Grand opera turns grandest and ends up the longest

The extravaganza of Resorts World Manila and Musicartes was grand opera at its grandest. Leading Filipino and foreign singers in splendid costumes or appropriately dressed otherwise, rendered arias often with full ensembles and a chorus amidst spectacular sets.Camille Lopez-Molina gave an over-powering rendition of Ritorna Vincitor (Return victorious!) from “Aida” alongside Viva Voce’s luminous Triumphal March.

Later, she dazzled the audience in Casta Diva with her voice thunderously sustaining the high notes; she then was joined by the equally full-throated Margarita Gomez Gianelli as the other priestess in Bellini’s “Mira O Norma.” As Micaela Gomez passionately rendered Je dis que rien n’ epouvante (I am not faint-hearted) from “Carmen.”

In this opera, Magdalena Wor marvellously combined vocal agility with emotive persuasiveness as the lustful, sensual Carmen, flaunting her charms in Habanera, as ensemble and the Viva Voce choir added spice to the scene. In the Gypsy Song, Wor was joined by Myra Meneses. Wor and tenor Adam Diegel as Don Jose were a compelling duo in C’est Toi? C’est Moi! (Is it you? It’s me!). The Toreador Song — how robustly and briskly interpreted, it was by Noel Azcona!

The petite, frail-looking Rachelle Gerodias displayed singular versatility in her dual role as the carefree, fun-loving courtesan Violeta, ironically attired in virginal white, with a fabulous necklace that could have been worn by Catherine the Great of Russia, and as the raggedly dressed Sisa in De Leon’s opera, distressed and driven mad by the absence of her sons. In both vivid portrayals, Gerodias’ widely-ranging, controlled dynamics were utterly spell-binding.

Celebrated tenor Arthur Espiritu profoundly moved listeners through all his renditions: as Alfredo, the ardent suitor who provided the exquisite off-stage voice for Violeta’s Sempre Libera; as the Duke in Rigoletto’s amusing La Donna E Mobile (Woman is fickle); as Nemorino singing an ironically sad aria Una furtiva lagrima (A furtive tear) in Donizetti’s comic opera, L’ Elisir d’ Amore. Espiritu’s legatos, phrasing, clear articulation, stunning fortissimos truly fascinated.

I saw Bizet’s “Pearl Fishers” in the Paris Opera House and I can say with conviction that Espiritu as Nadir, the pearl fisher, and Andrew Fernando as Zurga, a chief, compared most favorably with their French counterparts in the duet Au Fond du Temple (In the depths of the temple).

Fernando’s rendition of Verdi’s Cortigianni Vil Razza Dannati from “Rigoletto” was exciting, with his full rounded, firm baritone voice overwhelming in its volume. His portrayal was indeed commanding.

With their luminous voices blending harmoniously, Victoria Wefer and Magdalena Wor gracefully swayed in the “Flower Duet” from Delibes’ “Lakmé”; the former as the gentle, charming Musetta, sang Quando Men Vo Soletta por la via (When I walk alone in the streets) from Puccini’s “La Boheme.”

Being Japanese, Mako Mishimoto did what came naturally — walking, acting as the prim, shy, delicately feminine Madame Butterfly, singing her arias effortlessly and eloquently, the tall, manly Adam Diegel responding in like vocal fashion, while totally captivated by Butterfly’s charming diffidence.

Rossini’s “Barber of Seville” had Victoria Wefer as the forceful, emphatic Rosina in Una Voce Poco Fa (A little voice I hear), and Azcona as Figaro, the barber, singing the exceedingly rapid and challenging Largo al factotum (Room for the factotum).

A formidable highlight, the Quartet from Rigoletto, Bella figla dell amore (Fairest daughter of the graces), had Espiritu, Wor, Fernando and Wefer sinuously blending and crisscrossing timbers and volumes while expressing widely diverse emotions and sentiments.

As Princess Turandot, Mishimoto gave a deeply touching interpretation of Puccini’s Tu che Gel Sei Cinta; Diegel as Prince Calaf sang a mesmerizing Nessum Dorma (None shall sleep).

The younger singers were Tanya Corcuera, Nonon Baang and, not the least, the attractive, teen-aged, richly talented Fame Flores who should be singled out as Juliet in Gounod’s “Romeo and Juliet.” How ravishingly she conveyed the purity, innocence, exuberant passion of youthful love. In the aria Je veux vivre, Fame expressed her joy of living with ecstatic vibrance and abandon, unaware that her happiness would be short-lived. With what flair — and spontaneity, she carried her high notes across the footlights!

ABS-CBN Philharmonic Orchestra conductor Gerard Salonga masterfully captured the style and substance of each aria and the overtures by Wagner (electrifying), Bizet (dynamic) and Mascagni (gently lyrical). A lusty “Bravo!” to Aton Juan for his innovative, imaginative direction.

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Perhaps prior announcements should have warned the public that “The Best of Opera” would last four hours. Scores sneaked out way before the concert ended; those left at home wondered or worried about family members who had not returned after a reasonable lapse of time.