‘Choir of the World’

The UST Singers won the appellation "Choir of the World" in 1995 when it triumphed at the 4th Llangallen International Eisteddfod in Wales, UK, winning four first prizes and The Choir of the World Grand Prize. The triumph (I quote) "was undeniably a landmark in the history of the Eisteddfod, the world’s oldest international choral competition, making the UST Singers the first and only Asian choir, thus far, to acquire the prestigious honor".

Again, it was voted "Best Choir" at the 2001 World Choral Festival in Puebla, Mexico, besting Argentina, the Czech Republic, Austria, Slovenia, Slovakia, Venezuela, Mexico, Greece, Italy, Portugal and Spain.

At the UST Singers’ tenth homecoming concert last Sunday in the Philamlife auditorium, I happened to be seated beside Jorge Atilieri, director of the international choral festivals in Puebla, Mexico. A seat farther away was Javier Cameno, director of the international choral festivals in Spain. Unqualified admirers of the UST choir, both had come to Manila expressly to listen to Mr. Calalang conduct it – for the nth time! Indeed, during intermission, Sr. Cameno went onstage and declared categorically before the SRO audience: "The UST Singers is the best choir in the world. In Spain, we never, never invite a choir to our festivals more than once, but we have invited your choir six times! It is not only the best in the world, it is also your best ambassador."

In the light of these encomiums – space allows only a very few – how did the UST choir perform that night under Mr. Calalang? Well, presumably like "the choir of the world". In the printed program distributed that night, I found myself quoted among the foreign critics, and I have no reason whatsoever to revise my opinion. I therefore reproduce the excerpt hereunder:

"We are glad President Arroyo was in attendance: The choir was superb! Each piece was articulated with utmost clarity, sung with incredible cohesion and control of dynamics, providing excitement, suspense and drama in its own distinctive fashion, leaving the audience in raptures after every number. How the thunderous applause, wild clamor and cheers rent the air!"

At the recent concert, a deafening roar of approval greeted the 32-member mixed choir as it entered the stage in single file while singing the opening religious piece, Charles Stanford’s Beati Quorum Via. Other religious songs followed, each rendered with marked distinction. For instance, Joseph Swider’s Magnificat was awarded the Honor Prize by the Bavarian Minister President for Best Interpretation of a compulsory piece at the 4th International Chorwettweberb in Mittenberg, Germany.

The virtuoso choir essayed Raymond Murray Schaffer’s Miniwanka – "an imitative piece describing the myriad forms of water: rain, stream, river, fog and ocean." From onrush waves to heavy downpour, to trickling droplets, every conceivable form of water was aurally conjured.

The weirdest sounds were produced in Ruben Federizon’s Gabag-an, the eerie voices complemented by strange percussion instruments. Bamboo tubes filled with sand (?) were shaken rhythmically; tiny metal rings were struck together, etc. The work was a display of the composer’s strikingly fertile imagination.

The emcee correctly announced that surprises had just begun. Shifting from whispery pianissimos (during which one might have heard a pin drop) to magnificent fortissimos powerful enough to shake the rafters, the choir unceasingly created marvels of sound. Yet, through all these, conductor Calalang hardly moved a muscle. Arranger and composer, he also played the piano accompaniment for certain selections, leaving the singers to themselves. They rendered the entire program without scores so as to focus wholly on the music – on its words, its style, its substance. What spirit, zest and feeling they expressed, singing as though their lives, depended on every song. Mind you, their choral literature covers five centuries!

The international songs and Broadway excerpts offered some fine soloists – bass Noel Azcuna should be in opera someday – and the infectiously spirited Filipiniana section demonstrated that the singers are agile, graceful dancers as well, with a gift for comedy to boot. How versatile indeed is the Filipino!

The dances in the finale, with participants representing Luzon, Visayas and Mindanao, deflected the applause from the UST singers and conductor Calalang who should have been the sole focus of attention.

In Bayan Ko, so movingly and stirringly interpreted, focus was directed once more on the singers and their director. And justifiably so because they have consistently brought signal honor to the country while proving that in music, the Filipino compares with the very best anywhere else in the world.