At first blush, one asked one’s self: A drum performance? How dull and boring it promised to be! But the ensemble came out in varying sizes, beating on widely different drums with enchantingly diversified tonal colors and volumes of sound that drove tedium far, far away.
Earlier, the Yamato group founder Masa Ogawa explained: "Drumsticks called bachi are used to strike the taiko (drum). Since the Japanese prefer a strong, commanding sound, it would perhaps be more accurate to say that listeners do not hear a drum beat with their ears, but rather feel the vibrations with their entire bodies. They are overwhelmed by its primitive energy and stirred to the very depths of their souls.
"In order to achieve this wonderful drum beat, the drummer sinks down and assumes a stable posture then brandishes the bachi in a straight line. This stance is a visual characteristic of Japanese drumming and has all the destructive power of a death blow. It is an extreme kind of beauty in which victory or defeat is determined in a moment of intense concentration.
"The image of the drummer striking the taiko overlaps with that of the swordsman investing his entire being into the downward stroke of the sword. The drummer thus acquires the stylized beauty and spirituality of the ancient martial arts."
The impact of the performance came largely from the synchronization of the drums. It was fantastic! Perfect precision and unison predominated at all times, even in the most extended, infinitely complex, rapid pounding rhythms, with the volume of sound increasing and the collective energy intensifying frenziedly.
Feat after feat came. The overall tour de force electrified and boggled the audience which expressed its appreciation with roars, whistles and resounding applause.
From thundering crescendos to quiet, gentle tapping of the drumsticks, the awesome dexterity, in either ear-splitting or soft volume, was always firmly controlled.
Dexterity was even more awesome in the beating of large, two-ended drums, with the criss-crossing of arms in incredible swiftness.
The three women playing the stringed shamisen (guitar) accompanied by drummers – one with a huge drum on an elevated platform at center stage, a drummer on either side of him and two in front – introduced an entirely new auditory dimension that was intriguingly quaint and exotic.
The comic interludes were delightfully and subtly entertaining. They began with a solo drummer who would tap out a rhythm then turn to the listeners to invite them to clap to the same rhythm. The rhythmic pattern would become more complex yet the listeners could follow them faithfully.
After a while, another drummer appeared and a mock rivalry ensued, with each drummer trying to outshine the other with his admirable skill. As bigger drums were brought onstage, the contest grew more intense – to the vast amusement of the audience. The miming, uproariously funny and eloquent, ended with the two drummers finally reconciling through a hesitant handshake.
Throughout the program, exquisite artistry was visible in every detail – from the grouping and composition of the drummers to lighting effects – all of which enhanced the performance converting it into both a visual and auditory experience.
The program opened with the Wadaiko children from the Manila Japanese School demonstrating their remarkable agility with drums, these of uniform sizes, which they struck as they constantly moved around, proving the drum a choice instrument of the Japanese. Indeed, taiko drumming has been a part of their culture for hundred of years.
The nine-member Negros Drumbeaters from La Carlota, Negros Occidental, presented their own outstanding act, beating on carabao leather drums and certain indigenous percussion instruments which delineated Latin-samba rhythms with tremendous vitality and vigorous unison that generated considerable excitement.
For the finale, the Yamato and Negros Drumbeaters performed jointly. Again the Japanese comic duo appeared to exhibit their skill on two-ended drums while the cacophony of drumbeats from the two ensembles thundered and echoed from the rafters.
According to accurate press releases on the year’s musical coup, "RP’s King of Opera shares the stage with RP’s princess of Broadway with the Philippine Philharmonic Orchestra."
Reflex writes: "Otoniel Gonzaga’s extraordinary vocal power runs the gamut of expression . . . from the most tender lines to the most brutal explosions that send chills down one’s spine!"
Broadway World comments: "Lea Salonga is the whole package: wit, charm, and class with a flawless voice that soars!