The rivalry was more apparent than real, Camille Lopez and Margarita Gomez being close friends offstage. But at their recent concert, comparisons, though odious, were inevitable.
On the physical side, both were attired in elegant gowns. They had smiling countenances, though Margarita’s smile seemed more constant and spontaneous. The two sopranos, of formidable girth, are about the same height. On the vocal side, both have impressively powerful voices though Camille’s timber is rounded; Margarita’s, sharp. They have a tremendous capacity to sustain high notes, and their control of dynamics — from pianissimo to fortissimo and vice versa — is singularly admirable.
Appropriately titled “Opera Extravaganza”, the program consisted of arias and duets, as well as overtures to operas and intermezzos from familiar favorites rendered by the Manila Symphony Orchestra under Arturo Molina. All selections were performed before a highly responsive audience at the Philamlife Auditorium.
The MSO, consisting of professionals and highly trained youngsters, is turning out to be an admirably polished, vibrant and cohesive ensemble under Molina whose impeccable credentials include further violin training in Moscow and Kiev Conservatories, and baton training in South Carolina U.’s Conductor’s Institute.
Maximizing the energy and enthusiasm of the musicians, Molina has molded them into a robust, sensitively expressive ensemble which fully responds to his solid authority, keen perception and musicianship. Consequently, the Overtures to Mozart’s “Magic Flute”, Verdi’s I Vespri Siciliani, Strauss Die Fledermaus and Rossini’s “William Tell”, and the Intermezzos from Manon Lescaut and Mascagni’s Cavalleria Rusticana delineated ardor and fire in climactic tutti passages, exquisitely languid, lyrical lines, Molina consistently in command (without any exhibitionist antics) and listeners enjoying the music at its most eloquent.
Hewing closely to the context of the varied operatic episodes, the MSO conveyed the gentle, plaintive lyricism of Verdi and Mascagni, the dramatic vigor of Rossini, the infectious lilt of Strauss’ waltz.
As for Camille and Margarita, the audience could not have enough of them in the duets — Ah, Guarda, Sorella from Mozart’s Cosi Fan Tutte, “Flower Duet” from Puccini’s Madame Butterfly, Mira O Norma from Bellini’s Norma. Or in arias by Margarita, e.g., Donde Lieta from Puccini’s La Boheme, Ernani Involani from Verdi’s Ernani, and arias by Camille, e.g., Voi Lo Sapete from Mascagni’s Cavalleria Rusticana and O Don Fatale from Verdi’s Don Carlo.
To start with, Spanish being phonetically similar to Italian, this reviewer noted the sopranos’ clarity of diction.
Whether in duets or arias, their resonant, sonorous voices powerfully rose to heights in a tremendous dramatic sweep, magnificently sustained top notes, and slid from high to low registers without any audible change in timber. Yet, the charm of delivery, the tonal inflections, the vocal persuasiveness, the facial expressions of one distinctly differed from those of the other. Each soprano preserved her own individual qualities and characteristics.
Indeed, theirs was a glorious “rivalry” which established vocal history. Why? Or how? It will take some time before another pair of superb sopranos, matching the stature and caliber of Margarita and Camille, will share the limelight on the same stage.
To add pleasurable diversity to the feminine voices, tycoon-turned-tenor George Yang interpreted La Donna E Mobile from Verdi’s Rigoletto, while animatedly “accusing” women — certainly not Camille or Margarita! — of fickleness, and receiving hearty applause for his amusing charge.
There was a long, overwhelming clamor for encores from the sopranos and from Molina who obliged with two sparkling Christmas carols in the typically Filipino manner of celebrating Advent inordinately early.
To conclude with an aside, “diva” is often applied to just any female singer. We just heard two genuine — and fantastic — divas.