"Vivaldi’s Sketches" had a stunning and spectacular set consisting of vertical rows of light bulbs along elongated frames enclosing the dancers. In front of them were colorful period gowns which, at first glance, they seemed to be wearing. The illusion was broken when the hanging gowns were suddenly raised to the ceiling, revealing the dancers in brief costumes.
The music, though identified as Vivaldi’s, tended to confuse because it had passages from Philippine songs. At any rate, the dancers did infectiously jazzy movements later fused with classic ballet (on pointes) and modern dance. Pas de trois, pas de deux, pas de cing were interpreted with brisk, rapid, eclectic steps.
The printed program listed Katherine Sanchez and Ronilo Jaynario, Abigail Tan and Melvin Martinez in the pas de deux. Strong technique was consistently displayed.
Enrico Labayen and Ronilo Jaynario performed the Philippine premiere of "Cloth" to the throbbing music of Mark Tibenham. "Cloth", recipient of the Isadora Duncan Award-USA for "outstanding achievement in choreography", left a powerful impact, compelling audience attention.
Labayen, in the program notes, explains that he was "inspired by a passage from the Song of Songs, a book of the Hebrew Bible known for its sensuality and evocative energy." The dancers, holding a piece of rectangular white cloth between them, played around it, wrapped themselves with it, waved it overhead, folded and unfolded it, the while going through vigorous, provocative, sensuous movements to vibrant rhythms and percussive music. How enthralling "Cloth" was!
"Puirt A Beaul", which also won the Isadora Duncan Award, used innovative contemporary dance styles to weird, strange music by Talitha McKenzie.
"Dalagang Bukid", to the music of Leon Ignacio from his zarzuela of the same name, was not anything one might have expected, considering its familiar music and story. The title was deliberately misleading, the ballerinas betraying no coyness whatsoever. The characters were not clearly delineated on purpose, and there was only the vaguest hint of a love triangle.
But again, the choreography was thoroughly absorbing, with the dancers brilliantly executing an integration of styles: American modern dance, hip-hop, break dancing, classic ballet, martial arts, even acrobatics – all these in a nervous, frenetic, exciting non-stop release of energy.
Listed as alternatives were Katherine Sanchez and Abigail as Angelita, Ronilo Jaynario and Jared Jehowil Tan as Cipriano; Melvin Martinez was Don Silvestre. They stayed on a high-speed lane in the refreshingly imaginative and original choreography which effortlessly demonstrated Labayen’s conversance with varying styles, schools and even fads.
Artistic director was Gener Caringal; costume designer, Patricia Perez Eustaquio; lighting designer, Katsch Katoy.
Maningning, as I discovered, was an intense, highly gifted poet and artist who suddenly died at 28 in the year 2000. The foundation named after her announced the following finalists of a literary contest it sponsored: Tagalog poetry – Joseph de Luna Saguid, Mesandel Virtusio Arguelles and Sonny Corpuz Sendon. English poetry – Allan Justo Pastrana, Catherine Candano and Edgar J.C. Galang. Chinese poetry winner was Ye Cai-Sheng whose entry was read in the original by Grace Lee and by Shirley Lua in its English translation.
Judges were Rogelio G. Mangahas, Victor D. Nadera Jr., Rebecca T. Añonuevo, Marjorie Evasco, Germino H. Abad and Alfred A. Yuson. Judges for the Chinese poetry were Grace H. Lee, John Sy and Shirley Lua.
National Artist for Literature Virgilio Almario handed the prizes. Eminent theater director/actor Bart Guingona read the winning poem in English; Roeder read the winning poem in Tagalog.
As for the musical numbers, the emcee erred in omitting mention of internationally acclaimed piano concertist Raul Sunico as assisting artist to cellist Renato Lucas and 17-year old violinist Regina Buenaventura.
Rachmaninoff’s Vocalise and Ravel’s Tzigane were played by Regina. Her technique was impeccable but she appeared rather wanting in brio and fire in the bravura passages. At any rate, she seemed capable of considerable achievement in the future.
Max Bruch’s Kol Nidrei was masterfully rendered by Renato Lucas, one of today’s leading cellists. As assisting artist for both violinist and cellist, Sunico left nothing to be desired.
His was a tremendous exhibition of virtuosity in Granados’ Allegro de Concierto, Chopin’s Nocturne in F Sharp, Rippling Waters (Planting Rice) arranged by Rodis, and Wagner’s Liebestod (Tristan und Isolde) as transcribed and arranged by Liszt.
For a finale, pianist, cellist and violinist engaged in a tight, seamless ensemble playing of Mendelssohn’s Trio in D Minor (first movement) and Antonino Buenaventura’s Buklod ng Pagmamahal. As characteristic of Filipino works the latter had exquisite melodic lines which the trio expressed eloquently.
Cultural activities will mark today’s 25th anniversary celebration of the Deutsche Schule. Manfred Rode is board chairman.