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CCP at 40 presents a mishmash of Pinoy culture


As soon as the grand crimson curtain awash with H. R. Ocampo genius finally fell and the cavernous Main Theater of the Cultural Center of the Philippines had absorbed the last shouts of bravo, the audience burst into a frenzied murmur while making their way to the exit. The polarized reaction was not surprising. Terrible cracks emerged, notably toward the penultimate moments of the third suite of the CCP 40th anniversary gala, which was an awkward mélange of the best and the blandest Filipino performers. The four suites were roughly divided into world-class classical music, vaudeville cum cheering squad competition, Casino Filipino revue, and an outstanding contemporary all-Filipino song segment. Somewhere in the second suite, the Sept. 8 gala showed signs of wobbling, and finally tripped in the third suite when a song number by an award-winning actor wretchedly ruined what could have been a good show. Ironically, his performance was intended to be one of the highlights, if not THE highlight, of the gala. True, there was roaring applause at the end of the third suite, but this was not meant for the hunk actor. It was directed to the sopranos, mezzo sopranos, baritone, tenor, the fabulous female vocal ensemble, the choirs, and the Philippine Philharmonic Orchestra (PPO).

Good looks could not compensate for the less than stellar performance of award-winning actor Piolo Pascual at the CCP's 40th anniversary gala, where classical singers mesmerized the audience. Photo by KIKO CABUENA
The CCP gala, directed by the veteran Felix Monino Duque, was a gallant and ambitious variety show. But somewhere in the grand scheme of things, he lost control of the original concept and material in an attempt to construct a presentation woven from diverse genres spanning varied historical points that are worthy of the valued institution being celebrated. The anniversary gala, paradoxically, was mounted as a “toast to four decades of dedicated work in Philippine art and to celebrate the continuing evolution of (Philippine) culture." Tormented singing Duque assembled some of the best classically-trained and most critically-acclaimed young Filipino artists and performers. The tragedy was that he did not stop there. Capitalizing on the star sparkle of the local hybrid, Duque sadly sprinkled the show with television and movie performers who did not have the combined character and complexity so extremely rare these days among the stars of the celluloid world, where they should eternally remain. The limited range of Piolo Pascual and Guji Lorenzana are best suited to light singing a la karaoke, the afternoon teleserye, or the not-so-demanding live performances in a neighborhood mall. The comparison becomes more severe when you hear them sing together with the finest contemporary Filipino sopranos, mezzo sopranos, baritones, and tenors. The persistent twisting of Lorenzana’s torso while he rendered his numbers was tormenting to watch beside the silent yet commanding stage presence of mezzo soprano Jai Sabas Aracama, soprano Camille Lopez Molina, and vocalists Eva Castillo and Julie Anne San Jose. These singers allowed the audience to savor their heavenly voices, undistracted by uncalled for theatrics. Serious live singing accompanied by a full orchestra, the venerable PPO at that, is a formidable feat not fit for the denizens of a constellation where the wonders of digital sound engineering is harnessed to the max. Beautiful faces and eye-candy physique could be lovely to behold but may not be necessarily pleasurable, and may even be dreary, to hear. They should leave stage performance to genuine talents with the vocal prowess to match thespian skills. On a positive note, indiscriminate fun-lovers visibly soaked in the boundless energy of the University of Perpetual Help Perpsquad and the group called Gymnasts doing routines better seen at Araneta Coliseum, as well as Alvin Aragon piteously getting by with his version of the Boracay fire dance transported to the CCP Main Theater stage.
Magical moments Despite the athletically choreographed numbers, the hip-hopping at the main stage, and peculiar voices mercifully overpowered by mightily soaring sopranos and tenors, the CCP 40th anniversary gala had some magical and mesmerizing moments. The first suite featured the 103-member PPO’s rendition of Gustav Mahler’s Symphony No. 2, The Resurrection: First Movement – Allegro Maestoso and Fifth Movement – Finale under the baton of Maestro Oscar C. Yatco, with the soaring voices of sopranos Molina and Aracama. It was simply magical. While the PPO was playing, the audience was so immersed with the suite and so quiet was the hall that the gushing of rain water from a defective pipe draining to the right side of the Main Theater stage could be heard during the entire length of Symphony No. 2. Cayabyab did the musical arrangement s for the second suite entitled “Our Song, Our Music, Our Joy," where familiar lyrics and old tunes were given a new twist via movements of chorales, singers from the classical and pop genres, gymnasts, modern ballet, and folk dancers. Cayabyab took over from Yatco and conducted the PPO for this suite, where folk songs and music from the 1970s to the 1990s were revived with a dash of freshness and vibrancy. Songs in this suite included Pen Pen de Sarapen, Memories of Our Dreams by Eddie Peregrina, Itik-itik, Mutya ng Pasig by Nicanor Abelardo and Deogracias Rosario, Mag-exercise Tayo Tuwing Umaga by Yoyoy Villame, Katawan by Mike Hanopol, Boom Tarat Tarat by Lito Camo, Nasaan Ka Irog by Abelardo and Narciso Asistio, Bayan Ko by Constancio de Guzman and Jose Corazon de Jesus, and Hallelujah by Bamboo. A registered civil engineer and magna cum laude graduate from the UP College of Music in Diliman, tenor Ervin Lumauag was the featured singer in this suite. Alden Lugnasin and Marciano Viri choreographed the dance sequence. Also worth citing are the Ramon Obusan Folkloric Group Rondalla, Ballet Philippines, Buganda Street Dancers under choreographer Gerlin Francisco, the College of St. Benilde Romancon Dance Company, Musikalinangan, and the Dollar Dance Troupe with PPO manager Rebecca Jose displaying her first-rate dancing skills. Multi-awarded composer Daniel Tan handled the musical arrangements for the third suite dubbed as “Fusion Duets," which cross-bred popular music with classical pieces to produce an innovative sound. Tan demonstrated that he is still an influential creative force, seamlessly mixing music bars from Quando Me’n Vo Soletta from Giacomo Puccini’s La Boheme, Nessun Dorma from Puccini’s Turandot, Anak Dalita by Francisco Santiago and Deogracias Rosario, Nasaan Ka Irog by Nicanor Abelardo and Narciso Asistio, Kung Ako’y Iiwan Mo by George Canseco, Sana’y Maghintay ang Walang Hanggan by Willy Cruz and Baby Gil, Kahit Isang Saglit by Louie Ocampo, and Ikaw ang Lahat sa Akin by Cecile Azarcon, among others. The rhythm and blues vocal ensemble La Diva composed of soprano Jonalyn Viray, mezzo soprano Aicelle Santos, and alto Maricris Garcia were impressive as they rendered songs from classic operas woven into Filipino pop music. The fourth suite’s music was arranged by Ryan Cayabyab, with Arwin Tan as grand choirmaster. The brief final suite, dominated by the brilliant baritone Lawrence Jatayna – who was backed by the Philippine Madrigal Singers, Novo Concertante Manila, the UP Concert Chorus, and the University of the East Chorale – lifted the mood of the gala back to stratospheric heights after it had descended to subterranean lows in the third suite. Jatayna’s inspired interpretation of Gines Tan’s Magsimula Ka and Herminio Beltran’s Kulturang Pilipino, Alay sa Mundo should set the bar in singing in CCP productions. The excellent finale enabled the show to regain its shaky footing, and provide an appropriate ending to the CCP 40th anniversary gala. - GMANews.TV
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