A cabaret in ‘Spring’ / An orchestra is born / Romanian art exhibit

The svelte, ravishingly attractive Helene Delavault opened "French Spring" Monday night at the RCBC auditorium, enthralling listeners with a widely-ranging, eclectic program of French, Spanish, German, English and even Portuguese songs. These proved her versatility, while drawing instant interest and attention as she prefaced each song with witty, acerbic or cynical remarks.

For instance, before starting one song, she told the men in the audience, "Why marry? Your neighbor’s wife is so easy to get." In Si J’etais une cigarette, she explained: "If I were a cigarette, I would be held between the fingers or pressed between the lips." In J’suis snob, a man has given her all the lessons on how to be a perfect, arrogant snob.

A gamut of emotions was conveyed by Delavault’s enunciation, gestures and movement, eloquent facial expressions which, together with subtle nuances, alternately suggested joy, ecstasy, anguish, disappointment, anger, hauteur or fear. She appeared absolutely terrified in Bodas negras (Dark Weddings) which describes a man showering his dead bride with kisses and covering her with flowers, then finally lying beside her in the tomb.

The singer’s freewheeling style created an ambiance that took listeners right into a cabaret without their actually going to one. What a delightful feeling of make-believe that was!

English diction was fairly intelligible in Hoagy Carmichael’s "Two Sleepy People" (too much in love to say ‘goodnight’), "Fascination" and Cole Porter’s "Tell Me Where."

As the chanteuse sang one could not help admiring her operatic voice, powerful and resonant especially in the upper register. Ne me quitte pas by J. Brel was virtually an operatic aria wherein end notes soared, with volume controlled and power sustained magnificently. All these reflected Delavault’s training in the Opera of Paris and the Juilliard School of New York. Indeed, she would be an ideal Carmen, a role she had in fact essayed in Peter Brook’s musical; presumably she would even be better in Bizet’s opera with her heavy, dark timber and sinuous, seductive charm.

Delavault’s shift to popular entertainment has enriched that field and elevated its performance standard immensely.

Pianist Yves Prin, an excellent assisting artist, had Jean-Pierre Pichot as bass player. During intermission, the two Frenchmen interacted and jammed with Filipino saxophonist Tots Tolentino and percussionist Koko Bermejo in a refined (and marvelous) jazz medley of favorites: "The Autumn Leaves," "In the Mood," "La Vie en Rose," etc. Tots also accompanied the singer in certain songs, thus adding melodic counterpoint to them.

The prolonged, thunderous applause brought on as encore La Vie en Rose, this rendered with such exquisite artistry that it made Delavault’s conquest complete.

In the absence of Ambassador Renee Veyret, Charge d’Affaires Bernard Regnauld Fabre gave the welcome remarks, with Alliance Francaise director Philippe Normand and press attaché Benedicte Meysson in attendance. NCCA chairman Ambeth Ocampo commended the organizers of "French Spring". Audio-visual attaché Martin Macalintal was emcee.

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Forming a new orchestra, in this case the Adventist University of the Philippines (AUP) Chamber Orchestra, is always a thing of moment. The ensemble is halfway through the launching of the Adventist Philharmonic Orchestra in 2010. Arnie Lou Salazar-Baker led the string ensemble for five years, and concert pianist Jonathan Arevalo Coo, former violin student of Rizalina Buenaventura, has taken over as conductor.

For the AUP String Orchestra concert last May 29 at the F. Santiago Hall, Coo chose works well within the competence of the players, ages 14 and up, judiciously abbreviating pieces by Bach, Handel, Mozart, Eccles, for easier rendition.

The youngsters conveyed spirit and enthusiasm but understandably, still have to gain more polish.

Mary Ann Lanuza sang Je veux vivre from Gounod’s opera Romeo and Juliet, her high notes agile, firm and secure, her interpretation expressive. Violinist Gem Perond, perhaps nervous, could have done much better in Corelli’s La Folia Variations. Coo here served as assisting pianist.

The evening’s surprise was AUP President Dr. Robin Saban, baritone. His solid, rounded voice sustained the top notes evenly and securely in Silos’ Lagi Kitang Naalala.

The AUP Ambassadors’ Chorale, with Ramon Lijauco Jr. directing, was highly impressive in three A. Buenaventura songs, and Canseco’s Ako ay Pilipino.

The brilliant cellist Victor Michael Coo, the conductor’s brother, was doubtless the concert’s most outstanding performer, his playing of Abelardo’s Cavatina, seamless, luminous, superb.

R. Buenaventura scholarships were handed out. Requested to speak, former First Lady Imelda Marcos lauded everyone’s effort.

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A Romanian painting exhibit was opened at the Ateneo Art Gallery by erudite Ambassador Radu Homescu, with Ateneo President Fr. Bienvenido Nebres, SJ, curator Ramon Lerma, School of Humanities dean Dr. Leovino Garcia and Antonette P. Angeles as sponsors.

Herewith are excerpts from Ambassador Homescu’s message: "Of the many definitions of art, I would like to quote that of Constantine Brancusi, internationally acclaimed herald of modern sculpture: ‘Art is young, it never ages. It is life and no death.’ When Brancusi literally walked to Paris from his native Romania 101 years ago, to study art there, he added his name to the list of great Romanian artists, among them Nicolae Grigorescu, Ion Andreescu, Theodor Pallady, Lucian Grigorescu and Magdalena Radulescu who started their careers under the influence of the French School. Others, like Camil Ressu, Nicolae Tonitza and Ceceilia Cutescu-Storck studied in Germany.

"Art is close to people’s souls, and it has remained the best way to reach out to people throughout the world. Ties between Romania and the Philippines were established over three decades ago. We hope the Filipinos, who are great lovers of art, will appreciate the endeavors of Romania’s creators of beauty.

"Romania has enjoyed a long art tradition, and the 14 paintings displayed here claim their roots from the Bellearte School from the start of the 20th century to the seventies. Through the color and compositions of these paintings, we would like to dedicate this event to future academic links and exchanges between the prestigious Ateneo University and the universities of Romania."