Standing ovation for Rossini’s La Cenerentola in Manila

Spellbinding performance by tenor Arthur Espiritu as Prince Ramiro with the Manila Symphony Orchestra conducted by Darrell Ang. Photo by Angel Reyes-Nacino.

Spellbinding performance by tenor Arthur Espiritu as Prince Ramiro with the Manila Symphony Orchestra conducted by Darrell Ang. Photo by Angel Reyes-Nacino.

By Pablo A. Tariman

Rossini’s La Cenerentola made its Philippine debut Saturday night (August 15, 2015) at the Meralco Theater with a cheering crowd who loved opera’s retelling of Cinderella with another twist: no overbearing stepmother, no missing golden slippers.

Instead we are treated to a tale of the bracelet which ultimately sealed the love of the prince and the commoner.

For one, there were no sets and elaborate costumes.

Mounted in concert form, the Manila Symphony Orchestra under the baton of Darrell Ang shared the stage with the cast namely Arthur Espiritu (Don Ramiro), Karin Mushegain (Angelina as Cinderella), Noel Azcona (Don Ramiro), Byeong-in-Park (Dandini), Ronnie Abarquez (|Alindoro), Myramae Meneses (Clorinda) along with the Aleron All-Male choir.

Stage actress Esperanza Garcellano gave the opera its share of local color as the English-speaking Lola Basyang as narrator.

Of course, Philippine audiences are familiar with Cinderella as interpreted notably in ballet. This time, the audience didn’t see grand jetes and fouettes but a feast of bel canto spectacular seldom heard in the local opera turf.

Mushegain made her presence felt with the opening arrieta, “Una volta c’era un re” where she carved a beautiful line reflecting her fate in the hands of a greedy stepfather and two social-climbing stepsisters.

Backstage with 'The sisters': Myramae Meneses, Karen Mushegain, and Tanya Corcuera. From Myramae Meneses Facebook.

Backstage with ‘The sisters’: Myramae Meneses, Karen Mushegain, and Tanya Corcuera. From Myramae Meneses Facebook.

That was a fairly moving diminuendo she executed in “La sorte mia cangio” where she figured out her fate. The soprano had a winsome look for the part and the good thing is that she could act as well.

She rounded off her performance with that killer aria, “Non Piu Mesta,” complete with coloratura fireworks that were simply jaw dropping. The final high B didn’t quite resonate but it was to her credit that she was consistently in character.

As expected, Espiritu (as Don Ramiro) made a gallant entrance and gave his audience his fine brand of singing coupled with good acting. In the much-awaited last act aria, “Si, rivolarla io guiro,” the tenor soared to perilous stratospheric heights and caused pandemonium in the audience. The sense of line was unassailable and the phrasing was in the realm of the sublime.

Earlier weighed down by a bad cold with phlegm bothering his throat, the tenor still delivered a glorious climax and soared above the orchestra. It was enough to make one’s hair stand on end. As expected, the audience went wild.

Other singers did just as well including the Clorinda aria of Myramae Meneses and the Inebriation scene of Azcona (Don Magnifico) and the well-delineated Dandini of Byeong-in-Park.

Darrell Ang at rehearsals. Photo by Amado Chua.

Darrell Ang at rehearsals. Photo by Amado Chua.

On the whole, it was an excellent singing ensemble with the first act quintet and the second act sextet as its dazzling highlights. Also memorable were the Thisbe of Tanya Corcuerra, the Alidoro of Ronnie Abarquez and the ravishing Aleron All-Male choir.

The concert form format of the opera highlighted the best of the Manila Symphony Orchestra under the baton of Darrell Ang.

Ang knew the dynamics of the orchestra and the singers inside and out and as a result, every aria, every quintet and sextette along with the choir came out with their delicate charm and humor intact.

The truth is the conductor made as much impression as the lead singers. His exceedingly good looks didn’t hide the fact that on top of it, his musical integrity was unassailable.

For another, he made sure everyone on stage is properly acknowledged including narrator Garcellano.
As a result, nearly everyone in the audience agreed the conductor Darrell Ang did one hell of a good job. His sensitivity went beyond precision and indeed he breathed with the singers.

Devoid of its plot-spinning recitatives, this Cenerentola with just the music and the singers plus the translation of arias flashed on screen made it such an engrossing opera.

At first the audience didn’t know what hit them as the applause got stronger and wilder. It was just a matter of seconds when a well-deserved standing ovation ensued.

Earlier, Espiritu admitted the part is his favorite as he loves the character development as the opera progresses. “It is a vocal feat, to say the least. You have to be able to sing the runs, the legato lines, and the high notes. Also, you have to be involved in a lot of the ensemble sections. It is a tour de force for a tenor. Fortunately, the body of my voice sits high, and it fits well with this role.”

The Manila Symphony Orchestra with the  vibrant conductor Darrell Ang  in Le Cenerentola. Photo by Angel Reyes-Nacino.

The Manila Symphony Orchestra with the vibrant conductor Darrell Ang in Le Cenerentola. Photo by Angel Reyes-Nacino.

The tenor admits the part is no walk in the park. “Rossini is a composer who composes for the singers. He has the vocal lines in mind, and it is so easy to be able to play with some lines and make your own mark within his vocal compositions. To be able to show your flexibility and your line—and also your ability to act—is a great opportunity. You have to be able to understand the style properly, and the cadenzas, and how you communicate with your conductor. There are some spaces in his works that sometimes leaves holes musically. So, you have to be able to fill those holes with your own interpretations. If not done well, it just won’t sound as interesting.”

With this successful production, other sectors should now entertain mounting operas in concert form minus the expensive costumes and set.

Truth to tell, opera is only about music and less about its superficial components.

Standing ovation for Rossini’s La Cenerentola in Manila

Spellbinding performance by tenor Arthur Espiritu as Prince Ramiro with the Manila Symphony Orchestra conducted by Darrell Ang. Photo by Angel Reyes-Nacino.

Spellbinding performance by tenor Arthur Espiritu as Prince Ramiro with the Manila Symphony Orchestra conducted by Darrell Ang. Photo by Angel Reyes-Nacino.

By Pablo A. Tariman

Rossini’s La Cenerentola made its Philippine debut Saturday night (August 15, 2015) at the Meralco Theater with a cheering crowd who loved opera’s retelling of Cinderella with another twist: no overbearing stepmother, no missing golden slippers.

Instead we are treated to a tale of the bracelet which ultimately sealed the love of the prince and the commoner.

For one, there were no sets and elaborate costumes.

Mounted in concert form, the Manila Symphony Orchestra under the baton of Darrell Ang shared the stage with the cast namely Arthur Espiritu (Don Ramiro), Karin Mushegain (Angelina as Cinderella), Noel Azcona (Don Ramiro), Byeong-in-Park (Dandini), Ronnie Abarquez (|Alindoro), Myramae Meneses (Clorinda) along with the Aleron All-Male choir.

Stage actress Esperanza Garcellano gave the opera its share of local color as the English-speaking Lola Basyang as narrator.

Of course, Philippine audiences are familiar with Cinderella as interpreted notably in ballet. This time, the audience didn’t see grand jetes and fouettes but a feast of bel canto spectacular seldom heard in the local opera turf.

Mushegain made her presence felt with the opening arrieta, “Una volta c’era un re” where she carved a beautiful line reflecting her fate in the hands of a greedy stepfather and two social-climbing stepsisters.

Backstage with 'The sisters': Myramae Meneses, Karen Mushegain, and Tanya Corcuera. From Myramae Meneses Facebook.

Backstage with ‘The sisters’: Myramae Meneses, Karen Mushegain, and Tanya Corcuera. From Myramae Meneses Facebook.

That was a fairly moving diminuendo she executed in “La sorte mia cangio” where she figured out her fate. The soprano had a winsome look for the part and the good thing is that she could act as well.

She rounded off her performance with that killer aria, “Non Piu Mesta,” complete with coloratura fireworks that were simply jaw dropping. The final high B didn’t quite resonate but it was to her credit that she was consistently in character.

As expected, Espiritu (as Don Ramiro) made a gallant entrance and gave his audience his fine brand of singing coupled with good acting. In the much-awaited last act aria, “Si, rivolarla io guiro,” the tenor soared to perilous stratospheric heights and caused pandemonium in the audience. The sense of line was unassailable and the phrasing was in the realm of the sublime.

Earlier weighed down by a bad cold with phlegm bothering his throat, the tenor still delivered a glorious climax and soared above the orchestra. It was enough to make one’s hair stand on end. As expected, the audience went wild.

Other singers did just as well including the Clorinda aria of Myramae Meneses and the Inebriation scene of Azcona (Don Magnifico) and the well-delineated Dandini of Byeong-in-Park.

Darrell Ang at rehearsals. Photo by Amado Chua.

Darrell Ang at rehearsals. Photo by Amado Chua.

On the whole, it was an excellent singing ensemble with the first act quintet and the second act sextet as its dazzling highlights. Also memorable were the Thisbe of Tanya Corcuerra, the Alidoro of Ronnie Abarquez and the ravishing Aleron All-Male choir.

The concert form format of the opera highlighted the best of the Manila Symphony Orchestra under the baton of Darrell Ang.

Ang knew the dynamics of the orchestra and the singers inside and out and as a result, every aria, every quintet and sextette along with the choir came out with their delicate charm and humor intact.

The truth is the conductor made as much impression as the lead singers. His exceedingly good looks didn’t hide the fact that on top of it, his musical integrity was unassailable.

For another, he made sure everyone on stage is properly acknowledged including narrator Garcellano.
As a result, nearly everyone in the audience agreed the conductor Darrell Ang did one hell of a good job. His sensitivity went beyond precision and indeed he breathed with the singers.

Devoid of its plot-spinning recitatives, this Cenerentola with just the music and the singers plus the translation of arias flashed on screen made it such an engrossing opera.

At first the audience didn’t know what hit them as the applause got stronger and wilder. It was just a matter of seconds when a well-deserved standing ovation ensued.

Earlier, Espiritu admitted the part is his favorite as he loves the character development as the opera progresses. “It is a vocal feat, to say the least. You have to be able to sing the runs, the legato lines, and the high notes. Also, you have to be involved in a lot of the ensemble sections. It is a tour de force for a tenor. Fortunately, the body of my voice sits high, and it fits well with this role.”

The Manila Symphony Orchestra with the  vibrant conductor Darrell Ang  in Le Cenerentola. Photo by Angel Reyes-Nacino.

The Manila Symphony Orchestra with the vibrant conductor Darrell Ang in Le Cenerentola. Photo by Angel Reyes-Nacino.

The tenor admits the part is no walk in the park. “Rossini is a composer who composes for the singers. He has the vocal lines in mind, and it is so easy to be able to play with some lines and make your own mark within his vocal compositions. To be able to show your flexibility and your line—and also your ability to act—is a great opportunity. You have to be able to understand the style properly, and the cadenzas, and how you communicate with your conductor. There are some spaces in his works that sometimes leaves holes musically. So, you have to be able to fill those holes with your own interpretations. If not done well, it just won’t sound as interesting.”

With this successful production, other sectors should now entertain mounting operas in concert form minus the expensive costumes and set.

Truth to tell, opera is only about music and less about its superficial components.

Tenor Arthur Espiritu’s inspiring journey to Llorente, Samar

Arthur and Christina Espiritu aboard a Philippine Navy ship to bring relief goods to Llorente, Samar.

Arthur and Christina Espiritu aboard a Philippine Navy ship to bring relief goods to Llorente, Samar.

Tenor Arthur Espiritu and his wife, Christina, are in Llorente, Eastern Samar to distribute the truckload of goods they have gathered from friends to the victims of typhoon Yolanda.

Why Llorente?

Llorente is one of the municipalities badly hit by Yolanda but has not been reported as prominently as Tacloban. Christina is from that place.

The Espiritus left Manila last Saturday late afternoon. From Arthur’s Facebook post, it has not been an easy journey, by water and by land.

Arthur posted that that they were in Bulan Port in Sorsogon Sunday waiting for their truck to be loaded together with more than 20 other trucks. While waiting, they enjoyed the pier scenery. One was people watching the Pacquiao-Rios fight. “Everyone was there. It’s really fun to see Pinoys come together when there’s a Pacquiao fight.”

Later, Arthur, the only Filipino tenor who has sang at La Scala, the world renowned opera house in Milan, Italy, reported that they were finally loading the trucks.”Christina Espiritu is happy,” he said. He counted more blessing: “Yehey. Still have signal while on ship.”

His next post was when they were approaching San Isidro port in Northern Samar: “We came in at 4:30 pm then engine failed. Stuck about 1 km away from shore. Then got power back but it was high tide already. Ramp was too high for trucks to disembark. Now we have to sleep in the ship till 4 am which is low tide. Then we could go. Problem is, all the restaurants and markets around are closed. Just diet for now w peanuts and skyflakes and coffee. Staying strong.”

After they have disembarked, his exclamation mark reflected his joy for every help extended to them: “Finally! We are leaving port San Isidro. With an army convoy. We managed to talk to DSWD people and Colonel Ismael of the Philippine Amy. They agreed to help us. Whew. Something positive. But now we ride in a hot truck in the middle of this hot sun.”

Loading the trucks carrying relief goods for Yolanda victims in Bulan port in Sorsogon.

Loading the trucks carrying relief goods for Yolanda victims in Bulan port in Sorsogon.


But they had to hurdle more challenges. Arthur’s next post: “ DSWD people left us along with the other convoy. We had a flat. So, no way we can catch them.”

His next post was they were already in Calbayog. He was expecting to lose his signal soon. “I hope we get there safely. Have a great day everyone.”

We also hope for Arthur and Christina to reach Llorente safely. We pray for the people of Llorente and other victims of Yolanda. You inspire us with your strength.

Filipinos won't miss a Pacquiao fight.

Filipinos won’t miss a Pacquiao fight.


On Dec. 3, Espiritu will perform in a Christmas concert organized by the Cultural Arts Events Organizer and Ayala Museum at the Ayala Museum at 7 p.m.

The performers will present one of the most beautiful, dramatic and difficult sacred music ever written: “Petite Messe Solemnelle.” Written by Gioachimo Rossini, one of the pillar of bel canto opera era and the genius behind the opera The Barber of Seville and La Cenerentola, the work was written at the twilight of his life as a thanksgiving to God.

Music impresario Joseph Uy said, “With the recent calamity, the kids (artists) decided to make this a fund raising for Arthurs’ wife hometown of Llorente, Samar which was totally destroyed by the typhoon. The concert will also sort an honor for the victims in this hauntingly beautiful Mass.”

Aside from Espiritu, the concert features three of the country’s premiere classical artists: soprano Camille Lopez Molina, soprano Margarita Yulo Gianella and bass-baritone Noel Azcona with the prestigious Viva Voce singers (16 of the most promising young singers today) with pianist Najib Ismail and Fahley Asuncion under the musical direction of Gideon Bendicion and Camille Lopez Molina.

Entering Samar

Entering Samar

On Dec. 12, Espiritu will also have another concert at the Aayala Museum. Uy said, “The Dec. 12 concert is a project of Ayala Museum. Arthur volunteered to perform to help the museum raise fund for their charity. He will be singing a lot of fun music like those of Josh Groban, some broadway musical with just a piano and a violinist.”

The Llorente trip showed us once again the generous heart of Espiritu which is felt in all his performances. Be inspired by his music. Dec. 3 and Dec. 12 at the Ayala Museum.

Performing artists express desire to help typhoon victims

By Pablo A. Tariman,VERA Files

Cecile Licad

Cecile Licad

The typhoon that killed hundreds in the Visayan region elicited shock and an outpouring of sympathy from the country’s leading performing artists.

“It is horribly sad,” said pianist Cecile Licad who expressed willingness to participate in any fundraising concert. The pianist once again received standing ovations for her performance of Rachmaninoff’s Piano Concerto No. 2 with Hawaii Symphony and the San Antonio Symphony in Texas.

Another artist who wanted to cheer typhoon victims is violinist Cho Liang Lin who has forthcoming engagements with the National Symphony Orchestra of Taiwan and the symphony orchestras of Detroit, San Antonio, and Shanghai. He wrote to Licad saying how deeply he was touched by the plight of typhoon victims. “If there are events that I can help to cheer the victims, please let me know. I am in!” the noted violinist said.

Prima ballerina Lisa Macuja Elizalde said she cried and is still in shock after seeing the TV footage of typhoon victims. “I am still feeling so helpless and empty at the thought of continuing my Swan Song Series,” she added. “That’s when I thought of transforming my farewell concerts into something with a bigger purpose and that is to raise funds for the typhoon victims.”

Lisa Macuja-Elizalde

Lisa Macuja-Elizalde

Elizalde added all proceeds from the ballet show will all go to typhoon victims.

Tenor Arthur Espiritu said he was also horrified upon seeing the extent of the damage wrought by Typhoon Yolanda. “The destruction is so unreal and I couldn’t imagine how much suffering those people have experienced.”

The tenor said he could relate to the victims because some years back, his family was also victims of Hurricane Katrina in New Orleans. “That hurricane destroyed our home. We had to pick ourselves up and rebuild from zero. I can feel what they felt. But compared to what I saw in New Orleans, what happened in Samar and Leyte was far worse. The extent of the damage is huge and covered a much wider range of land. More lives were lost. It just breaks my heart.”

When Katrina happened, the tenor was performing at the Santa Fe Opera and was about go to go back to New Orleans to celebrate his birthday before another engagement with Pittsburgh Opera.

Arthur Espiritu

Arthur Espiritu

He recalled: “As it turned out, I sold my car in Santa Fe and flew straight to Pittsburgh because my family had already evacuated. I didn’t experience Katrina while it passed New Orleans, but when I came back home, some of our things were looted, most of my clothes were molded. There was nothing left to recover –my books, CD collections along with my grand piano which was totally damaged and irreparable. We lost everything. I just found myself dazed and floating like zombie. I could not describe my emotions but I just stood there and watched the whole entire neighborhood gone. Cars over other cars, fences, backyard pools. Houses moved in the middle of streets. Just total destruction.”

Espiritu is also raising funds for relief operations for the town of Llorente in Eastern Samar where his wife, Christina Jobocan, comes from.

“We have no word from Christina’s family, or from our nuptial godfather, Llorente Vice-Mayor Nathaniel Hugo. I was so nervous for her because it was all she could think of.”

Cho Liang Lin

Cho Liang Lin

Espiritu is all set to perform as one of the soloists in Rossini’s Petite Messe Solennelle at the Ayala Museum on Dec. 3, 2013 at 7 p.m. Then he will proceed to Hong Kong’s “First Pacific Event” with Regine Velasquez, Joanna Ampil, Sam Conception, Charice Pempengco, Ryan Cayabyab singers, front liners include Sharon Cuneta, Ogie Alcasid and Aga Mulach, among others.

After his Manila and Hong Kong engagements, the internationally acclaimed tenor flies to Leipzig, Germany to rehearse for Oper Leipzig’s new production of Don Pasquale, then off to Baden Baden in March to perform Edmondo in Puccini’s Manon Lescaut with Maestro Simon Rattle at the Baden Baden Festspielhaus. He will debut as Fernando in Donizetti’s La Favorita in St. Gallen, Switzerland.”

Now a father of a baby boy named Aaron, Espiritu admitted fatherhood had changed every aspect of his life. “I am the happiest man alive so far. Now my life is no longer revolving around my career. I have acquired a much different perspective in life. All in a very good way. For one, it has changed me as a man. I’m enjoying every minute with him and watching him grow. Seeing him smile is simply breathtaking.”

(VERA Files is put out by veteran journalists taking a deeper look at current issues. Vera is Latin for “true.”)

(Ballet Manila’s La Bayadere will open November 14 and will run until November 15 and 16 . All proceeds will go to the Philippine National Red Cross and DZRH’s Operation Tulong. All remaining performances featuring Ballet Manila and the Manila Symphony Orchestra – will be presented at 7:30 p.m. at the Aliw Theater, CCP Complex, Pasay City. For tickets, contact Ticketworld at 891-9999 or ticketworld.com.ph. For inquiries or additional information, contact Ballet Manila at telephone numbers 525-5967 or 400-0292.

(Those who want to help tenor Arthur Espiritu in the fundraising for typhoon victims of Llorente town in Eastern Samar are advised to get in touch with these numbers: 09273206744 or 09154985063.)

The tenor and the ballerina pitch in for Yolanda victims

Update: Press briefing of Secretary Rene Almendras and Executive Secretary Paquito Ochoa on efforts for Yolanda victims.

http://www.gov.ph/2013/11/13/summary-of-the-press-briefing-of-secretaries-almendras-ochoa-and-ndrrmc-on-relief-operations-for-typhoon-yolanda-november-13-2013/

The tenor

The tenor

Artists are also doing their share. World -class tenor Arthur Espiritu , who is preparing for his Dec. 3 Christmas concert at the Ayala Museum, announced in Facebook that he and his wife are organizing relief goods to be sent to Llorente in Samar.

He said Llorente’s population is about 20,000. “ So far, no one has reached this area for the past few days now. They need our help now. Feel free to donate to Red Cross Philippines, UNICEF, and any know organizations that would make sure your donations and help will reach the people who needs the help the most.”

The Ballerina in La Bayadere

The Ballerina in La Bayadere

Prima ballerina Lisa Macuja-Elizalde also announced that all proceeds from ticket sales to her Swan Song Series Year 3 shows will be donated to relief operations for the victims of Typhoon Yolanda.

The Swan Song Series, Macuja-Elizalde’s three-year retirement plan in which she is bidding goodbye to her favorite full-length ballet classics, is on its final year with performances of La Bayadere and The Nutcracker.

In her Twitter and Facebook, Macuja-Elizalde said, “Honestly, I almost cancelled Swan Song Series Year 3 because of this horrible catastrophe. (But) the shows will go on. ALL proceeds will be donated.”

Ballet Manila said all tickets sold via Ticketworld for the November 14, 15 and 16 performances of La Bayadere; and for the November 29 and December 1 shows of The Nutcracker will go to the Philippine National Red Cross and DZRH’s Operation Tulong. All shows – also featuring Ballet Manila and the Manila Symphony Orchestra – will be presented at 7:30 p.m. at the Aliw Theater, CCP Complex, Pasay City.

“I am just grateful that I have the means to contribute in this manner. My husband Fred has supported my decision 100 percent,” the ballerina said