An opera looks into Juan Luna’s genius and demons
February 3, 2003 | 12:00am
Fides Cuyugan-Asensio had herself in mind to play the role of Paz Pardo de Tavera in her latest opera Spoliarium, Juan Luna. She had the same idea of taking on the role of the heroine Agueda in her last staged opera Mayo… Bisperas ng Liwanag, which was based on Nick Joaquin’s short story "May Day Eve." But since opera productions in the Philippines come far and few, she admits she got to old for these roles.
"That’s why in Mayo, I had to cast myself as Anastacia, the visionary," she says. "It happened here again, that’s why I’m taking on the role of Juan Luna’s mother-in-law, Doña Juliana."
The life of Juan Luna has been in her mind for the past seven years, ever since she first read art historian Santiago Albano Pilar’s book Juan Luna, The Filipino as Painter.
"As soon as I opened that book, the story just leapt out at me. It’s the kind of story that will compel any opera librettist to write," she says.
Historians and students alike remember the tempestuous affair between Luna and his wife Paz, a sordid tragedy that she has consciously avoided, as well as other violent scenes many historians have rumored about.
"It’s so usual to put sex on stage," she says. "At first, I wanted to call this opera ‘Portrait of an Unhappy Marriage.’ However, my late husband said no one would go to watch an opera about that. It took me quite some time before someone suggested ’Spoliarium.’ I thought it was the perfect title for this opera. The Spoliarium is considered by many to be the apotheosis of tragedy, pain and terror. In a way, Luna painted on his canvas the same tragedy that was afflicting his married life."
This production of Spoliarium coincides with the celebration of National Arts Month this February. Writing the libretto took Cuyugan-Asensio around nine months. Afterwards, composer Ryan Cayabyab took on the task of writing the opera’s music. Director Alexander Cortez started work on the production last December.
Cortez sees the whole Luna tragedy as no different from any melodrama.
"It is not one of those dramatic operas," he says. "It is about a domestic squabble – a crime of passion. That in itself will surely make it attractive for many theater goers."
He emphasizes that there has been no exact version of the Luna tragedy. He talks on the different stories about how Luna murdered his wife Paz and mother-in-law Doña Juliana.
"It’s so much like Rashomon," he adds. "But in the epilogue, we establish that everything happens in Luna’s mind."
Although she considered Luna to be a man of genius, Cuyugan-Asensio sees him to be haunted by the duality of man and beast.
"He was a repulsive man," she says. "I think Paz was a battered wife. He would beat her with a cane, slap her and strangle her, not to mention the verbal abuse he often subjected her to."
At the same time, she realizes that there was much unhappiness between Luna and Paz.
"He was a genius, but all that unhappiness in Paris surely had an effect on him," she adds.
Spoliarium is co-produced by The Opera Guild of the Philippines and the Music Theater Foundation of the Philippines with the Cultural Center of the Philippines. Sponsors include the National Commission for Culture and the Arts, National Museum, Avon Cosmetics, Ascor Lighting System, Café Lupe Grille and Restaurant, 98.7 DZFE, The Philippine STAR, Golden Touch Digital & Color Laboratory, Imatech Corporation, Lufthansa, Manila Bulletin, Nestlé Philippines and Yamaha Pianos/Yupangco Music Corporation.
Performances are on Feb. 21 to 23, 8 p.m. and Feb. 22 to 23, 3 p.m. at the CCP Main Theater (Tanghalang Nicanor Abelardo) and on Feb. 28, 10:30 a.m. and 3:30 p.m. at St. Cecilia’s Hall, St. Scholastica’s College.
For ticket inquiries, call the CCP box and marketing offices at 832-3704, 551-7930 and 832-3878, Music Theater Foundation at 421-1898 and 439-5297, Opera Guild Foundation at 817-4823 and 810-6674, Bravo Filipino at 526-4229 and 724-3085 and at all TicketWorld outlets at all National Book Stores.
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