From then on, the soloists regaled the audience, exhibiting varying degrees of musicality, musicianship, sonority, resonance, contrasting timbers, vocal control, articulation, sense of drama and artistic sensitivity.
Internationally acclaimed tenor Otoniel Gonzaga, who has appeared in more than 70 major roles in over 45 opera houses in Germany and other European countries and the US, ignited listeners with Adeste Fideles inspiring reverential awe through tremendous and magnetic vocal power, resonance, sonority, marvelous phrasing and profound feeling.
Religious fervor was sustained by Camille Lopez in Schubert’s exquisitely lyrical Ave Maria, re-kindling devotion to the Virgin Mary, and in F. Gruber’s Stille Nacht, the song most closely identified with Christmas. Camille’s voice was rich, lush, her vibrant fortissimos highly impressive.
Rachelle Gerodias in "Angels from the Realms of Glory" and "Joy to the World" demonstrated her usual superb control and discipline, as also her remarkably wide range, varied tonal colors, astonishing volume (belied by her frail appearance) and the keenest artistry. Her acute dramatic sense infused greater meaning into the songs as she mesmerized the audience.
In "What Child Is This?", Karla Gutierrez, the youngest soprano, made her own noteworthy contribution with her gusto, assurance, poise and warm expansive singing.
One could distinguish and appreciate the individual talent, vocal skill and gift for expression of the three sopranos in "The Twelve Days of Christmas". They delighted the audience no end with their infectiously jubilant spirit.
It took considerable courage and audacity for George Yang to perform in the same concert with Otoniel Gonzaga but his courage and audacity were wholly justified. Yang, a late bloomer – being primarily in business – proved a fascinating and exciting find, holding his own in "O Little Town of Bethlehem" and Gesu Bambino, his voice firm and strong even in the well-sustained high notes, his diction clear, his expression moving.
With typical panache and flair, the international tenor Frankie Aseniero, fresh from a successful European tour, interpreted "It Came Upon a Midnight Clear" and the popular native Pasko Na Sinta Ko.
Under Conductor Colmenar, the MPO was both effusive and eloquent, capturing the magic of Yuletide with its bouncy beat and vigorous thrusts alternating with extended, controlled pianissimos. "Christmas Around the World" was a charming arrangement by Colmenar himself.
Two solos were accompanied solely by organist Alejandro Consolacion II, one of the best in his field. The Coro de San Antonio and the Coro Tomasino conducted respectively by Amelita Guevara and Ronan Ferrer, and the Chiang Kai Shek College Youth Choir and the Mandaluyong Children’s Choir under Irma Tan Su and Sebastian Trinidad, respectively, achieved massive sounds in their collective endeavor.
The ineffably contrapuntal Panis Angelicus, interpreted by Rachelle and Otoniel with seamless, impeccable, glowing musicianship, was followed by "O Holy Night". This sent shivers down the spine as the tenor stirringly intoned: "Fall on your knees / And hear the angel voices / O night divine / O night when Christ was born." How Otoniel deepened spiritual devotion while investing his fortissimos with passion!
Indeed, his towering presence lent enormous prestige to the concert, elevating its performance level. Undeniably, he was its main attraction and drawing card. For this reason, the audience (including this reviewer) was anxiously expecting more songs from him.
As in the time of King George II, Handel’s Hallelujah Chorus, which featured all singers and instrumentalists in the exhilarating climax, brought everyone to his feet for the glorious auditory experience. Doubtless, the music has lost none of its vibrance and vitality through the centuries.
In sum, it was a rousingly magnificent Christmas concert with all factors leading to its huge success: fine participants, a widely diverse, imaginative program presented in a stunningly baroque venue, a warmly responsive audience that filled the church to overflowing. And not the least, the behind-the-scenes work of the organizing committee chaired by Eduardo H. Yap who tackled the knitty-gritty production details unflinchingly and indefatigably.
Prior to the concert, parish priest Fr. Antonio Rosales delivered a prayer. Evelyn Singson, president, Management Association of the Philippines, Simon Paterno, director-manager of Credit Suisse, and Eduardo H. Yap, concert producer, gave brief remarks. Marianne Joy Y. Siao emceed.
Assisting Mr. Yap in production were Rafael Hechanova, chair, Advisory Committee, with Fr. Rosales, Marixi R. Prieto and Jose Mari Chan as members, Finance chair Carmelita Ascalon, Susan Concepcion and Henri Santos, members; Promotion and Marketing chair Carmelino Alvendia Jr., members Tereret Liboro and Menchu Bautista; Ticket Sales chair Steve Lopez, Melon Silverio, co-chair, Souvenir Program, Nena Rosales, chair, and Baby Gloria, Physical Arrangement and Decorations, Boy Apacible, chair, Charo Apacible, Mita Rufino and Milette Ocampo, members, Freddie Wieneke, consultant.