Cover The Manila Symphony Orchestra under the baton of its music director and principal conductor Maestro Marlon Chen during its twin-bill production of Giacomo Puccini’s works—a momentous fusion of opera and orchestra music (Photo: Jeremy Caisip)
The Manila Symphony Orchestra under the baton of its music director and principal conductor Maestro Marlon Chen during its twin-bill production of Giacomo Puccini’s works—a momentous fusion of opera and orchestra music (Photo: Jeremy Caisip)
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Italian Ambassador to the Philippines Marco Clemente is in full gear promoting the culture of appreciating opera and orchestra music in the Philippines through the country’s distinguished artistic institutions
As music is a universal language, a true music enthusiast would have grown an appreciation for its various genres and periods. Some of its kind may be for an acquired taste. But for those well-travelled and well-versed in the music world, music appreciation boils down to the mastery of musicians and composers in creating and producing music that prevails over time.
Hence, it is no wonder that opera and orchestra music are ingrained in the consciousness of the people in Italy. When one sits inside a café by the piazza, tunes in to the radio any time of the day while in Rome, passes by a stazione di polizia, or indulges oneself on a gondola ride, the legendary compositions of Giacomo Puccini or Giuseppe Verdi fill the air. Contrary to the knowledge of many, opera and orchestra music is not a distant art form exclusive to the hallowed halls of theatres and concert halls. It is instead part of la dolce vita.
For Italian Ambassador to the Philippines Marco Clemente, “mounting an opera is heroism.” Producing an opera poses challenges, especially financially. Another challenge is appeasing the audience. While the audience’s taste constantly changes and progresses, Ambassador Clemente knows that the lessons shared through opera are forever. Clemente believes that the future of opera rests on the shoulders of the young generations.
See also: Are we Filipinos because we love music, or do we love music because we are Filipinos?
Above With students as his audience, Italian Ambassador to the Philippines Marco Clemente shares the passion needed in mounting operas during PPO’s ‘Don Pasquale’ show at the Samsung Performing Arts Theater (Photo: Cultural Center of the Philippines)
With students as his audience, Italian Ambassador to the Philippines Marco Clemente shares the passion needed in mounting operas during PPO’s ‘Don Pasquale’ show at the Samsung Performing Arts Theater (Photo: Cultural Center of the Philippines)
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The country’s art and culture scene is no stranger to opera and orchestra music. The Philippine Philharmonic Orchestra (PPO), the country’s premier symphony orchestra and resident company of the Cultural Center of the Philippines (CCP), has been relentless in its 50-year-long history in sharing this music with us. For decades, it has invited world-renowned conductors and singers to bring opera and orchestra music closer to us. Under the baton of its music director and principal conductor, Grzegorz Nowak, it recently mounted Gaetano Donizetti’s Don Pasquale at the Samsung Performing Arts Theater as part of its 39th concert season. Afterwards, PPO mounted a Women’s Month concert featuring our globally renowned pianist, Cecile Licad, at the Metropolitan Theater.
Meanwhile, the Manila Symphony Orchestra (MSO), considered the oldest surviving artistic institution in the Philippines and one of the oldest orchestras in Asia, mounted a twin-bill production of Puccini’s works Suor Angelica and Gianni Schicchi. In the spirit of its objective of introducing orchestra music to those more familiar with pop music, it later showcased Broadway classics, James Bond themes, and more in its Concerto Ottimo event.
Read more: Manila Symphony Orchestra embarks on its momentous “Road to 100”
Above During Manila Symphony Orchestra’s Concerto Ottimo event last March 22 (Photo: Enlightened Events)
Above During Manila Symphony Orchestra’s Concerto Ottimo event last March 22 (Photo: Enlightened Events)
During Manila Symphony Orchestra’s Concerto Ottimo event last March 22 (Photo: Enlightened Events)
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Like the unexplainable urge to say po and opo is a sign of respect, watching opera and listening to orchestra music, whether classical or modern, should be a part of the Filipino’s national consciousness, as stated by CCP earlier this year in a statement. After all, we have produced some of the music world’s finest artists that we revere as National Artists for Music, such as Lucio San Pedro, Felipe Padilla de Leon, José Maceda, Antonio Molina, Antonino Buenaventura, Jovita Fuentes, Lucrecia Kasilag, Ernani Cuenco, Levi Celerio, Andrea Veneracion, Francisco Feliciano, Ramon Santos, Fides Cuyugan-Asensio, and Ryan Cayabyab. Though known for unearthing the rich Filipino ethno-music, kundiman, and more, their artistic foundations have been deeply rooted in classical Western tutelage.
Moreover, CCP has staged various full-length opera productions in the past years, such as Puccini’s Turandot, Donizetti’s L’elisir d’amore, and Lucia di Lammermoor. Through the generous support and leadership of the late Nedy Tantoco, these productions have been watched by opera enthusiasts—from the elites in the art and culture scene to the young students in nearby public schools.
Read more: The Philippine Philharmonic Orchestra celebrates 50 years and beyond
Above Seasoned and internationally acclaimed Filipino opera singers Rachelle Gerodias-Park, Ivan Nery, Byeong-In Park, and Ervin Lumauag, join Alessandro Liberatore in CCP’s 2022 production of ‘Turandot’ (Photo: Kiko Cabuena)
Seasoned and internationally acclaimed Filipino opera singers Rachelle Gerodias-Park, Ivan Nery, Byeong-In Park, and Ervin Lumauag, join Alessandro Liberatore in CCP’s 2022 production of ‘Turandot’ (Photo: Kiko Cabuena)
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Also recently, the CCP Out of the Box Series presented back-to-back abridged Tagalised versions of Gioachino Rossini’s The Barber of Seville and Wolfgang Amadeus Mozart’s The Marriage of Figaro.
The CCP has had an enduring partnership with The Metropolitan Theater of New York, the Filipinas Opera Society Foundation, and Ayala Malls Cinemas to recreate the experience of watching an opera production at the Met “live” through high-definition digital video technology and Dolby Sound.
“Operas offer a sincere reflection of who we are, how we relate to others, and what it means collectively and individually to be human,” shared CCP president ad interim Michelle Nikki Junia during the Sining Alamin lecture on opera last March 6 at the Samsung Performing Arts Theater in Circuit Makati, a series of lectures organised by the CCP Art Education Department.
In case you missed it: CCP forges ahead in 2024 with expanded festivals and reloaded programmes
Above Dariusz Machej, Dorota Sobieska, and Nomher Nival delight the students of Pasay City National High School with a 15-minute sneak peek of ‘Don Pasquale’ (Photo: CCP)
Dariusz Machej, Dorota Sobieska, and Nomher Nival delight the students of Pasay City National High School with a 15-minute sneak peek of ‘Don Pasquale’ (Photo: CCP)
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At the said CCP Sining Alamin lecture, the Pasay City National High School students were treated to a 15-minute sneak peek of Don Pasquale.
Opera’s contribution does not end with presenting orchestral music and memorable characters. It mirrors how humans live their lives imperfectly but freely. Junia offered this as the reason behind the institution’s efforts to include opera in its programming as frequently as possible. For her, opera is a “living community” that exists and expands outside theatre.
Read more: Gawad CCP Para sa Sining 2024 Awardees: Lea Salonga, Julie Lluch, Joey Ayala, and more
Ambassador Clemente paralleled this back to how Don Pasquale unexpectedly altered the opera audience’s taste. Back then, most opera composers who devoted their styles to comedy needed to unlearn and relearn. According to the Italian ambassador, Don Pasquale’s story is too interesting to be confined to a single genre. Because of this, opera composers added more layers to their plot formula and occasionally overlapped with other genres.
Above For Don Pasquale’s intricate symphonies, Maestro Nowak leads the Philippine Philharmonic Orchestra (Photo: CCP)
For Don Pasquale’s intricate symphonies, Maestro Nowak leads the Philippine Philharmonic Orchestra (Photo: CCP)
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“It’s about the clash of generations, the youth versus the old,” Ambassador Clemente said. Don Pasquale leaves a subjective message to its audience. Its conservative views on marriage and gender roles may raise some youngsters’ brows while treating its older audience to unsettling reflections about life, death, and regrets.
Aside from its lessons on life and love, Donizetti’s Don Pasquale acts as a bridge between generations. Its comedic depiction of the gap between the youth and the elderly teaches its audience to be considerate and patient.
“Art, including opera, is meant to be seen and felt as a community. It is our ardent wish at the CCP that every Filipino will get to experience classic opera masterpieces and create wonderful memories that will last, long after the final curtain call,” said Junia.
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Above Rachelle Gerodias-Park in the titular role of Suor Angelica during Manila Symphony Orchestra’s twin-bill production of Puccini (Photo: Jeremy Caisip)
Rachelle Gerodias-Park in the titular role of Suor Angelica during Manila Symphony Orchestra’s twin-bill production of Puccini (Photo: Jeremy Caisip)
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“How then, do we cultivate and foster the next generation of classical music enthusiasts, soloists, professional orchestra members, music educators, public and private orchestra board members, audiences, and arts advocates amidst budget constraints and the allure of instant gratification?” MSO’s Maestro Chen raised. “We do so by taking cues from our past in order to build a robust future. You can immerse yourself in the brilliance and accomplishments of generations before us through their music. Failing to pass this on to future generations is a significant loss to our shared humanity and could create a cultural void,” he added.
“Recognising and appreciating the past is not merely indulgence in sentimentality; it is a crucial act of preservation that ensures the richness and continuity of the human experience. We cherish the past for a reason and this gives us cause for celebration,” Chen said.
And so, with the Tagalised versions of some classic opera works and an avant-garde production of Don Pasquale, Viva Voce Voice Lab’s sold-out shows of an abridged version of La Bohème at the Mirror Studio Theatre and later at Tanghalang Ignacio Gimenez, not to mention MSO’s efforts in translating contemporary hits to a 50-piece orchestral pieces, we then appreciate opera and orchestra music with fresh eyes and ears.
Read more: To our memories and future: In conversation with OPM icons Ryan Cayabyab and Moy Ortiz
Above The cast of ‘Gianni Schicchi’ led by Byeong-In Park in the titular role
The cast of ‘Gianni Schicchi’ led by Byeong-In Park in the titular role
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For decades now, Filipino performers have been performing opera music locally and internationally. Alongside Rachelle Gerodias and Byeong-In Park, some of the most sought-after names are Margarita Roco, Nicole Laurel Asensio, Ivan Nery, Arthur Espiritu, Nomher Narito Naval, Lara Maigue, Armand Ferrer, Greg Abelardo De Leon, and Bianca Camille Lopez Aguila. To further strengthen the classical singing in the country, there are institutions like Viva Voce Voice Lab, headed by Pablo and Camille Lopez Molina, and the Fides Cuyugan Asensio Institute of Music and Arts, to name a few, that train and launch emerging artists as well as assisting particular theatre companies for their productions.
MSO and PPO also continue to penetrate far-flung provinces to hold performances outside Metro Manila and teach promising young talents. Lastly, the National Music Competition for Young Artists (NAMCYA) has celebrated its 50th anniversary of being a healthy competition ground for young music artists.
“Music’s enduring role as a cultural bridge transcends diverse backgrounds and geographic boundaries, offering a glimmer of hope even in the bleakest of time,” Marianne Hontiveros, president of MSO Foundation, Inc said.
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About
Before assuming the Art and Culture Editor position, Franz has always had a penchant for visual and performing arts. He is passionate about exploring and writing about the local cultural scene and rediscovering the country’s storied past and rich heritage. Besides working on this luxury lifestyle magazine, Franz is an avid book reader, local traveller, museum-goer, chorister, and community theatre playwright.
Work
Franz earned a degree in Journalism from the University of Santo Tomas. He writes about local visual and performing artists and their craft; drinks wines, liquors, and spirits and talks about the creativity of their respective winemakers and master blenders; tries to learn more about business and investments; respects the tradition and artistry that go behind the making of watches and jewellery; and appreciates the genius of architecture and creative design.
As head of Tatler Philippines’ pool of writers, he helps them bring impactful and socially relevant stories to light.
For any leads, you may reach him through @franzsorillaiv on Instagram or franz@tatlerphilippines.com via email.
