Duo singers/RP history

Errata: In my “Back to Bach” review, Naomi Paz Sison’s “rapid playing” should have read “vapid playing.” In my “Cinderella” review, the word “fabric” disappeared from the sentence “The magic design by Don Wayne are threads making up the musical’s fabric of bewitching illusions.” In my “Cloud Gate Dance Co.,” column, two entire sentences disappeared.

I beg the readers’ indulgence for these proofreading errors which alter the meaning of what I write.

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Tenor Rogelio B. Peñaverde Jr. and soprano Elisanta Cortes gave a pleasing duo recital recently at the Molina Hall. Hewing to the standard pattern, the recital began with arias and ended with popular contemporary songs and native selections.

Peñaverde started with the aria from Handel’s oratorio Messiah, following this with Tosti’s Non t’amo piu and Liszt’s Oh’ Quand je dors, both rarely heard. With an engaging presence, the tenor displayed a strong, dependable vocal equipment which flawlessly soared and sustained the high notes long and firmly.

Excerpts from Mozart’s The Magic Flute — Dies Bildnis ist Bezaubernd schon (This picture is bewitchingly lovely) and Wie stark is nicht dein Zauberton — were vibrant and spirited, giving credence to the tenor’s winning the audition for the role of Tamino in the Tuscia Festival opera production in Viterbo, Italy.

The renditions of such old favorites as For You Alone and With a Song in My Heart, F. Santiago’s Madaling Araw and Balita’s Parang Maghapon Lamang were smooth, fluent and affecting.

Cortes sang Duparc’s L’invitation Homage and the well-loved Si, mi chiamano Mimi (My name is Mimi), an aria of touching sentimentality from Puccini’s La Boheme, her technique solid and secure, as also Climb Every Mountain from the musical The Sound of Music and Cuenco’s Sa Bawat Sandali.

The duets Un di felice (Rapturous moment) from Verdi’s Traviata, Cuenco’s Gaano Ko Ikaw Kamahal and De Guzman’s Maalaala Mo Kaya considerably enlivened the concert, the voices of tenor and soprano blending beautifully, their volumes evenly balanced.

Both singers could strive to acquire more rounded, more resonant voices, particularly the soprano, to avoid a metallic, piercing quality. Notwithstanding, Cortes exhibited a tremendous ability not only to reach the highest notes with ease but also to sustain them unwaveringly.

Both singers could also strive for more legato passages, for subtler and finer nuances to infuse deeper emotional content to their selections.

Pianist Najib Ismail was the excellent assisting artist for the classical portion; Julie Mendoza, for the popular part. Thoroughly conversant with it, she played without a score. Occasionally, her volume may have tended to deflect attention from the singers.

Peñaverde is currently enrolled as a scholar for his final year in NY’s Manhattan School of Music where he will earn the M.M. degree in Vocal Performance. Cortes has just obtained her M.M. degree in Japan’s Elizabeth U. As they continue to intensify their skills and deepen their artistry, they will be facing an auspicious future.

The history course “Philippines: Past and Present” sponsored by the Museum Volunteers of the Philippines will mark its 20th year. MVP began the course to train docents or museum guides. It now provides a more general overview of all aspects of Philippine history and culture. Director Norman Wright states: “PPP meets the demand of foreigners and locals alike with its lively mixture of speakers, tours and thought-provoking discussions. Blended in a relaxed atmosphere of multicultural, participative learning, it leads to a better understanding of the past and present state of the country and its people.”

Meetings are  Wednesdays, 9 a.m. to 12 noon, Filipinas Heritage Library, Nielsen Tower on Makati Ave. with 27 sessions from September through April on Early History, Spanish Rule, American-Japanese, Independent Era and Post-EDSA Modern. Demand may exceed classroom capacity, so register now. Website is myphilippines.hypermart.net.