Gonzaga and Salonga: Opera and pop mix but…

The country’s Opera King Otoniel Gonzaga and Broadway star Lea Salonga made beautiful music together at their first-ever joint concert, this at the CCP main theater. But the distinctions between opera and popular song remained. Gonzaga performed without a microphone, singing the notes in operatic fashion. Salonga, in the manner of popular entertainers, used a microphone to increase her volume, "belting" out the notes.

This was the case in the solos and in the final duet, David Foster’s "The Prayer," sung partly in Italian.

Exuding charm, his countenance often aglow with a smile, Gonzaga rendered arias – Celeste Aida from Verdi’s Aida, Un di all’azzure from Giordano’s Andrea Chenier, and for an encore, Nessun Borma from Puccini’s Turandot. The dramatic spin-to-tenor demonstrated a powerful, ringing, resonant voice that soared to the heavens, expressing a wide variety of emotions. As he sustained incredibly long notes, such was his control that the softest pianissimos would grow forceful and intense, soaring even higher and ringing even louder in electrifying climactic endings.

How he enthralled the audience, holding it in awe!

In the printed program, Gonzaga, reminiscing about serving as understudy to Domingo, was quoted thusly: "It was a fantastic experience." Those who have heard Domingo sing will counter that Gonzaga spoke in utter humility because he is just as fine a singer as Domingo!

In early 1980, Joy Virata of Repertory Philippines invited me to a press conference to introduce the cast of the musical "Annie." Joy wrote: "We’d like you to hear a fantastic little girl who is going to play the title role" – meaning Lea Salonga of course.

What a terrific actress-singer Lea has turned out to be in the intervening years, starting with Miss Saigon, followed by Les Miserables and films, garnering for her, among others, the Laurence Olivier Award (London) and the Tony award (N.Y.). Wednesday night, Salonga – pretty, trim and elegant – sang Schonberg’s "On My Own" from Les Miserables and "The Story Goes On" (from Baby), her polish, finesse and sophistication having been developed by performances abroad.

The clarity of her diction – every single word could be understood – is something most singers should cultivate because lyrics help to convey the emotional content of each song. Salonga’s enunciation, deep feeling, eloquent movement, facial expression, lush voice and compelling showmanship – all these captivated the listeners.

One of the highest points in the entire program was the performance of leading soprano Rachelle Gerodias with delicate artistry interpreted "Ah; de Veux" (from Bizet’s "Romeo and Juliet"). In a review subsequently quoted in the program, I had written: "Gerodias has vocal ability, a wide range and an astounding control of dynamics." After last Wednesday, I find no reason to revise my opinion.

In her duet with Gonzaga in the exquisitely lyrical "O soave fanciulla" from Puccini’s La Boheme, the petite Gerodias incredibly and gloriously held her own, her voice soaring alongside that of Gonzaga in a marvelous blending of vocal timbers. Truly, Gerodias should be garnering applause in the international operatic scene. She belongs there!

Another duet was interpreted, this time by Gonzaga and Noel Azcona, one of our country’s best baritones, in "Au fond du temala saint" from Bizet’s "Pearl Fishers." Gonzaga’s intense, fiercely powerful voice soared above that of Azcona for most of the time, except in the final passages. Several years younger than Gonzaga, Azcona is still in a stage of transition, and I dare predict that in time, his voice will grow in volume and intensity possibly to match Gonzaga’s. His solo Madamina from Don Giovanni had the freshness, spontaneity and charm appropriate to Mozart’s aria.

The second half of the program was devoted to Broadway tunes and Filipino airs. Salonga was vibrantly moving in Where is Love and As Long as He Needs Me; Azcona infused verve and dash into One Enchanted Evening (from South Pacific). Gonzaga’s inspirational You’ll Never Walk Alone (from Carousel) and Santiago’s Pakiusap again magnetized the audience with his sensitive phrasing and firmly controlled vocal prowess.

Treating Salonga with generosity, graciousness and gallantry, Gonzaga told the audience at the outset, "It is a privilege to perform with the greatest actress-singer," and after giving his encore, he announced, "Having opened the program, I shall now have Lea close it." Salonga, then rendered I Enjoy Being a Girl with her usual engaging pertness and vivacity.

Conducting the PPO, Julian Quirit gave remarkable assistance as he captured and conveyed the spirit of each song, playing in total rapport with the singers. The La Forza del Destino Overture by Verdi throbbed with the agitation and anguish characterizing the opera. Bernstein’s Candide Overture dedicated bold, sweeping, incisive lines that parodied various musical forms through the energetic, vibrant use of the woodwinds and the strings. Quirit was at his most inspired, dynamic best, and admirably so.

In the over-all view, the concert was Gonzaga’s show. Not only did he sing the most songs, he also gave devastating renditions which had his tremendous experience – in major German and other opera houses – behind them, renditions which proved opera several notches above pop for the stringent technique and vocal discipline required by the more demanding operatic form.

It was an evening to remember.