Thunderous ovation for Andrea Bocelli

With melodic lines flowing unceasingly in conventional arias and duets mostly from Italian operas, Andrea Bocelli and Luigia Borsi gave the vast crowd at Araneta Coliseum a tremendous musical experience, assisted formidably by Maestro Marcello Rota.

That night, a colleague asked me: "What makes Bocelli Bocelli?" I quickly replied: "His blindness." It dramatizes his talent, causing him to soar above the throng of tenors including Pavarotti (who is immensely better) and to be idolized by millions for overcoming his handicap by sheer will.

Led by Rota to the stage, Bocelli interpreted familiar arias including the exquisitely mournful Lamento di Federico, the religious Panis Angelicus and Schubert’s Ave Maria.

Wearing a headpiece amplifying projection but limiting tonal colors and nuances, Bocelli kept absolutely still, relying solely on his voice, expressivity and unerring marksmanship, his timber remaining constant and even in all registers – low, middle, high.

He effortlessly sustained top notes for incredibly long periods; further, with superb musicianship and acute sensitivity, he established total rapport with Rota even without visual contact between them, beginning and ending each piece in impeccable togetherness. Enthralled listeners often applauded just as a song began, thus drowning out opening notes.

The young, enchanting, attractive Luigia Boris – she of the ravishing voice – was a revelation, combining power and intensity with firmness, control and security of "attack". A lyric soprano, she conveyed a spinto’s dark hues, and possibly, in later years, she could assume those of a dramatic soprano.

In O mio babbino oaro, Jo vouxvivre, Tu che m’bai preso il cuor (Yours Is My Heart Alone) Borsi struck a balance between vocal grace and dramatic expressivity. Wearing a headpiece likewise, she kept her voice at white heat, her volume increasing in the fortissimos.

Signifying adulation, the peanut gallery wildly applauded Bocelli’s light Neapolitan songs Mattinata and Torna a Surriento. Tenor and soprano mesmerized the audience in O Soave Fanciulla, Tace il labbro, O Sole Mio and Traviata’s Drinking Song.

Smooth timbers, full-bodied volumes blended in glorious harmony, neither singer overpowering the other. Again, despite lack of eye contact, the two sang beautifully as one. Thunderous clapping met Bocelli’s encores Sogno, The Prayer and the duet Time to Say Goodbye". Throughout, how repeated the standing ovation!

Without mannerisms, the youhg, brilliant Rota triumphantly conducted Rodel Colmenar’s Manila Philharmonic, momentarily called Father Pio Orchestra. Strings, woodwinds, brasses, percussions, in top form, played operatic overtures and an Intermezzo with cohesive vibrancy, vigor and brio while achieving international music standards.

The audience roared its approval as "impesario" Rose Marie "Baby" Arenas handed leis and bouquets to Bocelli, Borsi and Rota.