler's "Caprice Viennois," was played and the applause died down, Esmilla quaffed his thirst, then joined Golez in chatting with members of the audience who stayed on for another hour.
Sculptor Julie Lluch, a regular at the intimate concert series, was assigned to put the lei around Golez's neck while Sr. Manaoag, a former violinist who studied with Esmilla's father Sergio and now a nun in a cobalt blue and white habit, marched up to place the one around Joseph.
Like a besotted teenager, Lluch earlier whispered to me that she had instantly developed a crush on the young Esmilla (still lean and boyish despite his salt-and-pepper mane of hair) and wanted to be the one assigned to him. When she saw him all sweaty from his music-making, she pulled out a white tissue and stopped herself short of wiping his face.
The next morning, Lluch texted me, "Exquisite pleasure! I wanted to go back for the evening concert."
I suppose it is moments like this that enable Tariman and the volunteers to continue without counting the costs. At the end of last night's concert, he exhaled, "I'm breathing normally again." It means all expenses have been paid, especially the artists' fees.
In the past, he mounted similarly small concerts for lawyers of big firms like ACCRA, for BIR executives or for couples celebrating their observing golden wedding anniversaries. He said, "Each time an opportunity to make music comes, I can't help it. It involves new contacts, new audiences, new trials perhaps, but I am sure it will involve new souls loving classical music (photographer Ricalde is a recent convert and your classmate from St. Paul who was there again)."
I asked him if he learned from the late impresarios Alfredo Lozano and Redentor Romero who were bold and daring enough to bring in musical heavyweights in the '60s and '70s.
Tariman said, "I didn’t meet Mr. Lozano, but I met his son who was teaching at La salle Lipa when I brought Ingrid Santamaria and Reynaldo Reyes in that school. He said his father was with the Board of Censors then and was close to
the Palace occupants so it was easy for him to get patrons and sponsors from high places. The lesson I can probably get from his existence is perhaps cultivate connections from powerful people and institutions. Unfortunately, all the people I need help from in high places are also the ones I hate."
He continued, "From Romero's sad and lonely death, I learned to accept the fact that impresarios (the real ones) can’t earn good money. He passed away unable to cope with hospital bills. I suppose that’s the way I will go if I don’t watch it. The word 'daring' you learn when you get to accept the fact that the impresario's work doesn’t yield golden eggs in the financial sense; only golden opportunities to make people happy."
He cited one instance when the work almost put him on the verge of collapse. "Remember that Licad turned down the Bosendorfer she found at the Metropolitan Theater in 1988 on the day of the concert. On that same day, I asked Cecile, her then husband Antonio Meneses and Dr. Jesus Licad to accompany me to the Cultural Center to borrow their piano. I knew that they wouldn’t allow me. but with Licad, her husband and father in tow, the late Mrs. Bing Roxas (then CCP president) couldn’t say no to me. But when she said yes, I remember her last words: 'That’s the last time a full grand piano will leave this theater.'"
The intimate concert series will continue; it thrives on feedback from the audience like Princess Nemenzo, Mercy Lactao-Fabros and Tita de Quiros who are thankful that there are such concerts in Quezon City, not too far from their residences and workplaces.
Another Quezon City resident, writer Gemma Corotan, who attended baritone Andrew Fernando's recital at Kiss the Cook Gourmet, where the series began, and then brought her husband and recently her son to succeeding concerts, wrote, "Glad to see that your efforts to popularize classical music and our local musicians are bearing fruit. You have my admiration for the work that you do. Kudos to all of you! The venues are becoming bigger, but I hope the intimacy will never be lost."
What I found touching at Friday's concert was the presence of two ladies, lawyer Sarah Sison and her mother Mimi, herself a singer at family and friends' parties. Mimi just lost her husband. And when I saw Sarah park her car, alight from it, and move decisively towards Balay Kalinaw in a long black dress, the spring in her step missing, I recalled the death of my own father and how I couldn't bear being at his wake. What I did was to join a friend in watching a concert at the old PCIBank Santiago Hall in Makati. If I remember right, it was a piano recital, again mounted by Tariman.
The series resumes on Nov. 26 with Mishael Romano, 11-year old piano prodigy from Dipolog City in Mindanao. For a child his age, he has lined up a forbidding program that includes Clementi's Sonatina in C Major, Opus 36 No. 3, Beethoven's Sonatina in F Major, Chopin's Waltz No. 10 in B Minor, Opus 69 No. 2, among others.
Speaking of bold moves, the series has gone on a successful outreach with the Oct. 15 concert of Esmilla and Golez at UP Los Banos. My small contribution here is putting Tariman and the partners of Dalcielo Restaurant, Marissa de Jesus and Pinky Halos, together to think up of a new may to mark the business enterprise's first anniversary.
Another Dalcielo partner, Rey Araos, was so pleased with the attendance and reaction that he relayed the feedback how more Laguna residents would like watch and hear the classics played. He couldn't help adding that visiting performers are usually pop singers and dancers.
Photos courtesy of SINAG DE LEON, EFREN RICALDE and ANNA LEAH SARABIA
Tuesday, July 19, 2011
Juan Jose Cuadra puts up a good fight
“What's wrong with Jolico? Di kaya na-karma ’yan? Daming walking wounded dyan.”
This SMS received from a fellow writer nearly made the receiver choke after she had sent a text blast inviting those who’ve known Juan Jose (formerly Jolico) Cuadra as colleague, friend or acquaintance to a fund-raising concert in his honor and for his benefit.
Cuadra, retired poet-art critic, who is living the life of a recluse in the hills of Laguna as he struggles with the initial effects of Parkinson’s disease, was known in the past not only for his poems, especially the much-anthologized “Dogstar” and “Dogging Years,” but also his reviews of art exhibitions. There were times when his acerbic pen cut some artists and pseudo-artists down to size. This endeared him to some, but others were not too pleased.
Painter Sonny Yñiquez once had this conversation with novelist Erwin Castillo who said, “Of all the poets whom God loves, it’s Jolico he loves best.” Whereupon Recah Trinidad, veteran sports writer and poet, who overheard them, said, “Tama ’yan. Marami kami ganyan ang alam.”
About his poems having traces of Jose Garcia Villa’s influence, he said, “I’ve written much poetry, and my language is my own. Villa’s and my poetic sensibilities are worlds apart. One has to read everything a poet has written to make a good judgment. One swallow can’t make a summer. One poem can’t make a poet. I stand on my own as a poet because of the totality of my work.”
When he was diagnosed with Parkinson’s disease, defined by answers.com as “a progressive nervous disease occurring most often after the age of 50, associated with the destruction of brain cells that produce dopamine and characterized by muscular tremor, slowing of movement, partial facial paralysis, peculiarity of gait and posture, and weakness,” his reaction was near denial.
He said, “Naturally, it was a terrible blow to me. I never felt so useless in all of my life. There’s nothing I can do about it, except pray. Only God in his complete love and mercy can heal me. Every day I hope for a miracle. I found out in my situation that only love of God can help. Man, no matter how great he is, is nothing without God’s love. I’ve come to realize that one cannot escape his own karma. Karma is exact when it’s meted out to one. Punishment is exact. One is his own judge and executioner because of karmic debts you accrue for yourself.”
He continued, “If I have to live my life again, I’ll dedicate it to God. I will write the greatest praises to God’s creations, showing him his glory. I’ll write love poems to praise God.”
Of his longtime partner, and now care giver with flair, Auggusta de Almeidda (Chikki Gomez to her friends and family), Cuadra, 72, said, “The woman I love I will love without bounds. We exist because God exists. I will live an exemplary life of the good. I will live by example without forgetting I’m still human.”
De Almeidda helps him do soothing ablutions like warm water therapy with a pinch of salt and molasses or honey. He drinks plenty of water, and they have an early dinner. He’s in bed by 8 p.m. after his evening prayers.
The couple likes to go up on their roof deck to greet Mother Nature and her four elements whom they address by their Filipino names: Amang Haring Araw, Inang Reynang Lupa, Amang Haring Hangin and Inang Reynang Tubig.
On sunny days, Cuadra soaks up the sun and does deep-breathing therapy. For breakfast he has a mix of fertilized duck's eggs, fruits, raw vegetables, whey milk with raw honey, raw buffalo milk (when available), natural supplements like brewer’s yeast, lecithin, wheat germ, sea cucumber and virgin coconut oil.
The couple learned this regimen from Dr. Robin Navarro, a proponent of rapid cellular balancing therapy. For lunch Cuadra is allowed organic chicken or chicken liver. He eats bananas for its serotonin, which alleviates his condition, too.
On July 22, if he is not bothered by the chronic fatigue that is part of the disease, he’ll journey with de Almeidda for a long-postponed reunion with friends at UP Diliman’s Balay Kalinaw where baritone Andrew Fernando, mezzo soprano Clarissa Ocampo, flutist Christopher Oracion and pianist Mary Anne Espina will gift him with an evening of song and music.
When Cuadra asked a member of Church Café, one of the concert producers apart from Music News, why they were doing all these for him, the answer he got was, “The love of Christ compels us!”
Top photo shows Cuadra in purple shirt surrounded by friends Jerry Araos, Auggusta de Almeidda and Sonny Yñiquez at a party in 1997.
Lower photo, de Almeidda and Cuadra
Photos courtesy of Araos family
Coming out in tomorrow's edition of Good Morning Philippines, an MWF paper put out by Times Chronicle Publishing.
This SMS received from a fellow writer nearly made the receiver choke after she had sent a text blast inviting those who’ve known Juan Jose (formerly Jolico) Cuadra as colleague, friend or acquaintance to a fund-raising concert in his honor and for his benefit.
Cuadra, retired poet-art critic, who is living the life of a recluse in the hills of Laguna as he struggles with the initial effects of Parkinson’s disease, was known in the past not only for his poems, especially the much-anthologized “Dogstar” and “Dogging Years,” but also his reviews of art exhibitions. There were times when his acerbic pen cut some artists and pseudo-artists down to size. This endeared him to some, but others were not too pleased.
Painter Sonny Yñiquez once had this conversation with novelist Erwin Castillo who said, “Of all the poets whom God loves, it’s Jolico he loves best.” Whereupon Recah Trinidad, veteran sports writer and poet, who overheard them, said, “Tama ’yan. Marami kami ganyan ang alam.”
About his poems having traces of Jose Garcia Villa’s influence, he said, “I’ve written much poetry, and my language is my own. Villa’s and my poetic sensibilities are worlds apart. One has to read everything a poet has written to make a good judgment. One swallow can’t make a summer. One poem can’t make a poet. I stand on my own as a poet because of the totality of my work.”
When he was diagnosed with Parkinson’s disease, defined by answers.com as “a progressive nervous disease occurring most often after the age of 50, associated with the destruction of brain cells that produce dopamine and characterized by muscular tremor, slowing of movement, partial facial paralysis, peculiarity of gait and posture, and weakness,” his reaction was near denial.
He said, “Naturally, it was a terrible blow to me. I never felt so useless in all of my life. There’s nothing I can do about it, except pray. Only God in his complete love and mercy can heal me. Every day I hope for a miracle. I found out in my situation that only love of God can help. Man, no matter how great he is, is nothing without God’s love. I’ve come to realize that one cannot escape his own karma. Karma is exact when it’s meted out to one. Punishment is exact. One is his own judge and executioner because of karmic debts you accrue for yourself.”
He continued, “If I have to live my life again, I’ll dedicate it to God. I will write the greatest praises to God’s creations, showing him his glory. I’ll write love poems to praise God.”
Of his longtime partner, and now care giver with flair, Auggusta de Almeidda (Chikki Gomez to her friends and family), Cuadra, 72, said, “The woman I love I will love without bounds. We exist because God exists. I will live an exemplary life of the good. I will live by example without forgetting I’m still human.”
De Almeidda helps him do soothing ablutions like warm water therapy with a pinch of salt and molasses or honey. He drinks plenty of water, and they have an early dinner. He’s in bed by 8 p.m. after his evening prayers.
The couple likes to go up on their roof deck to greet Mother Nature and her four elements whom they address by their Filipino names: Amang Haring Araw, Inang Reynang Lupa, Amang Haring Hangin and Inang Reynang Tubig.
On sunny days, Cuadra soaks up the sun and does deep-breathing therapy. For breakfast he has a mix of fertilized duck's eggs, fruits, raw vegetables, whey milk with raw honey, raw buffalo milk (when available), natural supplements like brewer’s yeast, lecithin, wheat germ, sea cucumber and virgin coconut oil.
The couple learned this regimen from Dr. Robin Navarro, a proponent of rapid cellular balancing therapy. For lunch Cuadra is allowed organic chicken or chicken liver. He eats bananas for its serotonin, which alleviates his condition, too.
On July 22, if he is not bothered by the chronic fatigue that is part of the disease, he’ll journey with de Almeidda for a long-postponed reunion with friends at UP Diliman’s Balay Kalinaw where baritone Andrew Fernando, mezzo soprano Clarissa Ocampo, flutist Christopher Oracion and pianist Mary Anne Espina will gift him with an evening of song and music.
When Cuadra asked a member of Church Café, one of the concert producers apart from Music News, why they were doing all these for him, the answer he got was, “The love of Christ compels us!”
Top photo shows Cuadra in purple shirt surrounded by friends Jerry Araos, Auggusta de Almeidda and Sonny Yñiquez at a party in 1997.
Lower photo, de Almeidda and Cuadra
Photos courtesy of Araos family
Coming out in tomorrow's edition of Good Morning Philippines, an MWF paper put out by Times Chronicle Publishing.
Wednesday, June 1, 2011
Dear Dear Dear Music Lovers of Metro Manila & Nearby Provinces
Following is a letter from Pablo A. Tariman of Music News & Features on the next couple of intimate concerts for the season at Balay Kalinaw, University of the Philippines Diliman campus, Quezon City. The July 22 concert is a fund-raising event of Church Cafe, a Quezon City-based community of cultural workers, in behalf of poet-essayist-painter Jolicco de Cuadra who is under treatment for the early stages of Parkinson's disease.The July 22 event includes an exhibition and art raffle-auction apart from a dinner-concert.
_______________________________
Dear Music Lovers,
After the successful opening night of the UP Balay Kalinaw Intimate Concert Series on May 28 with violinist Gina Medina and pianist Mary Anne Espina, we would like to invite you to the remaining three concerts of the season: pianist Oliver Salonga on June 18, cellist Wilfredo Pasamba with pianist Mary Anne Espina on July 8 and baritone Andrew Fernando with mezzo soprano Clarissa Ocampo, flutist Christopher Oracion and pianist Espina on July 22.
Please fill up the ticket order form below, and Music News can deliver the tickets free. Or remit ticket payments through BPI Savings Account No. 2449-0956-88 under Account Name: Pablo A. Tariman and your tickets will be reserved on the night of the concert. Call us at (02) 7484152 or 09065104270.
Here is the background of the artists and their program.
Hoping you can join us in the forthcoming concerts, we remain
Very truly yours,
PABLO A. TARIMAN
Ticket Order Form
Music News
116 Edinburgh St.
Pasig Green Park Subd.
Manggahan, Pasig City
Gentlemen:
We would like to order the following tickets indicated below:
1. June 18, 2011 Concert of Pianist Oliver Salonga
( ) ____ tickets at P1000 (with dinner)
( ) ____ tickets at P500 (concert only)
( ) ____ tickets at P300 (student price)
2. July 8, 2011 Concert of Cellist Wilfredo Pasamba and pianist Mary Anne Espina
( ) ____ tickets at P1000 (with dinner)
( ) ____ tickets at P500 (concert only)
( ) ____ tickets at P300 (student price)
3. July 22, 2011 Concert of Baritone Andrew Fernando, mezzo-soprano Clarissa Ocampo and flutist Christopher Oracion.
( ) ____ tickets at P1, 500 (with dinner)
( ) ____ tickets at P500 (concert only)
( ) ____ tickets at P300 (student price)
Please deliver above tickets to the following:
Name:
Address:
Contact Nos. & Email Address:
* * *
Concert 2
Saturday, June 18, 2011, 6 p.m.
Oliver Salonga, pianist
Tickets at P1000 (with buffet dinner); P500 (concert only)
“What a dazzling pianist Oliver Salonga turned out to be! At his CCP concert, Bach’s Prelude and Fugue No.3 in C Sharp Minor and crisp-sparkling tones produced by remarkably nimble fingers. The distinctive phrasing, the brio, the sense of drama made the piece sound fresh and yes, even contemporary. Yet the style ummistakably hewed to Bach… the talent, the sensitivity, the impetuosity, the sense of drama are all his own.”--The Philippine Star
“He plays with power, technique, clarity, precision and coloring… A most satisfying evening!”--Business World
“…Remarkable musical sophistication… A clear standout!”--Malaya
Program
Piano Sonata No.58 in C Major, Hob.48 Haydn
Andante con espressione
Presto
Fantasiestucke, op.12 Schumann
Das Abends
Aufschwung Warum?
Grillen
In der Nacht
Fable
Traumes Wirren
Ende vom Lied
Intermission
Piano Sonata No.31 in A-flat Major, Op.110 Beethoven
Moderato cantabile
Allegro molto
Adagio espressivo
Fuga: Allegro ma non troppo
Apres une lecture du dante
"Sonata quasi fantasia" Liszt
Praised for his pianistic power and poetry, Oliver Salonga has gained a good following in his first recitals in the US, Asia and the Pacific. At a very young age, he has demonstrated an outstanding ability to communicate with audiences on a deeply personal level that made him one of the most promising pianists of his generation.
He was the winner of 2004 Lynn Concerto Competition and was a two-time Grand Prize winner in piano of 2003 and 2004 Madelyn Savarick Annual Scholarship Competition of the Centre for the Arts in Boca Raton, Florida. He had master classes with Sarah Davis Bueckner, Yoshikazu Nagai, Rebecca Penneys, Cecile Licad, Jon Nakamatsu, Jerome Lowenthal, Robert McDonald, John O’Connor and Philip Evans where he received positive comments and great appreciation. At Lynn University, Oliver graduated summa cum laude under the tutelage of Dr. Roberta Rust.
Born in Manila on June 26, 1986, Salonga started playing the piano at age 7 under Prof. Carmencita Arambulo. He gave his first solo public recital at age 11 playing Mozart's Piano Concerto in d minor K. 466. He recently obtained his Master of Music in Piano Performance at the Cleveland Institute of Music under the guidance of 2001 Van Cliburn Silver Medalist, Antonio Pompa-Baldi and was awarded the Sadie Zellen Piano Prize for his superior musical talent. Under his guidance, Salonga won Gold Medal in 2008 Joenju International Piano Competition in South Korea He is continuing his studies at the Cleveland Institute of Music as an Artist Diploma candidate.
Concert 3 Wilfredo C. Pasamba, cellist
Mary Anne Espina, pianist
Friday, July 8, 2011, 6 p.m.
Tickets at P1000 (with buffet dinner); P500 (concert only)
Program: Barber’s Sonata in C Minor, Debussy Sonata and Brahms’ Sonata No. 2 in F Major
Pasamba has performed worldwide as soloist, recitalist and chamber musician. His recent performances include guest solo appearances at the Heidelberg New Music Festival performing the music of George Crumb, and at the Olivier Messiaen Centennial in Missouri; collaboration in the Arnold Schoenberg Retrospective at the University of Missouri-Kansas City; a chamber music appearance with the Omaha Chamber Music Society, and guest solo recitals in San Francisco, Moscow and St. Petersburg.
He has appeared with the Juilliard Symphony, Reno Chamber Orchestra, Wichita Symphony, Syracuse Chamber Orchestra, Ithaca College Chamber Orchestra, Manila Symphony Orchestra, Cebu Philharmonic and the Philippine Philharmonic Orchestra. He has attended music festivals in Tanglewood, Norfolk, Bowdoin and at the Ithaca Violoncello Institute and a conducting fellowship in South Carolina.
He has performed in cello master classes of Janos Starker, Natalia Gutman, Colin Carr, Bonnie Hampton Aldo Parisot, Bion Tsang, Einar Holm, Lawrence Lesser, Michael Grebanier and Carter Brey and has collaborated with conductors such as
Pierro Gamba, Pamela Gerhardt, Basilio Manalo, Arturo Molina, Robert Olson, Michael Palmer, Ruggero Barbierri, Vahe Kochayan, among others.
Pasamba has garnered top honors at the Jennings Butterfield Young Artist
Competition, Juilliard Cello Concerto Competition the National Music
Competition for Young Artists, Reno Chamber Orchestra Competition and was
a semi-finalist in the International Tchaikovsky Competition in Moscow.
No less than The New York Times hailed Pasamba for his “audacity and
brilliance” at his New York debut at the Weill Recital Hall in Carnegie
Hall. He has since appeared in concerts at the Merkin Concert Hall,
Metropolitan Museum, Rachmaninoff Hall, Sviatoslav Richter Museum and the
Omaha Chamber Music Society. He has extensively performed throughout the
US, France, Germany, Turkey, Italy, Russia, Malaysia and the Philippines.
As a chamber musician, he has performed with Peter Wiley, Ani Kavafian, Benny Kim, Karl Paulnack, Reynaldo Reyes, Albert Tiu, Raul Sunico, Brendan Kinsella and with artist members of the Beaux Arts, Argenta Trios, Alexander, Orion and Ying String Quarters. As cellist and co-founder of the Battig Piano Trio, he embarked on its first European concert tour in 2001.
Pasamba is a product of an exceptional music education. He began his music
lessons on his mother's lap, the accomplished pianist, conductor, composer and now music ministry director, Angelita Cariaso Pasamba. At 14, he started cello lessons under the late Martiniano Esguerra. Two years later, he won first prize in the National Music Competition for Young Artists (NAMCYA). Soon he received a full scholarship at the Tchaikovsky Moscow State Conservatory in the former
Soviet Union. Later, he took postgraduate studies at the Juilliard School
of Music in New York and the University of Missouri-Kansas City
Conservatory. He studied under master cellists Natalia Shakhovskaya, Fred
Sherry, Carter Enyeart and later with Maria Tchaikovskaya and Alexander
Rudin.
After his studies abroad, Pasamba came back to his homeland and taught as
assistant professor at St. Scholastica’s College Manila and at the
UP College of Music. He has lately served as faculty member at Pittsburgh State University, and at the University of Missouri-Kansas City Conservatory. Previous orchestral positions include membership with the Kansas City, Omaha and the Des Moines Symphony Orchestras.
Concert 4 Andrew Fernando, baritone, Clarissa Ocampo, mezzo soprano, Christopher Oracion, flute, and Mary Anne Espina, piano
Friday, July 22,6 p.m.
Tickets at P1,500 (with buffet dinner); P500 (concert only)
“A major presence!”--Musical America
International Filipino Baritone Andrew Fernando is the First Prize winner of the prestigious 2003 Loren L. Zachary National Vocal Competition in the United States and an alumnus of the world renowned San Francisco Opera Merola Program. Also a prize winner in the Metropolitan Opera National Auditions in the Los Angeles district and in the Pacific region, The Palm Springs Opera Vocal Competition, a recipient of the Opera Buffs Inc. scholarship grant and the Grand Prize winner in the Pasedena Opera Guild Vocal competition in 2004 and a grand finalist in the Licia Albanese Puccini International Vocal Competition held in New York in 2003. He was Opera Pacific’s resident baritone from 1999-2002 where he worked constantly with internationally acclaimed conductor John De Main.
Andrew has performed as principal artist with San Francisco Opera Merola, Opera Pacific, Eugene Opera, Chicago Opera Theater, Singapore Lyric Opera, The Orange County Performing Arts Center, The Cultural Center of the Philippines, Pacific Symphony Orchestra, Macau Sinfonietta, The Hong Kong Arts Festival/Los Angeles Opera, The Hong Kong Urban Council, First Act Opera of England, Bangkok Symphony Orchestra, Pasadena Pops Orchestra, Palm Dessert Orchestra, Herbert Zipper Hall, The Los Angeles Metropolitan Symphony, The Walt Disney Hall, the International Bamboo Organ Festival, Syrinx Concerts Orchestra of France, the Philippine Philharmonic Orchestra among many others. The Los Angeles Times has hailed him as “The young singer to watch.”
In 2005, Andrew made his debut with the Syrinx Concerts Orchestra in Cote D ’ azur France singing the baritone solo in Handel’s The Messiah and appearing as Sagestrano in the Opera Pacific’s production of Tosca under the baton of acclaimed conductor Christian Badea. Andrew recorded the tone poem Sa Dalampasigan with the Global Symphony Orchestra in the Philippines. Also in 2005, Andrew made his debut at the Walt Disney Hall as Baritone Soloist of Beethoven’s Ninth Symphony.
In the 2005-2006 seasons, Andrew gave an acclaimed performance as Count Almaviva in the Singapore Lyric Opera production of Mozart’s Le Nozze di Figaro. In the same season Andrew gave full concerts in the city of New York, Boston, Panorama, Los Angeles, Manila, San Francisco and New Jersey. Seen in the title role of Eugene Onegin at the Cultural Center of the Philippines, Andrew was praised by critics for his beautiful singing and powerful presence.
Andrew, as a young artist, had the opportunity of being presented in public master classes given by Carlo Bergonzi, Tom Krause, Jane Eaglen, Deborah Voight and Dolora Zadjick and has performed on the opera main stage with Helen Donath, Vinson Cole, Maria Ewing and Federica Von Stade, Lauren Flannigan to name a few.
Andrew sang Rigoletto in Modesto in February 2007 to critical acclaim. He created the role of Powhatan in World Premiere of Linda Tutas Haugen’s and Joan Vail Thorne’s Pocahontas presented by the Virginia Arts Festival in cooperation with Virginia Opera in May of 2007 as a contribution to the 400th Anniversary of the settlement in Jamestown and the story of Pocahontas.
He recently sang the role of Bluebeard in Bartok’s Bluebeard’s Castle presented by Let’s Shout Out Inc of Boston. Musical America called him “A major presence!”
Andrew’s 2007-2008 season include his debut season with New York City Opera and his participation in their productions of Cendrillon and Tosca; singing the title role of Rigoletto in his Opera San Jose debut and the baritone soloist in Vaughan Williams’ Dona Nobis Pacem with the Philippine Philharmonic Orchestra and singing the title role in Bluebeard’s Castle presented by the MCO Foundation in Manila.
This past season Andrew participated in the world premiere of Stephen Schwartz’s first opera Séance on a wet afternoon where he covered the role of Mr. Cole and sang as Reporter #1 with Opera Santa Barbara. Also in this past season Andrew was heard at the San Agustin International Music Festival singing the baritone solo of Beethoven’s Ninth Symphony with the Philippine Philharmonic Orchestra. He was guest baritone soloist of the Jakarta Simfonnia and Oratorio Society in their production of Faure’s Requiem.
Andrew started the current season by doing a US tour giving recitals and concerts. He sang Vison Infernales at a recital in Fullerton with esteemed colleague Benjamin Makino. He is appearing as Alfio in the University of Santo Tomas production of Cavalleria Rusticana and will be performing the baritone solo in The Messiah with Simfonia Jakarta. Andrew will be the featured bass-baritone soloist in Verdi’s Requiem with by the Philippine Philharmonic Orchestra. He returned to Long Beach Opera for Moscow, Cherry Town by Shostakovich in the role of Sasha.
Photos of concert organizer Tariman with Salonga, Salonga, Espina, Oracion and Fernando (left with cultural volunteer and music patron Wilson Go) by Sinag de Leon and Anna Leah Sarabia. The ground-breaking intimate concert series was first done at the Kiss the Cook Gourmet restaurant on Maginhawa st., UP Village, QC.
_______________________________
Dear Music Lovers,
After the successful opening night of the UP Balay Kalinaw Intimate Concert Series on May 28 with violinist Gina Medina and pianist Mary Anne Espina, we would like to invite you to the remaining three concerts of the season: pianist Oliver Salonga on June 18, cellist Wilfredo Pasamba with pianist Mary Anne Espina on July 8 and baritone Andrew Fernando with mezzo soprano Clarissa Ocampo, flutist Christopher Oracion and pianist Espina on July 22.
Please fill up the ticket order form below, and Music News can deliver the tickets free. Or remit ticket payments through BPI Savings Account No. 2449-0956-88 under Account Name: Pablo A. Tariman and your tickets will be reserved on the night of the concert. Call us at (02) 7484152 or 09065104270.
Here is the background of the artists and their program.
Hoping you can join us in the forthcoming concerts, we remain
Very truly yours,
PABLO A. TARIMAN
Ticket Order Form
Music News
116 Edinburgh St.
Pasig Green Park Subd.
Manggahan, Pasig City
Gentlemen:
We would like to order the following tickets indicated below:
1. June 18, 2011 Concert of Pianist Oliver Salonga
( ) ____ tickets at P1000 (with dinner)
( ) ____ tickets at P500 (concert only)
( ) ____ tickets at P300 (student price)
2. July 8, 2011 Concert of Cellist Wilfredo Pasamba and pianist Mary Anne Espina
( ) ____ tickets at P1000 (with dinner)
( ) ____ tickets at P500 (concert only)
( ) ____ tickets at P300 (student price)
3. July 22, 2011 Concert of Baritone Andrew Fernando, mezzo-soprano Clarissa Ocampo and flutist Christopher Oracion.
( ) ____ tickets at P1, 500 (with dinner)
( ) ____ tickets at P500 (concert only)
( ) ____ tickets at P300 (student price)
Please deliver above tickets to the following:
Name:
Address:
Contact Nos. & Email Address:
* * *
Concert 2
Saturday, June 18, 2011, 6 p.m.
Oliver Salonga, pianist
Tickets at P1000 (with buffet dinner); P500 (concert only)
“He plays with power, technique, clarity, precision and coloring… A most satisfying evening!”--Business World
“…Remarkable musical sophistication… A clear standout!”--Malaya
Program
Piano Sonata No.58 in C Major, Hob.48 Haydn
Andante con espressione
Presto
Fantasiestucke, op.12 Schumann
Das Abends
Aufschwung Warum?
Grillen
In der Nacht
Fable
Traumes Wirren
Ende vom Lied
Intermission
Piano Sonata No.31 in A-flat Major, Op.110 Beethoven
Moderato cantabile
Allegro molto
Adagio espressivo
Fuga: Allegro ma non troppo
Apres une lecture du dante
"Sonata quasi fantasia" Liszt
Praised for his pianistic power and poetry, Oliver Salonga has gained a good following in his first recitals in the US, Asia and the Pacific. At a very young age, he has demonstrated an outstanding ability to communicate with audiences on a deeply personal level that made him one of the most promising pianists of his generation.
He was the winner of 2004 Lynn Concerto Competition and was a two-time Grand Prize winner in piano of 2003 and 2004 Madelyn Savarick Annual Scholarship Competition of the Centre for the Arts in Boca Raton, Florida. He had master classes with Sarah Davis Bueckner, Yoshikazu Nagai, Rebecca Penneys, Cecile Licad, Jon Nakamatsu, Jerome Lowenthal, Robert McDonald, John O’Connor and Philip Evans where he received positive comments and great appreciation. At Lynn University, Oliver graduated summa cum laude under the tutelage of Dr. Roberta Rust.
Born in Manila on June 26, 1986, Salonga started playing the piano at age 7 under Prof. Carmencita Arambulo. He gave his first solo public recital at age 11 playing Mozart's Piano Concerto in d minor K. 466. He recently obtained his Master of Music in Piano Performance at the Cleveland Institute of Music under the guidance of 2001 Van Cliburn Silver Medalist, Antonio Pompa-Baldi and was awarded the Sadie Zellen Piano Prize for his superior musical talent. Under his guidance, Salonga won Gold Medal in 2008 Joenju International Piano Competition in South Korea He is continuing his studies at the Cleveland Institute of Music as an Artist Diploma candidate.
Concert 3 Wilfredo C. Pasamba, cellist
Mary Anne Espina, pianist
Friday, July 8, 2011, 6 p.m.
Tickets at P1000 (with buffet dinner); P500 (concert only)
Program: Barber’s Sonata in C Minor, Debussy Sonata and Brahms’ Sonata No. 2 in F Major
Pasamba has performed worldwide as soloist, recitalist and chamber musician. His recent performances include guest solo appearances at the Heidelberg New Music Festival performing the music of George Crumb, and at the Olivier Messiaen Centennial in Missouri; collaboration in the Arnold Schoenberg Retrospective at the University of Missouri-Kansas City; a chamber music appearance with the Omaha Chamber Music Society, and guest solo recitals in San Francisco, Moscow and St. Petersburg.
He has appeared with the Juilliard Symphony, Reno Chamber Orchestra, Wichita Symphony, Syracuse Chamber Orchestra, Ithaca College Chamber Orchestra, Manila Symphony Orchestra, Cebu Philharmonic and the Philippine Philharmonic Orchestra. He has attended music festivals in Tanglewood, Norfolk, Bowdoin and at the Ithaca Violoncello Institute and a conducting fellowship in South Carolina.
He has performed in cello master classes of Janos Starker, Natalia Gutman, Colin Carr, Bonnie Hampton Aldo Parisot, Bion Tsang, Einar Holm, Lawrence Lesser, Michael Grebanier and Carter Brey and has collaborated with conductors such as
Pierro Gamba, Pamela Gerhardt, Basilio Manalo, Arturo Molina, Robert Olson, Michael Palmer, Ruggero Barbierri, Vahe Kochayan, among others.
Pasamba has garnered top honors at the Jennings Butterfield Young Artist
Competition, Juilliard Cello Concerto Competition the National Music
Competition for Young Artists, Reno Chamber Orchestra Competition and was
a semi-finalist in the International Tchaikovsky Competition in Moscow.
No less than The New York Times hailed Pasamba for his “audacity and
brilliance” at his New York debut at the Weill Recital Hall in Carnegie
Hall. He has since appeared in concerts at the Merkin Concert Hall,
Metropolitan Museum, Rachmaninoff Hall, Sviatoslav Richter Museum and the
Omaha Chamber Music Society. He has extensively performed throughout the
US, France, Germany, Turkey, Italy, Russia, Malaysia and the Philippines.
As a chamber musician, he has performed with Peter Wiley, Ani Kavafian, Benny Kim, Karl Paulnack, Reynaldo Reyes, Albert Tiu, Raul Sunico, Brendan Kinsella and with artist members of the Beaux Arts, Argenta Trios, Alexander, Orion and Ying String Quarters. As cellist and co-founder of the Battig Piano Trio, he embarked on its first European concert tour in 2001.
Pasamba is a product of an exceptional music education. He began his music
lessons on his mother's lap, the accomplished pianist, conductor, composer and now music ministry director, Angelita Cariaso Pasamba. At 14, he started cello lessons under the late Martiniano Esguerra. Two years later, he won first prize in the National Music Competition for Young Artists (NAMCYA). Soon he received a full scholarship at the Tchaikovsky Moscow State Conservatory in the former
Soviet Union. Later, he took postgraduate studies at the Juilliard School
of Music in New York and the University of Missouri-Kansas City
Conservatory. He studied under master cellists Natalia Shakhovskaya, Fred
Sherry, Carter Enyeart and later with Maria Tchaikovskaya and Alexander
Rudin.
After his studies abroad, Pasamba came back to his homeland and taught as
assistant professor at St. Scholastica’s College Manila and at the
UP College of Music. He has lately served as faculty member at Pittsburgh State University, and at the University of Missouri-Kansas City Conservatory. Previous orchestral positions include membership with the Kansas City, Omaha and the Des Moines Symphony Orchestras.
Concert 4 Andrew Fernando, baritone, Clarissa Ocampo, mezzo soprano, Christopher Oracion, flute, and Mary Anne Espina, piano
Tickets at P1,500 (with buffet dinner); P500 (concert only)
“A major presence!”--Musical America
International Filipino Baritone Andrew Fernando is the First Prize winner of the prestigious 2003 Loren L. Zachary National Vocal Competition in the United States and an alumnus of the world renowned San Francisco Opera Merola Program. Also a prize winner in the Metropolitan Opera National Auditions in the Los Angeles district and in the Pacific region, The Palm Springs Opera Vocal Competition, a recipient of the Opera Buffs Inc. scholarship grant and the Grand Prize winner in the Pasedena Opera Guild Vocal competition in 2004 and a grand finalist in the Licia Albanese Puccini International Vocal Competition held in New York in 2003. He was Opera Pacific’s resident baritone from 1999-2002 where he worked constantly with internationally acclaimed conductor John De Main.
Andrew has performed as principal artist with San Francisco Opera Merola, Opera Pacific, Eugene Opera, Chicago Opera Theater, Singapore Lyric Opera, The Orange County Performing Arts Center, The Cultural Center of the Philippines, Pacific Symphony Orchestra, Macau Sinfonietta, The Hong Kong Arts Festival/Los Angeles Opera, The Hong Kong Urban Council, First Act Opera of England, Bangkok Symphony Orchestra, Pasadena Pops Orchestra, Palm Dessert Orchestra, Herbert Zipper Hall, The Los Angeles Metropolitan Symphony, The Walt Disney Hall, the International Bamboo Organ Festival, Syrinx Concerts Orchestra of France, the Philippine Philharmonic Orchestra among many others. The Los Angeles Times has hailed him as “The young singer to watch.”
In 2005, Andrew made his debut with the Syrinx Concerts Orchestra in Cote D ’ azur France singing the baritone solo in Handel’s The Messiah and appearing as Sagestrano in the Opera Pacific’s production of Tosca under the baton of acclaimed conductor Christian Badea. Andrew recorded the tone poem Sa Dalampasigan with the Global Symphony Orchestra in the Philippines. Also in 2005, Andrew made his debut at the Walt Disney Hall as Baritone Soloist of Beethoven’s Ninth Symphony.
In the 2005-2006 seasons, Andrew gave an acclaimed performance as Count Almaviva in the Singapore Lyric Opera production of Mozart’s Le Nozze di Figaro. In the same season Andrew gave full concerts in the city of New York, Boston, Panorama, Los Angeles, Manila, San Francisco and New Jersey. Seen in the title role of Eugene Onegin at the Cultural Center of the Philippines, Andrew was praised by critics for his beautiful singing and powerful presence.
Andrew, as a young artist, had the opportunity of being presented in public master classes given by Carlo Bergonzi, Tom Krause, Jane Eaglen, Deborah Voight and Dolora Zadjick and has performed on the opera main stage with Helen Donath, Vinson Cole, Maria Ewing and Federica Von Stade, Lauren Flannigan to name a few.
Andrew sang Rigoletto in Modesto in February 2007 to critical acclaim. He created the role of Powhatan in World Premiere of Linda Tutas Haugen’s and Joan Vail Thorne’s Pocahontas presented by the Virginia Arts Festival in cooperation with Virginia Opera in May of 2007 as a contribution to the 400th Anniversary of the settlement in Jamestown and the story of Pocahontas.
He recently sang the role of Bluebeard in Bartok’s Bluebeard’s Castle presented by Let’s Shout Out Inc of Boston. Musical America called him “A major presence!”
Andrew’s 2007-2008 season include his debut season with New York City Opera and his participation in their productions of Cendrillon and Tosca; singing the title role of Rigoletto in his Opera San Jose debut and the baritone soloist in Vaughan Williams’ Dona Nobis Pacem with the Philippine Philharmonic Orchestra and singing the title role in Bluebeard’s Castle presented by the MCO Foundation in Manila.
This past season Andrew participated in the world premiere of Stephen Schwartz’s first opera Séance on a wet afternoon where he covered the role of Mr. Cole and sang as Reporter #1 with Opera Santa Barbara. Also in this past season Andrew was heard at the San Agustin International Music Festival singing the baritone solo of Beethoven’s Ninth Symphony with the Philippine Philharmonic Orchestra. He was guest baritone soloist of the Jakarta Simfonnia and Oratorio Society in their production of Faure’s Requiem.
Andrew started the current season by doing a US tour giving recitals and concerts. He sang Vison Infernales at a recital in Fullerton with esteemed colleague Benjamin Makino. He is appearing as Alfio in the University of Santo Tomas production of Cavalleria Rusticana and will be performing the baritone solo in The Messiah with Simfonia Jakarta. Andrew will be the featured bass-baritone soloist in Verdi’s Requiem with by the Philippine Philharmonic Orchestra. He returned to Long Beach Opera for Moscow, Cherry Town by Shostakovich in the role of Sasha.
Photos of concert organizer Tariman with Salonga, Salonga, Espina, Oracion and Fernando (left with cultural volunteer and music patron Wilson Go) by Sinag de Leon and Anna Leah Sarabia. The ground-breaking intimate concert series was first done at the Kiss the Cook Gourmet restaurant on Maginhawa st., UP Village, QC.
Thursday, March 10, 2011
Baritone Andrew Fernando at Kiss the Cook Gourmet
Mark your calendars, particularly this date, the 13th of March, a Sunday. The Intimate Concert Series resumes at the restaurant/alternative art space Kiss the Cook Gourmet at 65 Maginhawa st., UP Village, Quezon City.
Featured artist for the evening concert that begins with a dinner first at 6 p.m.is internationally acclaimed baritone Andrew Fernando who was triumphant at the Philamlife Theater in a landmark concert with tenor Arthur Espiritu, soprano Rachelle Gerodias and the Manila Symphony Orchestra last year.
Fernando is the first Filipino first prize winner of the prestigious Loren L. Zachary National Vocal Competition in the United States and an alumnus of the world-renowned San Francisco Opera Merola Program.
He is also a prize winner in the Metropolitan Opera National Auditions in the Los Angeles district and in the Pacific region, The Palm Springs Opera Vocal Competition, a recipient of the Opera Buffs Inc. scholarship grant and the Grand Prize winner in the Pasedena Opera Guild Vocal competition in 2004 and a grand finalist in the Licia Albanese Puccini International Vocal Competition held in New York in 2003. He was Opera Pacific’s resident baritone from 1999-2002 where he worked constantly with internationally acclaimed conductor John De Main.
His March 13 program includes Mozart’s "Se vuol ballare" (from Le Nozze di Figaro), Donizetti’s "Bella siccome un'angelo" (from Don Pasquale), "Kennst du das," , "Being Alive," from Little Women, "Some Enchanted Evening," "Impossible Dream," among others.
Concert comes with full-course dinner. Menu: Beefy mushroom and barley soup, Tropical Chicken and Mango Salad, Fish Fillet in Piripiri Sauce, Brown Rice and Corn Pilaf, Asparagus and Mushroom Saute, Watermelon, Melon and Honeydew with Honey Min
Call tel. 748-4152 or 0906-510-4270 for details. Kiss the Cook Gourmet (KTCTG), with tel. no. 434-3700, still has a few tickets left at their location.
This fourth concert is personally meaningful to me. It's a make-or-break thing. We are raising bail money for a cultural worker unjustly jailed for illegal possession of firearms in Western Samar.
KTCG's Waya Araos Wijangco has been sympathetic in lending her venue and arranging a full-course dinner at a loss in order to get more donations to the kitty. If there are enough kind hearts to enable us to pay the performing artists Andrew Fernando, his accompanying pianist Mary Anne Espina and the piano rental, the detainee has a chance to start afresh and be reunited with his family while the intimate concert series can hope to continue with its classical music outreach on a shoestring.
The concert organizers, Pablo Tariman and myself, are NGIs (non-profit individuals), and it would be great if we can increase our ranks so concerts for worthy causes can continue at KTCG and similar intimate venues where audience and artists can interact.
Photo shows Andrew "Drew" Fernando.
Featured artist for the evening concert that begins with a dinner first at 6 p.m.is internationally acclaimed baritone Andrew Fernando who was triumphant at the Philamlife Theater in a landmark concert with tenor Arthur Espiritu, soprano Rachelle Gerodias and the Manila Symphony Orchestra last year.
Fernando is the first Filipino first prize winner of the prestigious Loren L. Zachary National Vocal Competition in the United States and an alumnus of the world-renowned San Francisco Opera Merola Program.
He is also a prize winner in the Metropolitan Opera National Auditions in the Los Angeles district and in the Pacific region, The Palm Springs Opera Vocal Competition, a recipient of the Opera Buffs Inc. scholarship grant and the Grand Prize winner in the Pasedena Opera Guild Vocal competition in 2004 and a grand finalist in the Licia Albanese Puccini International Vocal Competition held in New York in 2003. He was Opera Pacific’s resident baritone from 1999-2002 where he worked constantly with internationally acclaimed conductor John De Main.
His March 13 program includes Mozart’s "Se vuol ballare" (from Le Nozze di Figaro), Donizetti’s "Bella siccome un'angelo" (from Don Pasquale), "Kennst du das," , "Being Alive," from Little Women, "Some Enchanted Evening," "Impossible Dream," among others.
Concert comes with full-course dinner. Menu: Beefy mushroom and barley soup, Tropical Chicken and Mango Salad, Fish Fillet in Piripiri Sauce, Brown Rice and Corn Pilaf, Asparagus and Mushroom Saute, Watermelon, Melon and Honeydew with Honey Min
Call tel. 748-4152 or 0906-510-4270 for details. Kiss the Cook Gourmet (KTCTG), with tel. no. 434-3700, still has a few tickets left at their location.
This fourth concert is personally meaningful to me. It's a make-or-break thing. We are raising bail money for a cultural worker unjustly jailed for illegal possession of firearms in Western Samar.
KTCG's Waya Araos Wijangco has been sympathetic in lending her venue and arranging a full-course dinner at a loss in order to get more donations to the kitty. If there are enough kind hearts to enable us to pay the performing artists Andrew Fernando, his accompanying pianist Mary Anne Espina and the piano rental, the detainee has a chance to start afresh and be reunited with his family while the intimate concert series can hope to continue with its classical music outreach on a shoestring.
The concert organizers, Pablo Tariman and myself, are NGIs (non-profit individuals), and it would be great if we can increase our ranks so concerts for worthy causes can continue at KTCG and similar intimate venues where audience and artists can interact.
Photo shows Andrew "Drew" Fernando.
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