“For me, this is like a dream come true, and it’s something that I really enjoy.”
That was Toma Cayabyab sharing his thoughts as a guest conductor of the Orchestra of the Filipino Youth (OFY), in charge of the beautiful music for the Rama, Hari production, in a virtual one-on-one with The STAR.
The musical playground where the Filipino rock opera ballet will be created and re-created is the Samsung Performing Arts Theater until tomorrow, Sept. 23, after its run at the Metropolitan Theater.
“I was brought onboard because last 2020, I was supposed to conduct for the Rama, Hari 2020 with the ABS-CBN Philharmonic Orchestra. We all know that the pandemic happened. One week before the performance, there was lockdown,” recalled he, who is meant to set the pace and tempo, among other responsibilities, in the one-of-a-kind masterpiece that features five Philippine national artists: Alice Reyes for direction and choreography; Ryan Cayabyab, also known as Mr. C, for music; Salvador Bernal for production design, and Bienvenido Lumbera for the lyrics and libretto, with English translations by Rolando Tinio.
When the people behind Rama, Hari decided to bring it back this year, Toma received a call and was sold on the idea to conduct it and collaborate with OFY. His work commences with rehearsals and culminates in the actual performances.
“They practice first individually or as a section,” said Toma, referring to the members of brass, percussion, strings and woodwinds sections. “I rehearse with them when we are all together. The first time that we practiced together was the first time they heard the music as a group.”
“My first responsibility is to study the piece, most importantly yung mga pasok, yung mga cues, kailan papasok yung, for example, the dancers, the singers,” added he. “I’m not just working with the orchestra. Actually, I’m also working with two other entities — the singers and the dancers.”
Since music is a vital component of ballet, Toma has to look at the other forms of art that interact in presenting the unified and collective whole of Rama, Hari.
“Personally, I enjoy it because it’s something I wanted to do,” said he, who grew up in an artistic and musical household, with Mr. C as his dad, and saw the latter working with San Miguel Philharmonic Orchestra, San Miguel Master Chorale and San Miguel Foundation for the Performing Arts.
Being part of Rama, Hari is an honor for Toma, who gets to work with his dad and Reyes, and sees the key contributions of other national artists come to life.
“Always coordinate with the dancers and with the director,” said Toma about a reminder from his father, adding that he is in constant talk with Reyes, the director. They collaborate on the proper pacing and timing of certain songs to accommodate some concerns of dancers.
The conductor shared that he also needs to listen to his singers for they have lines to deliver. So, it’s paramount for Toma to be attuned to the needs of other performers with his creative intuition.
What he likes about his work is, Toma can also bring something to the table.
“Of course, they have these general ideas,” said he. “For me, I also have my own decisions to make for the orchestra, like if there’s a part that we need to repeat this section para mas humaba, parang nasa call ko na rin siya.”
Toma has the full support of OFY as he constantly weighs in on aspects he finds important and helpful to the production.
Come showtime, Toma is in a pit, the designated place for the orchestra. From there, he is a witness to how Rama, Hari unfolds and is, perhaps, at the best place to hear all the music and singing.
“Actually, I’m also like performing,” said he, who can’t help but sometimes dance to the tunes replete with facial expressions. “For me, that’s being a musician, that’s part of being a musician and I personally enjoy it.”
Available pieces of information online about Rama, Hari describe it as a ballet that narrates the adventures of Rama and is inspired by the ancient Sanskrit epic, Ramayana. The main character is a prince “and (an) incarnation of god Vishnu, who comes down to earth to save the world from Ravana.” The latter, a powerful demon, falls in love with Sita, the wife of Rama.
As for the pressure of “reinterpreting” the work of his dad and being expected to show his best, he said, “I grew up with it, and I will admit it’s still there,” and his advice to himself is, “For me, do your best, do the job, work is work, trabaho is trabaho, gawin mo lang ang trabaho mo. Do what you can, do what you’ve been trained to do. God will (do and deal with) the rest, lahat yan mag-se-settle. So, for me talaga, trabaho lang, keep working and keep doing my best.”
Aside from conducting an orchestra and teaching music, Toma has a six-piece jazz band Debonair District.
“Yung music kasi namin ay parang ji-na-jazz namin yung mga OPM, folk songs and kundiman (We give Original Pilipino Music, folk songs and kundiman a jazz twist),” said the University of the Philippines and Ateneo de Manila University graduate.
“One of our missions and visions is to present to today’s young (people) and kids folk songs in a new light,” added he. “We’re not saying, ‘This is better, but it’s more like (encouraging them to) give it a listen, Astig din ito,’ because in my experience in teaching, nagugulat ako kasi marami sa estudyante na hindi sila familiar sa mga folk songs, yung mga kundiman, sayang naman, di ba? It’s really our music. Sabi namin, bring it in a new light para ma-enjoy ng mga bata ngayon para mas-contemporary.”
Toma and his band will take part in Pinoy Playlist, a three-day music festival featuring different groups and artists, on Oct. 1. “We’ll be playing originals and some OPM done in a jazz way,” concluded the musician, whose Debonair District also graces private events like weddings and plays standards.
(For ticket inquiries, visit Ticketworld.)