Otoniel Gonzaga’s glorious night of song / Honors for National Artist

International tenor Otoniel Gonzaga was last heard at the CCP main theater a few years ago, and at his recent engagement at the Philamlife auditorium, he was even more charming and quicker to establish rapport with the audience.

Throughout, he casually gave a running commentary on the songs he was about to render, thus drawing more curiosity and interest in them. Before interpreting the arias, he wittily explained the circumstances surrounding each, thus making it more comprehensible.

With the Philamlife’s excellent acoustics, Gonzaga’s resonant, powerful voice soared to the rafters while filling the audience with delight – and awe. The opening "Let All My Life Be Music" was an early indication of how he would render the arias from Fedora, Forza del Destino, Nessun Dorma – these with ease, astounding force and intensity, particularly in the high notes, with meticulous attention to the words, and dramatic expressivity.

To touch base, the tenor interpreted Santiago’s Pakiusap and the Visayan Walay Angay (Gonzaga is from Iloilo) – the latter in sotto voce demonstrating masterful control of dynamics. The inspirational Broadway songs, "Climb Every Mountain" and "The Impossible Dream", were enthralling exhortations to face life’s challenges and travails with courage and determination.

For about two decades, Gonzaga has been performing in almost all major opera houses in Germany. Recently, he gained added distinction by singing Verdi’s Otello in Prague more than 40 times, and substituting for Placido Domingo in Washington’s National Opera.

Being a totally secure artist, the tenor gladly and generously shared the limelight with a much younger colleague, baritone Noel Azcona, in duets: Solenne in guest’ora from Verdi’s Forza del Destino and from Bizet’s "Pearl Fishers". (Incidentally, I heard the latter opera in Paris, and the Filipino singers compared very favorably with their foreign counterparts).

The personable Azcona sang the "Toreador Song" and Magbalik Ka Hirang in a smooth, mellifluous voice which, although impressively powerful, did not (as yet) match the intensity and volume of Gonzaga’s own. But the tenor, with an air of noblesse oblige, justly praised his younger peer, predicting a bright future for him.

Gonzaga also graciously praised the winsome soprano Joan Cano who interpreted "Think of Me" from "Phantom of the Opera" with a light voice which sounded even lighter against the ringing voice of Gonzaga in "The Prayer" duet. However, Cano did gain surprising volume in the high notes sung fortissimo.

From the start, with his imposing stage presence, gracious informal manner and remarkably powerful volume, Gonzaga held his listeners in the palm of his hands so to speak. His every entrance onstage was greeted with loud clapping; each song received rousing and prolonged applause. A standing ovation ensued.

For encores, the tenor interpreted Core Ingrato and a song composed by an Irish friend. All three singers then concluded the wonderfully gratifying program with "Let There Be Peace". Pianist Mary Anne Espina assisted the vocalists impeccably.

The recital will be repeated at the Ayala Museum on Friday, Aug. 5.

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Many of those who were at the CCP auditorium for the necrological service in honor of National Artist for Dance Leonor Orosa Goquingco remarked how utterly moving they found it. In fact, they confessed having been moved to tears by the "Ritual and Dance of Lamentation" from Leonor’s Tribal Story which revolves around a fallen tribal warrior, here aptly symbolizing the fallen warrior lying in a casket onstage. Excellent percussion accompaniment was provided by Edu Abraham’s ethnic ensemble Kontra GaPi for The College of St. Benilde dancers.

"Pagtawid", choreographed by Basilio Esteban Villaruz – incidentally, years ago, he requested Leonor to endorse his application for a British Council grant, and she graciously did – was likewise to the accompaniment of Edru Abraham’s Kontra GaPi.

Eugene Castillo wielded the baton over the PPO for a composition by National Artist in Music Lucrecia R. Kasilag. She it was who in 1976 had nominated Leonor National Artist in Dance.

Ballet Manila (Fred and Liza Macuja Elizalde had earlier sent a wreath), Ballet Philippines, Chameleon Dance Company, Myra Beltran, Philippine Ballet Theatre, Steps Dance Studio and Kontra GaPi were duly represented.

The necrological service "Pagdadalamhati Ng Bayan" (the country’s expression of condolence) was under the auspices of the CCP and the NCCA, the former represented by chairman Emily Abrera and vice-president Nanding Josef, the latter by chairman Ambeth Ocampo and executive director Cecile Guidote Alvarez.

"Moving" too was how the listeners described the various tributes. Speakers were Sr. Mary Placid Abejo, OSB, who delivered the invocation; Emily Abrera, National Artist in Sculpture Napoleon Abueva, the only survivor among those who were named National Artists in 1976; Bro. Armin Luistro, president of De La Salle College whose branch, the College of St. Benilde, has forged a partnership with Leonor’s Filipinescas; Leticia Ramos Shahani who represented the Zonta Club of Manila of which Leonor was a member; Ambeth Ocampo and Cecile Guidote Alvarez who, as Presidential Adviser on Culture, read President Gloria Macapagal’s tribute to Leonor.

The response was given by Leonor’s daughter Regina G. Felipe who said she now imagined her mother "dancing with the angels".

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The family of the late National Artist in Dance Leonor Orosa Goquingco – children Benjamin Goquingco Jr., Regina G. Felipe, sisters Helen Orosa del Rosario and I – wish to convey our deepest gratitude to all those who condoled with us by sending wreaths, mass cards and hand-written letters, by coming to the wake (many repeatedly and some even daily), by joining the funeral corteges and attending the burial at the Libingan ng mga Bayani.

Thank you indeed for empathizing with our sense of loss in the hour of our bereavement.