Death and life in a day, plus a nightingale comes home

If it's Wednesday, the 9th of January, it must be Manila with all its traffic woes and attention on the Feast of the Black Nazarene.

My husband Rolly Fernandez and I arrive at the Cubao terminal of JoyBus at 5:30 a.m., but hustler cab drivers are ready to pounce on two senior citizens shaking off the weariness of travel. Finally, after three tries we find a cabbie willing to take us and our baggage in at only the cost of what's stated in the meter.

Dr. Florentino "Jun" Martin a.k.a. Kentucky

Where we head at that hour is for a future story. What brings us to the lowlands is the death of our brother-in-law Florentino Martin, husband to Rolly's elder sister Thelma. She and Kuya Jun, as we called the late urologist, are American citizens who had long decided to pour their savings into the Philippines by settling in Puerto Princesa City, Palawan, and building a modest hotel. Already in his 80s, KJ (shorthand for Kuya Jun) continued to practice medicine there.

Also known as Kentucky because he loved to bet at the Kentucky Derby and he practiced his profession in that state, KJ suffered a heart attack on the fourth day of the New Year. He had told relatives earlier, who had quizzed him if he had a life plan, that he wasn't all that ready to go. He wanted to die at age 94. But at age 88, his wish wasn't heeded. And so he went.

So Rolly, myself and my sister Suzy Ellen Suzanne D. Lolarga find ourselves the first visitors of Kentucky at 10 a.m. on a hectic Wednesday as he gloriously lay in state in a white coffin at the St. Alphonsus Chapel in Magallanes Village, Makati.

We say our prayers for his soul's repose quietly, and at a quarter to 3 p.m., Suzy and I take our leave to avoid the EDSA carmageddon exacerbated by the rerouting of vehicles due to the Quiapo feast.

By 4:30 p.m. friend and fellow music lover Joseph Uy is texting me, urging me to come to Oriental Pearl Kapitolyo where "tito is already waiting." Tito is Pablo Tariman, and the occasion of our reunion is a belated celebration of his 70th orbit.

Shall we call them the usual suspects as far as eating well is concerned? Here we are still awaiting our orders. Thank you for hosting, Joseph!

Joseph is just a few years younger than me, but he enjoys addressing me as his "tita." I don't know if it's because of the dust of white hair on my head or the cane I use to assist me when I stand or walk.

What I think is merienda rapidly segues to a simple lauriat dinner (no meat dish as we are groaning from it from the holidays) of birthday noodles, shrimp balls, mushrooms, cold cuts, fish fillet with veggies and Yang Chow flied lice. :-)

The stories are uncorked like bottled champagne and plans for intimate concerts in the New Year are laid.

The blogger and soprano Myramae Meneses

Joseph always has a surprise up his sleeve. A little before 6 p.m. who should walk in but soprano Myramae Tapia Meneses, back from her two years of studies at Guildhall School of Music & Drama, looking trimmer and smiling sweetly as we last remembered her.

No, she doesn't sing an aria for her Tito Pablo, but she does something better. She commits to an outreach concert in Baguio details of which will be written later when everything is ironed out, including a program that's guaranteed to make the most stoic and most hardhearted swoon in delight.

Wednesday isn't so bad. God allowed me to glimpse death (Kentucky's) and a celebration of a life (Pablo's) in a day.

May your Thursday be as meaningful!

Pure, unplugged

Prof. Arturo Molina leading the 90-year-old Manila Symphony Orchestra, the oldest in the country and in Asia

The new performing arts venue at the Circuit Makati (formerly the Sta. Ana racetrack) allows for instrumentalists and vocalists to perform without anything to enhance the sound. "Pure, unplugged" was how Jeffrey Solares, executive director of the Manila Symphony Orchestra (MSO), described the sound when the MSO played its final run-through this Saturday before the concert "Love in the Time of Opera" started.

Billed as a pre-Valentine concert, the event came to be within less than a month when an MSO concert was postponed and something had to replace it since some musicians are full-time salaried people and had to be involved in something. Solares sounded out Camille Lopez Molina, artistic director and vocal coach of Viva Voce, because he believed that an opera-based concert was the easiest to sell.

She was game, and the team-up with the orchestra was set in place. It was also an opportunity to help raise funds for the travel and living expenses of the two Viva Voce members, sopranos Myramae Meneses and Renee Michaela Fajardo, when they fly to London in August as scholars of the Guildhall School of Music and Drama. (Incidentally, MSO bassoonist Ariel Perez is a Guildhall alumnus and full scholar, too.)

Also in Viva Voce's favor was the availability of tenor Arthur Espiritu and baritone Noel Azcona. The same went for stage actors Nonie Buencamino and Teenee Chan who waived their fees and gave their all for love of music. The universe was conspiring for this show to succeed.

The audience was treated to steamy love duets, all the more amazing because the singers-actors could twist and turn their bodies while not losing a beat, not affecting their voices' volume. There were physically unusual pairings like the one between the towering hulk of a tenor in Mark Bautista and the sweet and petite Iona Ventocilla, who has the role of Mimi down pat, in the timeless "O Soave Fanciulla" from La Boheme. But then opera is where suspension of belief is called for. The role of tubercular Mimi is more often than not sung by a robust soprano.

As Hanna Glawari in The Merry Widow, Lopez Molina had the build and dignity of age to match Azcona's Count Danilo. Theirs was a subtle battle of the sexes that ended with love triumphant.

Glenda Liao (in orange gown) is Monica and Raymond Yadao is Lukas in their duet "Makikiliti Kang Totoo" from the Severino Reyes zarzuela Walang Sugat.

But the duet that blew my head away was not between a man and a woman in the throes of passionate love but the obvious affection between two girls walking by a river and gathering flowers: Lakmé, daughter of a Brahmin priest and played by Meneses, and servant Mallika, played by Fajardo, from Delibes' French opera Lakme. This famous flower duet has been sung by superstar pairings from Korea's gift to the world Sumi Jo and Ah-Kyung Lee to Anna Netrebko and Elina Garanca to grand dames of opera Joan Sutherland and Marilyn Horne. Now we have a Meneses and Fajardo to hold a candle to them.

It was the MSO's and Viva Voce's first time to perform at the ProMac Spotlight Center. Surely, this is a sign of more enchanted evenings to come. Kudos to everyone involved in this production!

A choral rendition of Puccini's "Nessun Dorma" served as the encore after the concert closed with Bernstein's "Tonight" and balcony scene. Among those in the picture are Meneses, Chan and Anna Migallos. Photos by Pinky Lolarga Susi

Bravi!

Tenor Arthur Espiritu was called by the audience to also render a song after the final ovation for his students. Accompanying him in "La donna è mobile" from the opera Rigoletto is Najib Ismail. Photos by Babeth Lolarga

Trust Espiritu to bring out nothing but the best from his 12 disciples. I missed observing his three-day masterclasses the other weekend, but I made sure that I would be back in Manila for "A Night at the Opera" at the Ayala Museum wherein the 12 showed the subtle or obvious changes in their singing and acting after being coached, or to use his own word, "hammered" by their Sir Arthur.

He shared how his workshop concentrated on character, what the young vocal artists were singing about. He was pleased that they responded well. Of this batch, he described them as "among the most beautiful voices I've worked with." Each time he returns to the home country leads to the discovery of "so much talent" here. He lamented at the same time how a lot of these talents do not get the support they need when it is time for important auditions within the country or abroad. Despite their talents, there is not enough support for music artists so they could grab that possibility of making singing their life's passion and commitment.

To the capacity crowd at the museum lobby (a positive sign for classical music events this new year), Espiritu hurled the challenge of continuing to support these artists. Congratulations to the Cultural Arts Events Organizer for taking a big gamble by giving the 12 the opportunity to learn from and closely interact with Espiritu.

Myramae Meneses and Iona Ventocilla play the already affianced but still flirtatious girls Dorabella and Fiodiligi in the aria "Prendero quel brunettino" from Mozart's Cosi fan Tutte.

Mia Ana Tanciongco looks the part in the aria "Porgi Amor" from Mozart's Le Nozze di Figaro. Her song runs: "O Love, give me some remedy!/ For my sorrow, for my sighs! / Either give me back my darling / or at least let me die."

Guildhall London-bound soprano Renee Michaela Fajardo, the only female performer in trousers that evening, stays true to her character Cherubino, a lovesick page boy who sings "Voi che sapete," again from Mozart's opera The Marriage of Figaro. In Italian, the song mocks love "a feeling, full of desire, / Which is by turns delightful and miserable. / I freeze and then feel my soul go up in flames, / Then in a moment I turn to ice." In the third photo, Teacher Arthur is seen at right watching his student closely. After each workshop participant exited, he greeted him or her with a bear hug, fist bump, high five or firm handshake.

Nomher Nival is a properly emotional Nemorino in Donizetti's "Una furtiva lagrima" from the Italian opera L'elisir d'amore when he sees that a love potion for his snobbish beloved works. An audience member who had heard Nival sing the same aria a year ago said this second time around, he wasn't just hitting the notes, he was feeling each one.

From the top: Carlo Bunyi, Jan Brianne Astom, who sang a beautiful Shakespeare poem "Come away, come away death"
set to music by R. Quilter and Mheco Magalit (in red gown) were the fresh voices we heard for the first time and hope to see and hear more of.

Sexy Roxy Aldiosa socks it to the audience with her coloratura Rosina singing while twirling a cloth flower and purse "Una voce poco fa" from Rossini's The Barber of Seville.

Madness, thy face is Stephanie Quintin who brought the house down with her "Ombre Legere" from Meyerbeer's opera Dinorah. The wonderful thing about a concert of opera highlights is one doesn't have to sit through a three-act, hours-long opera just to hear a famous aria of a woman who loses her husband-to-be on the day of the wedding and is driven mad by the loss.

Nomher (playing Rodolfo) and Anna Migallos as Mimi exit dramatically as they sing their love for each other in "O Soave Fanciulla" from Puccini's well-loved La Boheme.

The faces and the future of Philippine musical theater and opera. Hello world! See you in a few! From left: Carlo Bunyi, pianist Gabby Paguirigan, Jan Briane Astom, Carlo Mañalac, Mheco Magalit, Mia Tanciongco, Stephanie Quintin, Anna Migallos, Myramae Meneses, Roxy Aldiosa, Marielle Tuason, Renee Michaela Fajardo and Iona Ventocilla.

It's the process, not the final product alone

And documenting the process has been my assigned, more likely a self-imposed, task during the making and mounting of Gioachino Rossini's La Cenerentola, the two-act comic opera that goes onstage Aug. 15, Saturday, at 8 p.m. at the Meralco Theater in Pasig City. Of the many things I do for love these I like to kiss the day goodbye with.

Hey, Mister and Mister Good-looking! Maestro Darrell Ang (left) is the most sought-after Asian international conductor today and is La Cenerentola’s music director and conductor. He leads the Manila Symphony Orchestra, the country's oldest at 89 years old, on opera night. He is the Bretagne Orchestre Symphonique du France music director. Tenor Arthur Espiritu, looking fresh despite having just disembarked from his plane from Europe at 1 a.m. on this day of the press conference, is Don Ramiro, the role that put him on the world operatic map. He's a sensation in Europe, and this blogger hopes that in his home country Arthur receives the same recognition factor as the idol of his childhood, Gary Valenciano.

Guy on left is the most hardworking freelance journalist I know in this hemisphere. He also gives nicknames to artists that stick for a long time. Pablo A. Tariman once called Arthur the "Prince of Cantabile." Indeed this prince of high Cs is that and more, a humanitarian, too, who was among the first to respond to the post-supertyphoon Yolanda relief and rehab efforts

Media oldtimers are reliable at press cons with a strong cultural angle. Seen at Gerry's Grill before lunch was about to commence and as they waited for the opera talents to come in are (clockwise): Pablo, Amadis Ma. Guerrero, Alex Dacanay, Bibsy Carballo, Chit Roces Santos and Vergel O. Santos. After meeting the stars of the opera, Chit observed, "It's an impressive, good-looking cast. Gone are the days when opera singers looked like two-door refers." In the next table Barbara Mae Dacanay of Gulf News Asia is shown interviewing Arthur and other music artists.

The Maestro with blogger Adrian Lontoc whose area of concentration is music and the arts

They play full-blooded sisters to one another and nasty step-sisters to Cenerentola (or Cinderella). They are Myramae Tapia Meneses and Tanya Corcuera.

Another looker is baritone Byeong In Park who will play Dandini, Don Ramiro's (played by Arthur) valet. The Saturday event also marks Byeong In's official and first-time appearance on a Philippine stage. Byeong In is married to the Philippines' Rachelle Gerodias, soprano, and has a baby boy with her.

The voice of American mezzo soprano Karin Mushegain we hear for the first time at the Steinway Manila Boutique when she rehearses with the rest of the cast and Maestro Ang. She has Armenian roots, resides in LA and came to Manila for the first time with a list of to-eat places and stuff. To her left is Alvin Seville, the assistant conductor who Maestro Ang brought with him at his expense from Singapore to ensure a perfect production.

Intently studying the music while rehearsing it at the same time are Arthur, Maestrao and Najib Ismail, who served as repetiteur

Maestro and the Manila Symphony Orchestra practice with such focus at Glorietta 5. The MSO being gypsies, except for a small office unit along Roxas Blvd. in Malate, the members use the mall for open rehearsals. Until such time the City of Manila or whatever institution or philanthropist offers the MSO a more permanent space, mall goers never had it so good, listening to the classics performed live instead of hearing the usual piped-in music.

For tickets, call Ticketworld at 891-9999 or the Cultural Arts Events Organizers at 997-9483, 782-7164 or 0920-9540053 or 0918-347-3027. CAEO can schedule ticket delivery for free.

O light, o music divine

Looking pleased even from her side view, lyric coloratura Sumi Jo, a superstar in the operatic and cross-over music world, enfolds soprano Myramae Meneses in her loving arms during a master class at St. Scholastica's College in February this year. Photo by Anna Leah Sarabia

Ms Meneses (in white) and tenor Ivan Niccolo Nery (rightmost) at the Viva Voce's repeat of "Complicated The Concert" at the Lopez Museum in July Photo by Babeth Lolarga

The days are shortening, the nights are lengthening, and we just hurried past mid-November! I once wrote a former pen pal (Frank Cimatu, then on Friendly fellowship in Seattle) how my young children then wished that November could be skipped so that their eager hands and hearts could get on with the "business" of Christmas (unwrapping presents, receiving gold and red ampao envelopes and such).

Often and nearly forgotten during the lead-up to Yuletide are people for whom the merriment of the season feels like a stinging slap on the face, that is, they may resent it in their pain or lonesomeness. Is it any wonder that cases of depression are ironically high during this celebratory season?

And here comes the Culture Arts Events Organizer (CAEO) about to swing a balance between the celebration of the liberator Christ child's birth and putting The Beatitudes into action. Its concert, "Christmas Solstice," billed as an evening of timeless Christmas carols on Dec. 7 at 7:30 p.m. at the Ayala Museum on Makati Ave. will have for its beneficiaries children who need medical treatment for their cancer.

The three featured singers are among the most sought after following their respective professional debuts at the same venue in 2013 and this year: soprano Myramae Meneses and Stephanie Aguilar, and tenor Ivan Niccolo Nery. Pianist Greg Zuniega will assist them in their renditions of carols from the 17th century to the present. These songs include: Felipe de leon's "Pasko Na, Sinta Ko" and "Payapang Daigdig", the exquisite "Cantique de Noel" (also known as "O Holy Night"), Andrew Lloyd Webber's masterpiece "Pie Jesu," Cesar Franck's "Panis Angelicus," Handel's "Let the Bright Seraphim."

The Handel aria, which is from his opera Samson, has been interpreted, each in their lovely way, by sopranos Renee Fleming, Kiri Te Kanawa and Kathleen Battle (go to YouTube, my friend!). A bit of background on the lyrics is: "the aria summons the celestial hosts of seraphim and cherubim to hail the dead hero, with trumpet figures responding to the singer." (Source: http://www.laphil.com/philpedia/music/let-bright-seraphim-george-frideric-handel)

Let us go then, let us go with the angels as one imagines them descending as these are sung on Advent's first Sunday:

Let the bright seraphim
in burning row,
their loud, uplifted angel trumpets blow.

Let the cherubic host,
in tuneful choirs,
touch their immortal harps
with golden wires.

Tickets are available at Ticketworld, tel. no. 891-9999, or the CAEO, tel. nos. 782-7164, 517-3763, 0920-954-0053, 0918-347-3027 or 0920-465-5725.

A little afternoon music in one's brief life

Soprano Myramae Meneses, second from right, with the other members of Viva Voce, leads the singing of Francisco Santiago's "Pilipinas Kong Mahal" that ended the second and last part of "Complicated the Concert" at the Lopez Museum and Library. Photo by Babeth Lolarga

The second time around "Complicated the Concert" was as lovely as the first, if not lovelier and more colorful in terms of costume and production details.

Camille Lopez Molina, Viva Voce founder who also served as assisting artist on the piano to the 10 classical singers (many, if not all, of them her students in voice), promised us earlier: "We've tweaked the program so it will be interesting even to those who saw the first concert."

We were at the May 31 concert, a prelude to June's historical milestones (Rizal's birthday and Philippine Independence Day). During that performance of art songs, from bel canto arias to kundimans, what struck the listener/viewer was the program's potent political content as images from the exhibit of Leslie de Chavez, Mike Adrao and Ea Torrado were flashed on one side of the wall, alternating with more slides of the museum's permanent collection of works by Filipino masters and photos of notorious figures in front-page news. (The exhibit, by the way, has been extended until tomorrow, Aug. 4.)

During the July 19 re-staging at the same venue, the singers' formal wear and an elevated platform that served as stage added a dramatic element. And this time the "tweaking" that Lopez Molina did with the program drew more dramatic responses. This audience member found herself copiously and silently weeping at Kristine Marie Balingcos' interpretation of Catalini's "Ebben, ne andro lontana" from the opera La Wally, a heroine's death aria before she throws herself in an avalanche. It's not an ordinary soprano who can acquit herself with that aria, especially if one has heard versions by Maria Callas, Renata Tebaldi or the young Angela Gheorghiu.

Certain types of music invite that kind of visceral response. By the time tenor Ivan Niccolo Nery was singing Schumann's "Stille Tränen," to mean "Silent Tears," with a slide closeup of an unknown man, a survivor of supertyphoon Yolanda aboard a C 130 plane that was evacuating him and hundreds of other survivors from Tacloban, Leyte, my handkerchief was soaked.

Romance filled the afternoon air with soprano Myramae Meneses' "Ah! Love but a Day." Not included in the first staging, this is from a song cycle by American composer Amy Beach with lyrics by the English poet Robert Browning: "Ah, Love, but a day,/And the world has changed!/The sun's away,/And the bird estranged;/The wind has dropped,/And the sky's deranged;/Summer has stopped./Look in my eyes!/Wilt thou change too?/Should I fear surprise?/Shall I find aught new /In the old and dear,/In the good and true,/With the changing year?"

But it was upon hearing for the very first time baritone Raymond Yadao sing Juan Celis Bautista's kundiman "Parang Maghapon Lamang" that one felt as though one's Filipino chest was being cut open without anesthesia. Levi Celerio's haunting lyrics tell of youth wasted. Even if it feels like the length of a life, whether it ends at age 27 or at age 88, is long in earth-time, in the eyes of Eternity, it is only the equivalent of an afternoon.

Ang buhay ko’y maghapon lang pala
Tila isang saglit sa akin ang ngumingiting umaga!
May awit ang ibong tanda ng pag-asa!
Pagsapit ng hapon, ay!, kay lungkot sa puso kong nagdurusa!
Kung katotohanan ay ganyan,
Bakit sinayang ko yaong unang sigla ng aking buhay!
Di na magbabalik kahit na kaylan man
O! ang buhay pala ay parang maghapon lamang!

Camille Lopez Molina and Myramae Meneses bracket two similarly dressed music fans (the blogger and Mercy Lactao Fabros).

With Manila Chamber Orchestra Foundation's Joseph Uy, tenors Nomher Nival and Ivan Niccolo Nery. Joseph once reassured me during a sad period in my life (I never seem to run out of these periods): "A golden tone from a good singer's voice erases all the frustrations in life." Amen to that, Joseph, amen.

Clear, uncomplicated, thought-provoking | Vera Files

Clear, uncomplicated, thought-provoking | Vera Files