Romance concerts resume / Tribute to V. Mary staged / Roces honored / Errata

After their ‘Romantic Music Journey’ in the US and Asia, outstanding pianists Ingrid Sta. Maria and Reynaldo Reyes resumed it on home grounds the other Sunday at Fuente de Artes (Ingrid’s residence). The duo rendered the first movement of St. Saens’ Concert No. 2 in G Minor, the second movement of Chopin’s No. 1 in E Minor, the third movement of Mendelssohn’s No. 1 in G Minor – two fast movements and a slow one in-between – and Rachmaninoff’s entire Concerto No. 3 in D Minor, the most difficult and daunting of his four electrifying concertos.

Taking the soloist’s part, Ingrid infused her interpretation of the Saint-Saens and Mendelssohn movements with perceptively greater intensity and bravura; Reynaldo, for his part, rendered the transcribed orchestral score with verve and vibrancy. In the Chopin movement, the orchestral score was thoroughly overshadowed by that of the piano, Chopin never having excelled in composing concertos.

In Ingrid’s solo, Buencamino’s Mayon Fantasy, the portion depicting the volcanic eruption dazzled its fury and fire; in Reynaldo’s solo, Santiago’s Souvenir de Filipinas, the rapid section similarly dazzled.

The concert was held in honor of former First Lady Mrs. Imelda R. Marcos who was marking her birthday. She graciously sang two Tagalog songs, including her favorite Dahil sa Iyo, and a Tin Pan Alley tune – her voice warm, firm and finely modulated – to the piano accompaniment of celebrated concertist Raul Sunico. Distinguished tenor Francisco Aseniero likewise delighted the audience with Tagalog songs.

Raul and Ingrid then played the well-known complex and amusing version of Chopsticks with its integration of thunderous passages from Liszt’s Hungarian Rhapsody No. 2. In sum, it was a most gratifying evening, with the informal and spontaneous addition to the program making it even more so.

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"The Miraculous Virgin of Caysasay", a musical composed by Ryan Cayabyab, with script and direction by Nestor U. Torre, Jr., concluded its three-day run at the CCP Little Theater last weekend.

Cayabyab’s songs, ranging from solemn to gay, were marvelous, with each appropriate to the occasion or scene for which it was composed.

The plot revolves around the repeated miracles of the Virgin of Caysasay and the characters affected by these miracles. To begin with, the fisherman Juan Maningkad discovers the statue of the Virgin while fishing. He takes the statue home, and it is then quickly venerated by the townsfolk.

Central to the story is the Am-Fil family consisting of Paul and Sylvia, their children Laine and Tobey, and Sylvia’s mother Dra. Elvira. All pray to the Virgin, beseeching her to intercede for Sylvia who is afflicted with leukemia – all, that is, except the skeptical Laine who adamantly refuses to believe in the Virgin’s miraculous powers.

Forthwith, Laine is beset by dreams and a vision of the Chinese stonemason Haybing who is beheaded by the Spaniards in the 1600s but is rendered whole by the Virgin.

Although Cocoy Laurel’s role as Haybing is relatively brief, he made it vibrantly alive with his superb acting and singing, rendering Haybing’s plight deeply and spiritually moving. He eloquently reflected his agony in his facial expression, his posturing, in every nuance, and inflection of his song and speech – the kind of Tagalog generally spoken by the Chinese. Cocoy was the absolute re-incarnation of Haybing.

Tommy Abuel as Fray Jose injected a tensely dramatic scene into the musical as he fiercely reprimands the townsfolk for believing in the Virgin, then later, owing to an illness momentarily inflicted on him (by the Virgin?) he turns around and declares unwavering faith in her.

Ivy Violan was endearing as the afflicted Sylvia, emoting and singing with sensitivity – indeed, with every fiber of her being.

Highly talented painter Araceli Limcaco Dans was a revelation as singer-actress, giving a striking portrayal of Dra. Elvira and serving as narrator as well.

Others who acted/sang with distinction were Lou Velasco (Tacio), Albert Jimenez (Paul), Ira Patricia A. Marasigan who was both Laine and the Blessed Virgin – her angelic face was a decided asset in the latter role – Andy Bais (Tiburcio) and Jonas Santos, Haybing’s executioner.

The children in the cast were scene-stealers. Tobey, the seven-year old Myk Torre, is a terrific singer.

The play is Filipino to the core, depicting typical traits, characteristics and yes, even humor.

Dennis N. Marasigan was lighting designer; Leo Rialp, set designer. Scene changes were swift and smooth.

As executive producer, Taaleño Ramon Orlina, internationally acclaimed glass sculptor, must have been pleased with the lusty applause at the finale, with the entire cast, led by Cocoy Laurel, in powerful song.

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The NCCA will honor National Artist in Literature Alejandro R. Roces on his 81st birthday today (July 13), 5:30 p.m. at the NCCA lobby with an exhibition of 12 comics version of his book of short stories Something to Crow About, and a performance of excerpts from his zarzuela.

The featured cartoonists are Steven Pabalinas, Jose Miguel Tejido, Gilbert Daroy (Philippine Daily Inquirer), Rene Aranda (Philippine STAR), Bladimer C. Usi (Manila Times), Romeo Castro (People’s Taliba), Dario Noche (Standard Today), William Contreras, Norman Isaac, Roni Santiago (Bulletin).

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To my recent column on Oscar M. Lopez and his German award should have been added the following: Oscar graduated cum laude from Harvard College in 1951, and obtained his Master’s in Public Administration (MPA) from Harvard University in 1955.

With regard to his allusion to Rizal (in his response), the speech the national hero delivered in German before the Berlin Anthropological Society was about metres in Tagalog verse.