It has been a long time since I enjoyed a musical event as much as I did the farewell recital of tenor Rogelio B. Peñaverde Jr. at the A. Molina Hall, with baritone Noel Azcona and sopranos Florence Aguilar and Monaliza Padilla Darao assisting – under the auspices of the MCO Foundation.
The major reason I found the recital highly gratifying was the thoroughly familiar program. I have been listening to opera records since childhood. On a dare, I can hum the Quartete from Verdi’s Rigoletto from memory! Bizet’s “Pearl Fishers” duet brought back memories of the opera which I heard at the Paris Opera.
Peñaverde made an impact as he hit and sustained top notes with ease in Handel’s “Total Eclipse from Samson” (inspired by Milton’s Samson Agonistes), and in Nemorino’s aria Una furtiva lagrima from Donizetti’s L’Elisir d’ Amore. He nearly held his own with baritone Azcona in Au fond du temple (In the depths of the temple) from “The Pearl Fishers”.
The tenor’s enunciation was clear, his legatos and phrasing smooth, his voice remarkably forceful at its fullest volume while conveying emotion. However, Peñaverde, still “a work in progress”, has yet to acquire sensuous vocal colors and subtle nuances. Presumably, he will be even more impressive after he returns from the NY School of Music with a two-year MM Post Graduate Diploma. Awarded a scholarship for his outstanding talent, he will surely develop further, and reach great heights.
Sopranos Aguilar and Darao, both attractive, exhibited solid technique, the former in Una voce poco fa (A little voice I hear) from Rossini’s “Barber of Seville”, the latter in Je dis que rien ne m’epouvante (I am not faint-hearted), Micaela’s aria from Bizet’s “Carmen”, and both in the Flower Duet from Delibes’ Lakme.
Like Peñaverde, the sopranos demonstrated rather inhibited emoting; likewise, they still have to acquire more scintillating vocal colors, nuances of expression and greater control of dynamics. But both, likewise, sustained top notes admirably, with voices increasing to their maximum volumes.
Although Azcona has yet to graduate from the UST Conservatory, he showed the most assurance, flair and aplomb. His voice was lush, intensely powerful and resonant in Mozart’s aria Hai gia vinta la causa, his animated interpretation vividly reflecting the spirit of “The Marriage of Figaro”.
The first part of the program ended with the Rigoletto quartet, Bella figlia dell’amore (Fairest daughter of the graces), the climax of Verdi’s opera – “an effective, splendid polyphony soaring, one of the finest examples of ensemble writing in all Italian opera”. The blending of vocal textures was marvelous, each singer rendering his/her part with full-throated gusto.
Pianist Najib Ismail, an excellent assisting artist, anticipated every note, every pause unerringly and uncannily.
Kundimans by Abelardo, Santiago, Cuenco, De Guzman and Peña followed, the singers interpreting solos or duets with vibrant spirit, particularly Cuenco’s Gaano Ko Ikaw Kamahal sung as a quartet.
Thunderous appreciation brought on Cuenco’s Kalesa, with Azcona clacking his tongue mischievously to simulate the horses’ rhythmic trotting.
Pianist Julie Mendoza, like her counterpart Ismail, was excellent.
The Pilipino portion was a revival of Tribung Pinoy which Danny Dolor organized years ago to propagate love for and interest in traditional Filipino music.
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Leading concert pianist Jiovanney Cruz and the MMCO under the remarkable “Chino” Toledo will perform tonight at 7:30 in Alabang’s Insular Life Theater.