Bravo Filipino, Bravo!

We don’t have to look far and wide for musical inspirations, nor do we have to wait for a local artist to make it big internationally to recognize his talent. These are just some of the lessons I’ve gleaned from the recently-held Bravo Filipino concert.  

The Bravo Filipino concert—a brainchild of Ayala chairman emeritus Don Jaime Zobel de Ayala that took musical minds Ryan Cayabyab, Louie Ocampo and Roel Santiago six months to prepare—was the culminating activity of the Filipinas Heritage Library’s travelling exhibit, The Himig Collection.

With Mr. C (as Cayabyab is fondly called) at the helm, OPM classics were given fresh interpretations by the newly-formed Ryan Cayabyab Singers (RCS). Going by the reactions of the more senior members in the audience, these songs were sorely missed.

Bravo Filipino also showed that world-class Pinoy musicality goes a long way back. If we have Charice Pempengco today, there was the songwriter Francisco Santiago who, despite having no YouTube.com to turn to in his time, played before Spanish courts in the early 1900’s, not to mention his compositions spawned Spanish translations.  

Santiago’s work was just one of the well-preserved audio bytes of yesteryears (dating since 1912 to be exact) from the Filipinas Heritage Library. These were interweaved into the wide-ranging repertoire that honored such artists as Katy dela Cruz (the original Jazz diva), Tres Rosas (“vocal harmony experts” in the ‘60s), Fred Panopio, Nora Aunor, Florante, Diomedes Maturan, VST, Kuh Ledesma, Martin Nievera, Sharon Cuneta, among many others. I’m sure nostalgic feelings got stirred that night, but for those among us who had heard some of the songs for the very first time; it was a no-brainer to realize that beautiful music knows no generation gap. 

One of the most applauded portions was the medley of kundiman and APO Hiking Society hits. Cayabyab said that the number was borne out of the insistent request of his male singers to dish out well-loved barkada songs of the iconic trio, while the girls wanted to relive the Dalagang Pilipina days with a dose of kundiman. So, imagine what a riot it was when APO favorites met vibrato singing ala “Reyna ng Kundiman” Sylvia La Torre!

Of course, how could a concert of this kind be complete without Ryan Cayabyab originals? I caught myself nearly singing my heart out to “Paraiso” (popularized then by his former singing group Smokey Mountain)—so, this goes to say, I’m glad that Cayabyab has revived his “tradition” of discovering and mentoring young singing groups. He also obliged the audience that unabashedly hollered for more with several encore numbers.

Cayabyab said that he has always enjoyed performing before Cebuano audiences, and he readily admitted that they should have also played Cebuano songs. I didn’t even notice until he pointed it out, but I agree, it would have been a much more unforgettable treat if Cebuano songs or those of other regional artists were included in the playlist. 

Another poignant moment was when the RCS sang a Ryan Cayabyab composition, and its lyrics segued into the National Anthem. In no time, everybody was on their feet, singing “Lupang Hinirang.”

Concerts come into being to entertain. But, Bravo Filipino had a greater purpose in mind when it was conceptualized, and it was not lost on the audience who generously gave it, for a couple of times throughout the program, standing ovations. Music has an indescribable way of empowering listeners, and how much more if it’s music that’s made by one of our own? And so, I share the sentiment in Cayabyab’s most quotable quote of the night: “There’s nothing like the Filipino voice. It’s not even a matter of high notes, but there’s something about it that makes you believe, breathe and live.” What a pleasure and privilege it was, indeed, to experience a concert that paid tribute to the Filipino artist.