Knucklehead Nelly

While watching soprano Nelly Miricioiu's animus and duende take over her at Monday's press conference, I was reminded of a fictional character that I've always identified with in my pre-teen years when St. Paul College of Quezon City mounted the Rodgers and Hammerstein musical South Pacific. There before me at Cravings Restaurant's function room at the Shangri-La Plaza Mall was a living, breathing, laughing Nellie Forbush, the cockeyed optimist herself.

After her two-hour or more "recital" of her life from childhood to today, I called the Emile De Becque of my life to gush about La Nelly, what a force of life she is, how her statements apply not just to singing but to writing and the living of a creative life and how she deserves wider coverage in mass media. At which point, Rolly, my husband, started singing phrases from the song "Volare", and I doubled up laughing. The cab driver must've thought I had gone insane!

Below are photos of Ms. Miricioiu, alone, with her husband Barry Kirk, with our friends in media and the music world. Thank you, Pagcor, Amara Resort, Cravings and all who're making Ms. Nelly's visit an occasion for her to think about returning in the near future. Cue for me to die happy.

Quotable Nelly: "It's an amazing feeling to be back. I didn't intend to leave Romania. I felt I could be an artist and a patriot at the same time." She defected from Romania and was granted British citizenship, but she still sings at events that benefit Romanian charities. Photos by Babeth Lolarga

The Miricioiu-Kirk couple chooses their first meal for the day. The evening before when they had just arrived from London, she passed the drinks menu to Barry and said, "Darling, choose the wine. You're the specialist."

She's also a screwball kind of comedienne in the Lucille Ball mold. She always manages to keep writer Pablo Tariman in stitches. She calls him "a quiet boy from the province." Now that sets those of us who know him laughing.

A conductor once told the young Nelly who was a bundle of nervous energy: "You have expression in your little finger. That is enough." She considered that a good tip because it enables the music's simplicity and elegance to emerge.

With film critic Mario Hernando

With soprano Glenda Velasco Liao who won't be in the masterclass at Ayala Museum but will be part of the technical staff operating the supertitles

With Al Andres, one of the hardworking associates of Culture Arts Events Organizers who doesn't look like he has lost his entire shirt wardrobe from risking all to push and market concerts like tomorrow's "Nelly Miricioiu: Live in Manila" at 8 p.m. at Meralco Theater

With small but terrific soprano Myramae Tapia Meneses whose solo voice soared at the Manila Cathedral and Luneta Grandstand during the visit of Pope Francis

Romania's and the Philippines' soprano greats Nelly and Camille Lopez Molina, respectively. Love Nelly's polka-dot stockings!

With Angel Reyes Nacino of the Manila Chamber Orchestra Foundation

This guy's dopamine level will remain at a high level for the rest of 2015. This is all the loving he needs.

Teepee Aguilar, soprano of the hour

Teepee with her assisting artist, pianist Farley Asuncion, and her dad, architect Efren Aguilar  Photos by Babeth Lolarga

Of the adjectives that have been used to describe the voice of lyric soprano Stephanie Anne “Teepee” Aguilar, the ones that have captivated me best as listener-admirer are “creamy” and “radiant.”

More will be added to the list when we watch and listen to her again at the professional debut recital of this 2012 Jovita Fuentes Vocal Competition prize winner on Aug. 20, Wednesday, at 7 p.m. at Ayala Museum.

The Manila Chamber Orchestra Foundation (MCO) Foundation has made of the museum lobby its presenting stage for most of its concerts this year (in July, it was the renamed Lanuza Hall at the Philippine Stock Exchange bldg. in Pasig City for the memorable Mostly Mozart Festival).

And it’s also almost SOP for the MCO Foundation workhorses (executive director Angel Reyes Nacino and consultant Joseph Uy—they with the biblical names) to bring the talents for live patikim presentations at Bert Robledo’s noontime program, “Bravo Filipino,” over DZFE The Master’s Touch (that’s 98.7 on your FM dial).

For just this past Thursday’s radio program, Teepee prepared Mozart’s “Or sai chi l’onore,” Anna’s aria from Don Giovanni; Schubert’s “Gretchen Am Spinnrade”; the American spiritual “He’s Got the Whole World in His Hands,” arranged by Margaret Bonds; and Nicanor Abelardo’s “Mutya ng Pasig.”

With DZFE's Bert Robledo

When he learned that she earned her first bachelor’s degree in Hotel and Restaurant Management, major in hospitality management, from the College of St. Benilde, he said in deadpan fashion (off the air), “Puwede ka ring singing  kaldero.”

She said her mother Gigi, who’s good on the piano and works as an interior designer, wanted her only child to take a college course that would reassure her of a future.

But Teepee has been singing since she was three, a soloist no less in nursery school. Her father Efren recalled how Teepee was always chosen as choir leader during her elementary and high school years at the Tabernacle of Faith Christian Academy in San Juan, Metro Manila. For a time she was choir director of The Word Community Church which holds its Sunday worship at Unilab’s Bayanihall Hall in Mandaluyong.

Until a friend invited her to the University Santos Tomas, and in 2009 she entered its Conservatory of Music. She said of that decision, “I prayed to God, telling Him singing is what I do best. Let’s see how far God will take me.” She began as part of the big chorus in Cavalleri Rusticana. Manong Bert quipped that the experience put her literally in the pits (orchestra pit).

Singing live at the DZFE studio with Farley Asuncion on the piano

Asked what makes a good opera singer, she mentioned talent and finding good teachers who would notice the talent and hone it (in her case, soprano Rachelle Gerodias in the beginning and now tenor Lemuel de la Cruz), dedication, heart  (“You’ve got to love what you’re doing, memorize different languages and blockings and making all these look flawless”), and hard work.

Again Manong Bert couldn’t help quipping that the likes of Anne Curtis have a lot of hard work to do.

Teepee’s schedule these days include studying for roles on her own (she’s appearing in the operas Noli Me Tangere and La Boheme) before turning up for rehearsals, practicing with a pianist or whoever is teaching or directing her and the others. She said she enjoys preparing for an opera because it’s “grand, colorful and always big."

She ended her hour-long interview interspersed with singing at DZFE with “He's Got the Whole World in His Hands.” Manong Bert couldn't help saying how compelling the spiritual was in the light of Robin Williams’ suicide, saying, “There’s no need to feel hopeless, no matter what you’re experiencing or going through.” - Elizabeth Lolarga

Relaxing after the interview 

For tickets to Stephanie Aguilar's concert, call TicketWorld at 891-9999, the MCO Foundation at 750-0768 or 0920-954-0053 or CAEO at 762-7164 or 0918-3473027. 

Simply Mozart in a night to remember

Following Maestro Oscar Yatco’s recent demise is the death of Lorin Maazel. Together with the New York Philharmonic, conductor Maazel visited the Philippines in 2002, the two-night concerts at the Cultural Center of the Philippines ending always to thunderous applause and ovations.

But the classical music world has a long tradition of maintaining a wide bench of talents, even geniuses. They’re already way beyond and above understudy stage, more than ready to replace what seem like irreplaceable losses. Maestro Darrell Ang, who led the Manila Symphony Orchestr (MSO) in Friday night’s “Mostly Mozart 2014 Festival,” is one such man.

Stellar tandem: Tenor Arthur Espiritu and Maestro Darrell Ang Photos by Anna Leah Sarabia

Cutting an elegant figure in his tux and tails, he possessed graceful arms and hands that also had an authority in them, allowing him to bring out the heroism, even manliness (feminists may quarrel with this), innate in Beethoven’s Eroica (Symphony No. 3 in F-Major, Op. 93). It’s a misunderstood work in the context of the composer’s time—was he really pro- or anti-Bonaparte?

Gina Medina-Perez, first violinist -concertmaster, recalled how the MSO members, within weeks of each other, learned from two guest conductors (Ang and Thanos Adamopulous previously).

She praised the two for their musical expertise and intensity. “Both demanded professionalism and commitment, but they don’t tell that to you. During rehearsals they don’t give sermons or throw tantrums if the music doesn’t work the way they want it. You want to be excellent because they’re excellent. You try your best so you can keep up. It’s interesting how good musicians just focus on music making and being faithful to the score. Thanos and Darrell are the easiest to work with. They know what to do and focus on achieving that.”

She added that like Adamopulous, Ang “knows the music very well and interprets it according to what he thinks the composer wants. Their interpretation of Eroica is very different, but both fulfill the composer’s intention. It’s pure magic to experience this kind of music making.”

Since the program mainly focused on Mozart’s works that are rarely, if never, heard played or sung live, Perez-Medina remarked on the challenge she and the MSO faced: “We only had four rehearsals with Ang. He focused on bringing us to the level nearest to what he wanted. We gave our best. Preparing for that concert required teamwork. It wasn’t a one-man job.”

What the orchestra members did was place their trust on Ang and on one another, including tenor Arthur Espiritu and pianist Cristine Coyiuto, whose niche could now be said to be Mozart concertos.

Ms. Coyiuto sparkling in her Roy Paras gown

Medina-Perez said, “That was the only way we could have a solid performance. During the performance, we let each other shine. Ultimately, the one who should shine is not the MSO, the conductor or the soloists but the music itself. We are mere instruments, conduits of a greater work—music.”

Singaporean Ang helped the cash-strapped Manila Chamber Orchestra (MCO) Foundation in marketing the concert. The auditorium of the Philippine Stock Exchange, renamed Juan Antonio Lanuza Hall after a music critic-patron, was standing room only, with some early ticket buyers held up in the Friday night rain and traffic.

Ang, who donated his fee to the foundation and to Habitat for Humanity’s building of new houses for supertyphoon Yolanda suvivors, posted short notes in his Facebook page alongside photos of himself, with the soloists and with the MSO. Of the MSO he predicted it was “set to regain its footing as the nation’s top orchestra!”

He described Espiritu as “a superb Filipino tenor whose beautiful take on two Mozart arias is definitely worth the price of the ticket alone!” Espiritu is back in the country after his latest triumph in the role of Fernando in the Donizetti opera La Favorita at the St. Gallen Festival in Switzerland. At the technical rehearsal at Ortigas Center venue, he noted how the supra-cold air-conditioning dried up the air to a point where he couldn’t hear his own voice.

Espiritu

Nonetheless, his interpretation of the arias “Misero, O Sogno, o son desto?” in the first part of the changed program and “Se vuoi che te racccolgano,” the last Mozart aria for the evening, showed his capability to transcend physical obstacles and emerge more triumphant than an Everest climber.

After the concert, he said, “I tried to be as positive as I can be. It was a dry hall, filled with carpet, even the stage is carpeted. Knowing that Lanuza Hall can have the potential for a great concert hall, it should be easy to revitalize it. I was happy to perform. Knowing that I am contributing to the foundation is a good enough feeling.”

It’s almost SOP for a Filipino audience to expect an encore, especially from Espiritu. He said, “We discussed the possibility after the last aria, but alas my vocal condition made it hard to sing one more. I had a cold, was having dry coughs at the time. I didn’t want to risk losing my voice.”

He must surely be within the radar of a local recording company or a body like the National Commission for Culture and the Arts. He wants to record Filipino composers’, especially kundiman writers’, works.

He said, “I am hoping to collaborate with recording labels and maybe do a recording. I have never been approached so I’m open to it.” Someone heed him quick because European opera houses are already grabbing him and about to spirit him away.

Angel Reyes-Nacino, MCO Foundation executive director, was gladdened by the audience turnout and response. “We hope we still have funds and have a change in the mindset of sponsors for the classical arts. We don’t recover from our concerts.”

Concerning the auditorium’s renovation to make it more concert-worthy, she said, “We haven’t sat down with the Lanuza family to find out their plans. I’m sure we’ll get help from above. Mr. Lanuza is guiding, praying for us from up there.”

Medina-Perez agreed, “It is a good-sized hall. The carpets need to go. That will make a big difference. A proper dressing room would be nice.” - Elizabeth Lolarga

My incredible week in review

Waya Araos-Wijangco, Jerry and Melen's eldest daughter, with her niece and everyone's fave little girl, the sociable Amarra Araos Encabo

Old ties renewed: Host Doc Melen, writer Gemma Corotan-Kolb stand behind Nympha Saño, who Odette Alcantara used to call "Nymphette", and a blogger who has adopted the babushka look (coming soon, when her budget finally allows, peasant blouses)

The week of July 7 to 10 will be recorded in great detail in my personal diary as a very full one--the jingle lang ang pahinga kind of week that has taken a toll on a bum knee. The Sunday began with a visit to the Araos family, a hi and a ho to remember Jerry by. He would've been 70, a milestone year.

While I was there, Melen and youngest son Julian brought out some bubble-wrapped paintings that are bound for Florida, the US of A (not Florida Bus Lines). These were gifts to Jerry when he was hale, hearty and the biggest "encourager", after my husband Rolly, when I returned to art school. He saw to it that I would exhibit with his art guild Salakai in one of the biggest simultaneous art show events at the old SM Megamall Art Walk in May 2007 (them were the days when the SM chain of malls still had a veneer of credibility). These works haven't been exhibited; they were personal gifts to JVA's family. Now Jerry and Melen's youngest daughter Mira, who's infanticipating, will hang them in her nursery.

It just occurred to me now that these works remain untitled. So, Mira, it is with extreme pleasure that I give them the "names" they need for after all, they are the babies of my mind, heart and hands. Dear Mira, these are all the "authentication papers" you'll need.

"C Is for Crabs, C Is for the Cancer-borns" (Jerry, Mira and I are all born under the zodiac sign of Cancer.)

"Tea Time for Stones and Two Jars"

"Cubes, Ovals and a Ripe Orange"

After Jerry died, Melen said when she met my grand-daughter again two years after she delivered Kai/Butones that she hoped Amarra and Kai would become friends. This is to continue the deep ties of the Araoses and Lolargas--what Jerry had written in the past about how our families are intertwined. But due to geographical reasons, it may be Amarra and my grand-niece Machiko Skye Lolarga Susi (right) who'll hit it off. Max, as the family calls her, is, like Amarra, an Antipolo resident.

Monday, the seventh of July, was Maestro Darrell Ang day. When he arrived at NAIA the day before, Joseph Uy, consultant of the Manila Chamber Orchestra Foundation, who was there to welcome him, texted immediately: "Ma'am, Darrell is now here. He's gorgeous. You'll like him."

I texted back: "Baka naman himatayin ako!"

Joseph: "Don't worry, Ma'am, I'll catch you."

That's what I love about Joseph. He has this deadpan humor, and he doesn't add cheesy smiley emoticons on his messages the way I always do.

I had to give up a ladies' lunch (postponed for the nth time) for this coverage for Vera Files. I always am thankful for good, kind cab drivers, even the talkative ones, who bring me to my destination and back to the house without incident. I can't tip them anymore, but if there's an anti-hypoglycemia pack of sugar-free anything (mints, candies, cookies), this goes to the driver of the moment. Better than a tip because their faces light up when they say: "Mommy, solved na merienda ko." With the babushka look, they initially speak in English and ask from what country I am. Naks! I'm inclined to say Greece or Ukraine, but I don't want the discussion to get political and complicated so I quickly confess I'm Pinay and I have a pangit haircut to hide which is true. The barber (yes, barbers are cheaper than salon hair stylists) is still alive, by the way.

Group shot around Maestro Ang (seated second from right between classical music blogger Andrian Lontoc and a babushka) at the Makati Sports Club. Others in photo are Jasmine Cruz (bending left) of BusinessWorld, Baltazar Endriga, chairman of the board of the MCO Foundation, Ellen Tordesillas of VERA Files, Malaya and Abante, and Allan Pastrana, contributing writer of Philippine Daily Inquirer and a teacher at Miriam College. I told Mr. Endriga it must be nice to called Chairman of the Board like Frank Sinatra. His quick reply: "But he was Sinatra, and his friends in the Rat Pack were all millionaires! I'm not."

Tuesday I filed my story only to learn that the Vera Files site had been spammed and hacked.

Wednesday was teaching day--the first time I went to school accompanied by a yaya, my mom's. Never, not even in my nursery and kindergarten years, was I ever accompanied by a yaya to school. But this time, someone had to help me carry my students' notebooks (the equivalent of theme notebooks in my high school years), other teaching materials, my umbrella and backpack of personal stuff.

Should I also be grateful for over-frank students who ask for my exact age, what the matter was with me and if I'll be due for retirement soon because of disability? One asked, "If you're sixty by next year, will you have to go? And if you do, will they dissolve CW (creative writing)?"

My answer was diplomatic: "When the time comes for me to leave school, someone will take over. No one is indispensable in any organization."

Thursday, oh my! It was La Gilda Day, her vernissage at Silverlens Galleries in Makati, but I'll reserve a full-length account of that wild evening for another outlet. I wanna share this precious pic of funny girl Chit Roces Santos who's always Not Quite There and her babushka pal. I asked what did she come as. She said, "Masahistang bulag!" We sat together for a bit by the registration table at the entrance, and I said, "If people ask, you're my caregiver. Class ako ngayon--tisay ang yaya ko!"

Chit and blogger

Don't even talk of Friday because from the moment I woke up with my husband by my side (a rarity when I'm in Manila), I was in a go-go-go mood. His idea of a treat was to cover all meals in one blow--yes, a luncheon buffet that started at 11:30 a.m., ended at 2 p.m., 15 minutes before all the stations closed. He seemed insatiable and steadily ate through plates of sushi, sashimi, chorizos, three flavors of green ice cream, halo-halo with just the sangkap, not the ice and milk, buko pandan, mango sago, all downed with beer. I was waiting for him to turn comatose before my eyes, but it was I who got sleepy from just two plates of sushi.

What woke me up was when the waiters started singing table to table where a birthday celebrator was seated. They were a threesome: guitarist, a maracas and a tambourine player. One of them carried a portable sound system. I envied the tables that had a celebrator each so when our neighbors enjoyed the birthday song plus another pop hit, I asked if anniversaries were counted (our 30th was coming up in a few days). Yup, they "performed" anniversaries, too. A waiter proceeded to fetch this huge tarpaulin with "Happy Anniversary" writ large. When the singing started, I felt an instant shot of adrenalin. It was my cue to rise with my cane, sit on Rolly's left leg and do a lap dance. Guess who walked with a limp after? And the song we were serenaded with? "Kahit Maputi Na ang Buhok Ko!"

Old couple marking their Pearl Anniversary with a cheerful photo bomber behind them. I'm pretty sure that if I die ahead of him, Rolly will miss me acutely because of moments like this one and thus forgive my past transgressions.

Hubby and I capped date night at the Mostly Mozart 2014 Festival. Knowing what a screeching, shameless fan girl I am when the gods and goddesses descend from Music's Olympus, Rolly kindly took my photo by the grand piano with an Adonis, Maestro Darrell Ang.

As if all those activities weren't enough, I met some of my CW students yesterday, a Saturday afternoon, at the entrance of the Ayala Museum for a field trip. They not only visited the permanent diorama and the Fernando Zobel retrospective, they were present for Dr. May Jurilla's lecture-presentation on "Romancing the Book." My instruction to the kids was to listen well so they could ask one well thought out question each. In the end, only three overcame their shyness to raise their hands during the open forum.

One, two, three: Hashtag Ayala Museum!

Photos by Angel Reyes Nacino, Babeth and Suzy Lolarga, Maite de la Rosa, Rolly Fernandez and others like another restaurant customer

Painting to keep the music alive | Vera Files

Painting to keep the music alive | Vera Files