The paradox, however, is that Calbes is ageless. She still sings with apparent ease; her vocal agility and firm, strong projection are remarkable though she is over 60. Further, she shows the keenest musicianship.
Her three opening inspirational numbers by Kurt Kaiser were not particularly interesting, nor were those which followed, R. Strauss’ Klihg and Breit u ber mein haut. But she began to warm up in Liszt’s Freudvoll n Leidvoll and In Liebeslust, forthwith conveying infectious spirit and aplomb.
The singer’s rich artistry and emotive ability came into full play in the Rigoletto duet. Azcona asserted himself with the power of his voice, but performing with such a mature, experienced singer as Calbes showed a need to intensify his characterization. Also there appeared an unevenness of execution; while Calbes sang from memory, therefore pouring her heart wholly into her role, Azcona could not do as much, depending partly on the score in front of him. Nevertheless, his forceful voice and ringing tones were gratifying.
GJ Herman Gomez gave a pleasant diversion with Schubert’s Sonata Arpeggione (first movement). A flutist in transition, Gomez is on his way up.
Having already sung in English, French and German, Calbes proceeded to give an endearing interpretation of Ponce’s Estrellita in Spanish, as also of English folksongs from Eastern Canada which ended with the amusing French Ah! Si mon moine voulait dancer (Ah! If you will come and dance with me).
She radiated even more charm in the native folk songs, captivating and ravishing her listeners with fascinating, finely nuanced articulations. In the duet "Bess you is my woman now" from Gershwin’s Porgy and Bess, Azcona fully concentrated on the lyrics which he knew by heart.
The soprano demonstrated marvelous control as she sustained her high notes with increasingly bigger volume in Chacun le sait from Donizetti’s La fille du Regiment.
For her first encore, Gershwin’s "Summertime", she gave credit to one of her mentors, Fides C. Asensio, presumably for its beautiful interpretation. Calbes was brilliant in her second encore, Sa Kabukiran; though a lyric soprano, she hurdled its coloratura pyrotechnics with unwavering vocal thrusts, ruminating through top notes confidently. Thunderous applause and roars of approval followed.
As expected, internationally acclaimed concert pianist Raul Sunico gave flawless, impeccable support – reason enough for the great demand from singers, instrumentalists and chamber groups to have him as assisting artist.
President Gloria Macapagal Arroyo arrived for the second half of the program; Bishop Diosdado Talamayan also came to the Philamlife auditorium to listen to Calbes, their provincemate from Cagayan de Oro (where the President grew up).
It was a virtuosic interpretation by Gilopez of Beethoven’s Sonata for Violin and Piano in D Major, his wife Corazon giving a remarkable performance herself. Luminous, shimmering tones delineated the different movements, dramatic intensity in the allegro movements alternating with fluid repose in the andante. Corazon informed her playing with color and imagination.
The widely varied program of familiar, well-loved works was striking in that not a single one was beyond the competence of the three young violinists who, although singularly gifted and musically skilled, are not on the same technical level as their father; nor have they his extensive training, experience and expertise.
With Corazon on the piano, Sicilienne, Farida and Gilberto, listed here in the order of skill but not in the order of inherent musicality and talent – all of them being exceptionally gifted – rendered with Gilopez Mendelssohn’s Andante (from the Trio in D Minor for Violin, Piano and Cello), Schubert’s melancholy Serenade, Brahms’ zestful Hungarian Dance No. 1 and Tschaikowsky’s exquisitely lyrical Melodie. Interaction between the pairs – Gilopez-Sicilienne and Farida-Gilberto – made the renditions both compelling and fascinating. (Sometimes, the partnerships were interchanged.) The over-all performance was fluid, smooth and deeply expressive.
The complex, avant-garde and challenging Pampaneana No. 1 by Ginastera (Rhapsody arranged for four violins and piano) was interpreted dauntlessly by the four violinists and pianist, the vigorous thrusts delineating the complex, unconventional rhythmic patterns. Throughout the program, the violinists had no scores.
The audience went "wild" with the Philippine numbers, the young instrumentalists demonstrating technical facility and artistic sensitivity. All the compositions – Santiago’s Pakiusap, Vallejo’s Habanera Filipina No. 2, De Guzman’s Bayan Ko, and Cayabyab’s Nais Ko – were imaginatively arranged by Gilopez for four violins and a piano.
The evening concluded with hymns of praise which were played with much zest and spirit, thus directing the listeners’ attention to the Almighty’s beneficence.
The encores, Mendelssohn’s "Spinning Song" and Drigo’s waltz-like piece left the audience rapturously applauding.
In sum, the nation can be justifiably proud of the Kabayao Quintet which, as an ensemble, is incomparable not only for its edifying family togetherness but also for its technical skill, musicality, musicianship and moving eloquence.