Music patron Danny Dolor was unusually insistent about my attending the Cofradia Foundation’s mini-concert “Ave Maria” at Sta. Ana Church. He had valid reasons for his insistence.
Venue was the Camarin (dressing room) of the Virgin directly behind the main altar. Jimmy Laya pointed out that afternoon; “The glory of the Camarin is its 400-year old ceiling paintings that tradition says are as old as the church.” These paintings need to be restored, along with the Camarin, for whose benefit the Cofradia de Nuestra Señora de los Desemparados (The Virgin of the Abandoned), headed by Imelda O. Cojuangco, was being held.
The Camarin’s ambiance enhanced the concert during which the singers stood in front of the elaborately and exquisitely dressed statue of the Virgin surrounded by sacred paintings and other statues of saints, all these making the stage uniquely, distinctively “sacred”.
Rachelle Gerodias, fresh from her Vienna engagement as Liu in Turandot — gave an impeccable, flawless rendering of Ave Maria by Santiago, Schubert, and Carceller. The quality of her voice, the quality of her singing, the quality of her interpretation, as well as her diverse yet superbly controlled dynamics and subtle nuances held the audience spellbound.
Baritone Noel Azcona interpreted Gounod’s Ave Maria with his formidably opulent timber. Perhaps he could have striven for a more nuanced delivery but the power and resonance of his voice overwhelmed. The virgin must have smiled from her heavenly throne as she listened to Rachelle and Noel.
The program, conceptualized and directed by Danny Cofradia, vice-chairman; opened and closed with a trio, the deeply-moving coloratura soprano Gloria D. Coronel being the third singer in A. Roa’s Bendita Sea and Buencamino’s Ave Maria. Coronel’s own solos were E. Cuenco’s Santa Maria, R. Santos’ Ave Maria and Alvarez’s Plegaria (Supplication). An impressive surprise was a final song to the Virgin by talented tenor Philip Escudero, Camarin curator. Julia Mendoza, the thoroughly competent assisting artist, played on a mini-piano that had one single, unvarying tonal quality.
Alice Briones was emcee; parish priest Fr. Eli Manlangit welcomed the audience; Jessie Lichauco, who lived in Sta. Ana for 65 years and offered refuge to the abandoned during the war, seemed the human counterpart of the Virgin of the Abandoned.
Dena Fernandez’s marimba graduation recital at F. Santiago Hall was “in partial fulfillment of St. Paul U. Manila’s requirement for Master of Music in Performance”. Indeed, Dena is nearing mastery of her instrument.
With pianist Peter Porticos as marvelous assisting artist, she interpreted varied classic and contemporary works whose technical devices she hurdled nimbly, effortlessly and skillfully, while exhibiting widely ranging tonal colors with intense, animated expression.
After warming up in Bach’s composition from Paritita No. 5 in G Major, she progressed to the beautiful harmonies and harmonization of Haydn’s Sonata in E Minor. Both and later pieces were arrangements for the marimba as was Chopin’s poetically interpreted Nocturne in D. Buencamino’s Pizzicato Caprice showed the soloist’s brilliant technique and sensitivity, her brio and bravura, these eliciting thunderous applause. She worked with three and four mallets in C. de los Reyes Jr.’s exquisitely melodious Harana.
La Hiladora by E. Soto, lively and spirited, contrasted with Sibelius’ lyrical Romance. Fireworks dominated Sarasate’s Gypsy Airs, leaving Dena undaunted as she dramatically delineated the contrast between slow and rapid passages.
Rapport between marimbist and the excellent pianist demonstrated how closely the thought, instinct and musicianship of one worked with those of the other.
The finale, Liszt’s virtuosic Rhapsody No. 12 in C Sharp Minor, proved how near Dena was to mastering her instrument.