‘The Night Is Yang’: A surprise from George / Suzuki's owns surprise

At McDonald’s 25th anniversary dinner concert "A Sterling Night of Music," which was held in Shangri-La’s Rizal ballroom, I fully expected to see a film documentary of a chef preparing succulent hamburgers. Instead, a documentary showed McDonald Charities – the Bahay Bulilit project consisting of houses for the poor, as also health and study centers in communities where McDonald restaurants are found.

Then appeared the scintillating array of singers for the concert. Michael Williams’ dramatic and compelling rendition of The Impossible Dream would have made an even greater impact had the orchestra accelerated its tempo. Jose Mari Chan and his daughter Risa sang "Unforgettable" with Jose Mari’s smooth, soothing voice and equally smooth, soothing manner beguiling the audience. Followed the balladeer’s rendition of Fly Me to the Moon and of his own composition Deep in My Heart and Refrain, long a favorite for its lilting melody and beautiful lyrics written by the composer. With immense gusto, the young, fetching Jasmine Trias belted out two jazzy numbers while thrilling the crowded ballroom.

When McDonald chairman George Yang ascended the stage, after having been introduced by his son Kenneth, I could not tell what was coming. Earlier, Mr. Yang (or his secretary) had sent me a CD entitled "The Night Is Yang" which I have yet to listen to. Therefore, I was not prepared to hear in the Neapolitan Torna A Surriento Mr. Yang demonstrating – surprise, surprise – a full, robust, forceful voice sustaining considerably long top notes. Further, it conveyed deep feeling. Mother Lily Monteverde sprang her own surprise by playing the piano with orchestra for Mr. Yang’s second number, Granada. After this, the tenor sang Fantasia from Andrea Bocelli’s repertoire, impressing the audience even more. In fact, a storm of applause ensued after each song.

Forthwith Pops Fernandez regaled listeners, her sparkling stage presence enlivening familiar favorites. Mr. Yang joined her in one, thus reflecting versatility.

The audience sat perfectly magnetized as the sought-after leading soprano Rachelle Gerodias interpreted the arias Omio Babbino Caro from the seldom-heard one-act Puccini opera Gianni Schicchi, and Musetta’s Waltz Song Quando me’en no soletta per la via (How people eye me as I walk along the street) from La Boheme, also by Puccini. Rachelle’s glorious voice soared, exhibiting magnificent control of dynamics it shifted from a fortissimo to an abrupt pianissimo, then turning full-throated again.

The "sterling" climax came when Rachelle and Mr. Yang rendered the Drinking Song duet Libiamo ne’ lieti calici, from Verdi’s Traviata, Mr. Yang assuredly holding his own while hitting the high notes firmly and robustly, with Rachelle, for her part, singing superbly.

(Having heard Mr. Yang sing in person, I am no longer surprised at his CD’s inclusion of such formidable lyrical arias as Che Gelida Manina from La Boheme, Nessun Dorma from Turandot, both by Puccini, and Una Furtiva Lagrima from Donizetti’s L’Elisir D’Amore.)

For the finale, icon Sharon Cuneta proved that pop songs could be admired as much as arias, each in its own distinctive fashion.

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It was like discovering a gold mine. The Suzuki Musicale at the Makati residence of Pennie Laperal unearthed astonishing young talents which could turn professional someday. The performers were followers of the Suzuki Method as propounded by Prof. Carmencita Arambulo, "Mrs. A" to her students and admirers. The Method was devised by a Japanese music educator, hence the presence on the occasion of Ms. Hiroko Tanaguchi, director of the Japanese Information Center.

A documentary prepared by Ariel Arambulo, Mrs. A’s violinist-son, showed that every child has the ability to learn, although he/she may not necessarily turn professional. Parents are essential partners; at each lesson, a parent – usually the mother – accompanies the child. Advantages of the Suzuki Method were aired, but many highly respected piano teachers, combine it with the traditional method. At any rate, the afternoon’s musicale had immensely gifted youngsters performing: Patrick Sy, eight, who had started lessons at three, played the third movement of a Haydn Concerto; violinists Ira and Sergei Aclan, who come to Manila from Lipa for their lessons, played a Concertino by Kuchster and Clebanoff’s "Millionaire’s Hoedown", with Sergei on the piano for the latter; tiny, seven-year old violinist Micah Pecson fluently essayed the first movement of a Vivaldi Concerto.

Rafael "Raffy" Laperal, son of Pennie, showed full, luminous tones in Saint-Saens' "The Swan" and Schubert’s Moment Musicale. Pianist Franco Liwanag effortlessly rendered Chopin’s Fantasie Impromptu and Waltz in D Flat Major so did violinist John Jerry Ginon interpret Massenet’s Meditation from Thais and Migliavacca’s Celebre Mazurka Variata.

I have a recording of Paderewski playing his own piano piece Menuetto; although Leian Cordial did not match his power dexterity or accelerated tempo, she was nevertheless highly impressive.

Jasmine Balbutin, a nurse who teaches violin, played Monti’s Czardas in an appropriately fast and furious pace. The talented trio in Haydn’s Gypsy Rondo consisted of violinist Andie Reyes, pianist Clyde Ledesma and cellist Thea Balbutin who earlier played Webber’s Scherzo.

Dr. Amy Aclan, mother of Ira and Sergei, Katherine Asis and Chloe Canton served as piano accompanists. Special mention should be made of Elielle Viaje. Her rendition of Liszt Un Sospiro and Chopin’s Grande Valse Brillante explained her acceptance as a scholar in Austria’s Musikgymnasium.

Carolyn Cheng (Piano I) and Katherine Asis (Piano II), both summa cum laude graduates from schools abroad, closed the program with Milhaud’s Brasileiras; the Suzuki Ensemble playing Mozart’s Eine Kleine Nachtmusik under director Ariel Arambulo had opened it.

Suzuki parents Pennie, Katherine, Wina Viaje and Dr. Annie Kopio conveyed as much enthusiasm as their talented children did.