The triumph of Cherie as La Divina in Master Class

MANILA, Philippines - If ever there could be as perfect a casting from aura, ability, passion and character, nothing would come close to Cherie Gil playing the electrifying and misunderstood Maria Callas known as La Divina on stage in the play Master Class at the RCBC Plaza until Aug. 15. 

In delineating the life and loves of the Greek opera singer who conquered the world and became the veritable symbol of opera in the 20th century, Cherie merged seamlessly into Maria and became her from the moment she entered the stage until her heartbreaking exit. “This material is so tailor fit for her,” says producer Karla Gutierrez, of the Philippine Opera Company (POC).” We always say that “nasasapian siya ni Callas”.

The play was mounted for five successful performances in 2008 that POC would get frequent requests for restaging. Apparently, POC was just waiting for the availability of the venue and Cherie who in the interim was busying herself as teleserye actress with such a dizzying schedule that took toll on her voice. Karla continues, “Cherie Gil is La Divina. She is so perfect what with her background in classical music from husband Rony Rogoff… and to top it all, her professionalism and dedication. No one else can do the role.”

Finally, everything came together with Cherie even postponing an operation on her throat that would clear up some nodules. PR Toots Tolentino generously provided Boots Anson-Roa and myself tickets to a performance we both cannot stop talking about to this day.

Master Class, written by Terrence McNally, a controversial four-time Tony awardee, is based on a series of Master Classes given by Maria Callas at the Juilliard School of Music in New York in 1971 and 1972. McNally’s fictional version takes the form of one class in voice in 1971. During this time, Maria had already given up singing opera. Her voice had deteriorated and she had taken to activities like doing a non-operatic film of Medea for Pasolini, and giving Master Classes at Juilliard. Through it, one is introduced to the art of dramatic singing, although the audience must also be prepared not to hear Maria (Cherie) sing. It is her students who perform arias.

As a teacher, Maria calls her students “victims” and indeed treats them shabbily, tearing their self-confidence apart. They each respond differently, some in defeat, some taking it as a challenge, others with hope, still others in anger and defeat. If there is anything she hates, she tells them, it is when they don’t feel the lyrics, when they massacre the song. Obviously, when they do this, it is they she will massacre. Ma. Florence Aguilar as Sophie, Juan Alberto Gaerlan as Anthony, and Kay Balajadia as Sharon on the night we watched portrayed their varying responses with alacrity.

We listen carefully to Maria’s lessons. “An artist enters and owns the stage. Art is domination. You must dominate the audience. We artists must sing to the gutter to rise to the stars,” she tells her students and in her clear, curt, uncompromising manner tells them that the life they have chosen is difficult and fraught with sacrifices.

As the student is singing the assigned aria, Maria goes off into reminiscing of her own life and career. In effect, the play reveals as much of her art as it does her personal life — her displays of temper, feuds with rivals, difficult demands, and complete devotion to Aristotle Onassis who apparently preferred Jacqui Kennedy to her. It is often said that Maria Callas is the personification of the great romantic opera — a story of triumph, drama, and tragedy in the end. After losing the love of Onassis, she returned to Paris as a virtual recluse, dying two years after Onassis from still unclear causes. 

Cited far and wide for her performance as Maria Callas, Cherie refers to the role as both a blessing and a curse. She has stated, “Maria Callas is larger than life and always known to be the epitome of discipline, having an intense passion and love for her art. I was compelled to get to know her…and finding a fresh start to loving my craft all over again.”

In a Q&A with Cherie, she was asked what she learned from Maria Callas. Cherie replies, “Discipline, Technique and “Mut” meaning Courage in German.” Her favorite line from the play is “In art, there is always an entrance first, just as there is always an exit after. Art is all about these transitions. The rest is all ka-ka-pee-pee-doo-doo!” As for similarity with Maria Callas? She says, “We gave up a lot of ourselves totally for love and along the way ruined our voices.” 

Cherie leaves for New York after the play to undergo surgery to get her voice back. Master Class, directed by Michael Williams, has remaining playdates at the RCBC Aug. 6, 7, 12, 13, 14 at 8 p.m. and Aug. 8 and 15 at 3:30 p.m.

For details, call 892-8786 or 881-7168 and 891-9999 (Ticketworld).

(E-mail the author at [email protected].)