A glorious evocation

Amidst the sparkling — and startling! — splendor of glittering lights, silver streamers and gigantic colored designs onstage, tenor Nolyn Cabahug opened “Adeste Fideles” with “Our Father”, as though to invoke God’s blessing on the throng at the vast PICC Hall.

Well-loved Christmas carols and songs were then rendered by an array of distinguished singers: tenors Cabahug, Abdul Candao, Randy Gilongo, George Yang and Sherwin Sozon, sopranos Rachelle Gerodias, Karla Gutierrez, Elaine Lee and Jennifer Uy, in elegant gowns.

They demonstrated varying degrees of achievement. For one, the ravishing, magnificent voices of Cabahug and Gerodias rose above orchestra and chorus in their solos. Invariably, the most sought-after carol is “O Holy Night”; as Cabahug interpreted this, he sent the spine tingling. “Angels from the Realms of Glory”, and “Light of a Million Mornings” led listeners wondering how Gerodias, a petite singer, could possess such a powerful voice whose dynamics, in her usual manner, she controlled superbly.

Gutierrez and Lee stressed their places among our young leading sopranos. Candao’s performance in Panis Angelicus and “Silent Night” was formidable. Gilongo was a strong presence, the relatively new tenors were Yang and Sozon. A phenomenon, Yang discovered his God-given talent only lately yet, having honed his skills in such an incredibly short while, he held his own that night, his tones ringing securely, his expression sensitive. Sozon, at his recent debut, was a revelation. I had observed: His voice, fresh, forceful and rich, soared with grace, sweep and verve while sustaining top notes long and firmly. At the PICC, he was even more impressive.

The “experiment” of “impresario” Eddie H. Yap to include pop singer Vina Morales was most logical. Unlike last year’s “Adeste Fidelis” in a church, the larger PICC audience had scores of pop music lovers. Vina infused “Child in a Manger” with style, deep feeling and vivacity. Her duet with Karla in De Leon’s Payapang Daigdig was an eloquent music lesson on the difference (in technique) between an opera singer and a pop artist. The combination fascinated. In Dandan’s Pasko na Sinta Ko, Vina and tenors Cabahug, Candao and Sozon made an even bigger hit, drawing thunderous applause.

The Metro Manila Community Orchestra of students and diverse professionals, united in their common passion for music, was again under the remarkable Josefino “Chino” Toledo who created spontaneous flowing, spirited music injected with dramatic tension whenever demanded.

The choral groups gave immense auditory pleasure. The utterly charming interpretation of “Jingle Bells Calypso” by the internationally-acclaimed Madrigal Singers under Mark Anthony Carpio pointed up the song’s wit and spice. In “Little Drummer Boy”, the Chiang Kai Shek College Youth Choir under Irma Tan Su showed infectious energy and briskness. “The Carol of the Bells” by both choirs conveyed even more vitality.

The audience stood up to a man for the powerful Hallelujah chorus following the precedent King George 11 set in London. The encore Ang Pasko ay Sumapit, which had the listeners enthusiastically singing along with all the participants onstage, climaxed the glorious evocation of Christmas and its spirit of joy, peace and goodwill.

Credit goes to Agnes Suarez for the stage design; to Butch Cruz for the light.

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Hearty congratulations to prime mover Eddie Yap for the concert’s overwhelming success. It was so meticulously organized, its concerns included the security of the huge crowd. Nationalist Fernando Peña was seen directing the endless flow of traffic!

The concert was for charity in more senses than one: also present were the disadvantaged, war orphans and widows, and poor students.