Five Hallelujahs a week
There have been no less than five Hallelujahs at this month’s Christmas concerts. The fourth was at “Adventus”, the concert presented in the huge, grandly resplendent Abbey Church of Our Lady of
“Openers” were the Manila Philharmonic Orchestra under Rodel Colmenar, and Rev. Benildus Maramba playing Joyful, Joyful. Soprano Rachelle Gerodias and tenor George Yang (a jubilarian) then sang Exultate and Jesu Bambino, respectively.
Of the 52 sections comprising Handel’s oratorio Messiah, ten were sung that night, preceded by a symphony rendered by the MPO under Colmenar’s animated and authoritative baton.
Resolutely developing and refining his voice further, Yang admirably rises to every new challenge with assurance and audacity, as he did in “Comfort Ye” and “Every Valley Shall Be Exalted”. Like the rarest gem shining in all its brilliance, Gerodias interpreted “Rejoice Greatly”, her pianissimos or fortissimos, high or low ringing through the Abbey’s vast recesses. Camille Lopez her voice full, mellifluous and resonant, had her share of attention in “Behold a Virgin Shall Conceive” and “O Thou that Takest Good Tidings to
In Part Three, the initial song Kampana featured the UP choir, after which Gerodias rendered Silent Night in movingly burnished tones, and Yang, The First Noel in impressively secure, fervid fashion.
Pop singers Maricris Bermont, Bo Cerrudo and Calvin Millado, the latter two earlier serving as spirited emcees, performed to tremendous applause which grew louder still for the medley of carols by the full company. Freddie Santos was the musical director. At concert’s end, President Arroyo graciously expressed approbation and praise.
Armando V. Salarza, titular player of the Las Piñas bamboo organ, dominated the Manila Cathedral anniversary gala concert, evoking massive, awesome volume from its pipe organ, his virtuosity projecting him arguably as the country’s best organist.
His formidable pieces were J.M. Molter’s Concerto in D Major, J.S. Bach’s Prelude and Fugue in E Flat Major and Liebster Jesu, C.P.E. Bach’s Sonata V in D Major and H. Mulet’s daunting, imaginative, avant-garde Carillon de Sortie. Shown on the screen, Salarza’s nimble, fleet fingers created a feat, a tour de force as they traveled with amazing speed over the three keyboards. The lyrical, lambent, flowing Mary’s Lullay by the richly talented, versatile composer-conductor-organist Alejandro D. Consolacion followed.
For the fifth time, we heard Hallelujah the concert concluding with Beethoven’s Joyful, Joyful We Adore Thee as sung by the remarkable UE Chorale under Consolacion. Sylvester G. Avinante (Trumpet 1), Mark Lester Perez (Trumpet 2) and Ederic Sampedro (Timpani) produced marvels of sound.
From the pile of mail I receive daily, I inexplicably missed seeing Fr. Pedro Galende’s invitation to the 9th San Agustin International Music Festival (Nov. 28-30) which marked the 10th anniversary of the pipe organ’s restoration. Spanish Ambassador Luis Arias Romero pointed to the select Spanish and Filipino artists participating; executive director Cecile Guidote-Alvarez lent NCCA’s full support.
Eminent Spanish organist Miguel Gonzalez who, at 40, must be at the peak of his career, was the main attraction. Local groups were the Madrigal Singers under Mark Carpio, the Union Church Chancel Choir under Alejandro Consolacion, the Manila Philharmonic Brass Ensemble under Eudenice Palaruan and Mary the Queen Children’s Choir under Maria Therese V. Roldan.
Soloists were bassoon player Adolfo Mendoza, sopranos Karlyne Kimberly Yu Kwok and Lizette Anne Laguna, and alto Rosa Fruto.
Warm congratulations to Fr. Galende for his unflagging zeal in propelling the Festival.
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