Talent, like truth, will out, and Rachelle Gerodias’ talent has been a familiar object of admiration for some time now. Herewith is a brief background on her as well as on the other principal singers.
On a recent visit to Italy, Rachelle caught the eye – or ear – of the great Italian diva Mirella Freni who will soon take Rachelle under her wing for further honing of the Filipino singer’s already considerable vocal skill. Graduating as a scholar with a Master’s Degree in Voice Performance at the Eastman School of Music in N.Y., Rachelle won first prize in a vocal competition in Syracuse (1995). After obtaining a Bachelor’s Degree in Music at the UST Conservatory, she received a full scholarship at the Hong Kong Academy where she obtained a Professional Diploma in Opera.
She has portrayed main operatic roles in the Philippines, Hong Kong, the US and lately, in the Singapore Lyric Opera where she is a regular guest. Rachelle, who will be Tatiana in Eugene Onegin, reminds me of the late Jovita Fuentes who, despite her diminutive size, had a forceful volume.
International baritone Andrew Fernando, who has been based in the US, will make his title role debut in Eugene Onegin. Andrew won first prize in the 2003 Loren L. Zachary National Vocal Competition in the US. After graduating from the UST Conservatory, he enrolled in the San Francisco Opera Merola Program. He was a prize-winner in the Metropolitan Opera National Audition in the LA and Pacific regions, winning the grand prize in the Pasadena Opera Guild Vocal Competition in 2003. From 1999 to 2002, he was the resident baritone of California’s Opera Pacific.
He has sung principal roles with the SF Opera, LA Opera, Opera Pacific, Eugene Opera and the Chicago County Performing Arts Center, and with the orchestras of Chicago, Macau, Hong Kong, England, Bangkok, LA, etc. The LA Times describes him as "The young singer to watch."
This past season, Andrew made his debut in Handel’s Messiah with the Syrinx Concert Orchestra in Cote D’Azur, France, in Opera Pacific’s Tosca under the baton of Christian Badea, and in Singapore Lyric Opera’s Marriage of Figaro. From 2005 to 2006, he concertized in NY, Boston, LA, SF and New Jersey. In 2007, Andrew will make his title debut in Rigoletto abroad.
Mezzo-soprano Clarissa Ocampo who will portray Olga, Tatiana’s sister, released her debut album "Cradle Songs" which was chosen "Best Classical Album" at the 2004 Children’s Music Awards by over 70 schools nationwide. Clarissa, who received a grant from California U., holds an MM degree from Juilliard in NY. She has appeared in the title role in Mikado staged by Opera North in New Hampshire, and has sung in concerts including the world premiere of Michael Torke’s "Better a Dish of Herbs," and an all-Brahms concert with Renee Fleming as featured artist. Thea Perez alternates as Tatiana; Rexceluz Evangelista alternates as Olga.
I first heard baritone Noel Azcona – he alternates as Eugene Onegin – in Fr. Manuel Maramba’s opera Lord Takayama Ukon where he stood out most impressively. He was again in the opera production in Japan and assumed the title role in Manila.
The rest of the cast are likewise seasoned and accomplished. Tenors Ronan Ferrer and Randy Gilongo alternate as Lenski, Onegin’s friend; Naomi Sison and Patrice Pacis alternate as the widow Larina; Nenen Espina is Tatiana’s nurse; bass Jun Francis Jaranilla is Tatiana’s husband. Tenors Lemuel de la Cruz and Eugene de los Santos alternate as Triquet, the Frenchman.
Conductor Herminigildo Ranera is fine-tuning the UST Symphony Orchestra to his exacting standards.
The program’s fascinatingly varied works included three by Mozart to mark his 250th birth anniversary. These and other compositions were conducted by Renato Lucas, principal cellist of the Philippine Philharmonic Orchestra, with firm command which drew exquisite nuances of tone and phrasing.
Sir Malcolm Williamson’s Concerto for Woodwind Quintet and Two Pianos (Eight Hands) was most original and unusual. It had Jonathan Coo and Najib Ismail on one piano; Mary Anne Espina and Marianne Fajardo on another. Wind players were David Johnson, flute; Dondon Resureccion, oboe; Frenvee Andra, basson and Nepthalie Villanueva, horn.
The Australian composer’s craft was aptly described thus in the program notes: "The four pianists work as a vigorous rhythmic and harmonic unit but many times work as very independent soloists in the texture. Each woodwind part is a show of virtuosity, color change, dynamic control and long lyricism. Williamson has taken the five woodwind soloists and four pianists and turned this unlikely union into one of commanding rhythmic presence and vivid sonic color plates."
Indeed, the rhythmic ending of the atonal piece was so robust, vigorous, vibrant and thunderous, the effect was extremely exhilarating.
There seemed little that was noteworthy in Wagner’s Siegried Idyll. The narrator described Mozart’s German Dance and Sleigh Ride as "pop" music of the time, the latter being a highly descriptive and imaginative invitation to the audience to join the ride.
In Mozart’s Concerto No. 10 in E Flat Major, Wyn Jin Kang on first piano, and Hyun Joo Lee, Clarion Ensemble co-founder, on second piano, played in a most refined, delicate, sensitive and sparkling manner, in the closest interplay or as independent units. The Ensemble under Lucas’ baton approached virtuosity.
The resounding applause brought from the Korean pianists Milhaud’s dazzling Brasilieras dazzlingly interpreted, and Mozart’s vivid Sleigh Ride from the Ensemble.