Considerable research must have gone into the opera which was recently staged four times at the Philamlife Theater, with a Japanese-Filipino cast for the Sunday matinee.
The story tells of the Japanese Lord Takayama Ukon, former warrior and daimyo who, turning into a follower of Christ, gives up power, fame and fortune for his faith. (In feudal Japan, a daimyo was one of the great lords who were vassals of the shogun, a hereditary commander-in-chief.) As Takayama defies traditional authority, he is exiled to far-off Manila where he continues his apostolate and evangelical mission.
Establishing mood and ambiance, the stirring overture, hinting at Oriental influences, prepares the audience for Takayama’s sea voyage. Against a stunning backdrop overhead – a giant cross made of leaves – a boatload of passengers hoves into view. Lord Takayan Ukon, portrayed by baritone Noel Azcona, immediately dominates the scene with his powerful voice, height and magnetic presence.
Between the opening scene of Takayama’s entrance and his death – he had devoutly wished for martyrdom but dies instead of natural causes – several characters are introduced, a trifle too many, I believe for a two-act opera.
But what startled and delighted was that almost everyone in the comparatively big cast was a fine singer who emoted with conviction. Although the arias, duets and choral portions are not lyrical or melodious in the conventional manner, they do not hew to the opposite extreme of atonality, either. Consequently, they are pleasant to hear; no passengers ever grate on the ear.
As already suggested by the single set in the first act, the visual effects initially offered by the second act are imaginative and arresting, the film clips adding a poetic touch to the unfolding drama.
(Later, however, the quickly-changing framed pictures momentarily infringe on either side of the cross, thus creating confusing and overlappinjg images. But after a fleeting instant, the view reverts to the original, neat foliage that is the cross – the be-all and end-all of Takayama’s existence.)
The first act appears better developed than the second wherein death claims Takayama somewhat abruptly. Nevertheless, the characters portray their roles with the same vigor and earnestness.
Certain choral scenes are static, wanting in movement. On the other hand, the opera offers many powerful episodes–both dramatically and musically; e.g., the first entrance of Takayama onstage; the townfolk’s repudiation of the harlot, the meeting of Lord Takayama and Spanish Governor General Silva, here impressively impersonated by Jun Francis Jaranilla who sings a compelling duet with Azcona. When Silva welcomes Takayama with a lively reception which includes folk dances, one seriously wonders whether the maglalatik was already in the form it is seen today.
At any rate, the reciprocal Japanese dances honoring Silva deepen Phil-Japanese friendhsip. Relations are further strengthened with Takayama on his death bed, admonishing his countrymen "to live in harmony with Filipinos".
The opera then closes as a profoundly moving "Gloria in excelsis" is sung by the chorus, reaching a tremendous climax.
The UST Symphony Orchestra playing with youthful enthusiasm under the baton of Herminigildo Ranera was augmented by the Rondalla under James Peter Namit. The wonderfully cohesive chorus consisted of the UST Liturgikon Vocal Ensemble under the direction of Eugene de los Santos.
Besides Azcona in the title role and Jaranilla as Silva, the following deserve special mention for their very fine vocal performance: Gamaliel Viray, Hideyoshi; Rachelle Gerodias, Garacia; Nenen Espina, beggar-prostitute; Joanne Go, Cyone, an angry farmer’s wife; Katrina Saporsantos, the noble woman Bizen no Kata; Ronan Ferrer, Mitsuhide; Lemuel de la Cruz, Tadaoki; Thea Perez, maid. Others in the cast: Randy Gilonga, Lorenzo; Marcialyn Lopez, Junta; Wilson Cariaga, Joan; Jolilorlyn Quitain, Lucia; Von Ryan Yu, Koji.
Dennis Faustino took on the heavy burdens of stage director.
Since international concertist Raul Sunico became the dean of music, the department presentations have perceptively increased. The Lord Takayama opera had Dean Sunico, Fr. Maramba and Ishita as executive producers, jointly with the Tokyo Opera Association, Principal sponsor was the Foundation for the Musical Filipino composed of Jul B. Dizon, president; Wilfredo Soliven, vice president; Ofelia Soliven secretary, and Nora Santos, treasurer. The foregoing, along with Guia Gomez, Sessy Garcia and Albert Zeñarosa, complete the board.