Korean Yi: A superb Violetta / Coke's awesome virtuosity

Of Verdi’s operas, ‘La Traviata’, with its exquisitely rich melodies and dramatic impact, is probably the most frequently performed. Its heroine Voletta, a woman of loose morals like Bizet’s Carmen, has a strongly persuasive appeal.

Yun Kyoung Yi, of Korea’s Dae-Jeon Opera Company, was a superb Violetta; her portrayal, a crowning achievement. Not for a moment did she lose focus; her technical skill and theatrical instincts were admirably unerring throughout, her ringing voice pure and crystalline.

With her subtle artistry as an actress, she was convincingly anxious to give everything, and later, to sacrifice everything for Alfredo, the man she loved. As a singer possessing the keenest musical intelligence and mastery of technique, she rendered the virtuoso passages in Ah, fors’ e lui (The one of whom I dreamed), the coloratura aria Siempre libera (Ever free), the other arias and the duets with unwavering control, her pianissimos delicate, her long sustained fortissimos arresting.

Vibrant and vivacious as the opera opened, Violetta, betraying signs of illness, later feigns gaiety in her desperation, finally becoming the very picture of poignancy, in the closing Act wherein, wan and frail, she dies in Alfredo’s tight embrace. How Yi created a most tender, supremely moving scene!

Tenor Jaewook Lee opened Act II with a feat, singing while lying on his back. He was animated as Alfredo but even more impressive vocally and physically was baritone Daesan No as Germont.

The world-acclaimed UST Singers were a vibrant chorus. Thea Perez Prosia, Flora; baritone Noel Azcona, Barone Douphil; Jade Riccio, Anina sang with distinction. Ballet Philippines’ Spanish dance in the balletic manner, featuring Jean Marc Cordero and Candice Adea enhanced the ball in Flora’s palace.

Korean Jae-Joon Lee, conducting the Philippine Philharmonic Orchestra, paid meticulous attention to the singers’ pauses and sustained notes. He infused substance and meaning to the music-drama, playing the lyrical passages with tremulous beauty; the dramatic portions with arduous intensity.

Ricardo Cruz’s splendid sets and Eric Pineda’s colorful, fetching costumes, which enveloped Yi’s tall, slim-as-a-reed figure, evoked elegant ambiance. Floy Quintos’ acutely perceptive direction increasingly deepened audience interest and anxiety to the very end,

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The rather dimly-lit Bel-Air stage did not deter Alfonso “Coke” Bolipata from demonstrating his wizardry, nor his Pundaquit Virtuosi from living up to their name.

The selections, being familiar, became doubly enjoyable. Kreisler’s ‘Danse Espagnole’ called to mind ‘Carmen’ by Bizet who, although French, nevertheless fully conveyed the Spanish flavor and spirit. The American-Jewish Kreisler did as much for his piece.

In Massenet’s ‘Meditation from Thais’, Rachma-ninoff’s ‘Vocalise’ — a song without words originally composed for the voice — Velez’s ‘Sa Kabukiran’, as in the initial work, Coke infused his virtuosity with soulful expression while playing challenging phrases with remarkable ease. Pianist Jourdann Petalver was the unerring assisting artist.

Except for the lambent Spring in Vivaldi’s ‘Seasons’, Spring, Summer and Autumn had the rapidly quivering strings “exploding” like unrelieved thunder, this produced by the violinists, the soloists ranging in age from 10 to 15. Phenomenal, they eloquently proved Coke’s selfless, unrelenting, rigorous training. Incredibly, being children of humble folk, they had no previous exposure to classic music.

Guest soloists, Bel-Air’s 10-year old Boogie Angeles, played with gusto Brahms’ ‘Hungarian Rhapsody Dance on the marimba; 14-year old soprano Kiaria Dario, still a work-in-progress, sang San Pedro’s ‘Sa Ugoy ng Duyan’; 16-year old pop singer Paolo Ocampo in Cayabyab’s ‘Paraiso’, showed considerable promise.

Coke and his Virtuosi were again amazing in Gardel’s ‘Por Una Cabeza’ and Strauss’ Danube Waltz with its infectious lilt.

It was Coke’s third Bel-Air engagement. Plaudits to organizer Constancia Q. Lichauco, assisted by pianist Carminda Regala.