Aliw at its best/The Cosios as rivals

It has increasingly become the trend to combine classic and pop music in concerts, presumably to widen audience appeal. The “Best of Aliw” at the CCP main theater had leading artists from both disciplines.

Ingrid S. Sta. Maria played Buencamino’s “Mayon Fantasy”, dramatically etching the contrast between the volcano in its tranquil state, with the farmfolk engaging in festivities, and the volcano erupting in fury, then resuming its initial calm. Sta. Maria eloquently delineated the two states while demonstrating intense power to depict the raging volcano.

The other classic artists, soprano Rachelle Gerodias and tenor Ramon Acoymo, rendered Abelardo’s Mutya ng Pasig  and Santiago’s Pakiusap respectively, in varying degrees of vocal skill, power and expressiveness, with Gerodias leaving nearly nothing to be desired while totally captivating her listeners.

The enduring pop icon Dulce, Jonathan Badon and Marcelino Libanan interpreted Filipino compositions likewise to demonstrate, as others would later, increasing patronage of our own compositions. “Asia’s Queen of Song” Pilita Corrales enraptured the audience with her characteristically grateful gyrations as she interpreted her signature Kapantay Ay Langit, A Million Thanks to You and Ang Pipit. Seasoned, veteran pop performers Rico J. Puno and Ogie Alcasid were thoroughly at home onstage, infusing their songs with their usual winning antics. Having stayed abroad for some time, Anthony Castelo made a strong impact with Velarde’s Dahil Sa Iyo, singing this while facing Mrs. Imelda R. Marcos in the theater, and enticing her to sing with him her favorite song. She acquiesced, still exhibiting fine form. Castelo then said: “I would not be here, Mrs. Marcos would not be here, either, had she not built the Cultural Center.”

The remarkable mimic Willie Nepomuceno impersonated Frank Sinatra, Sammy Davis, Jr. and Elvis Presley, tickling audience risibility. But he would have created a bigger riot had he portrayed Filipino politicians, he is terrific when he does so.

Celeste Legaspi, another pop icon long absent from the scene, enthralled with Cayabyab’s Minsan Ang Minahal Ay Ako, sung with the admirable Madrigal Singers. The Bayanihan dancers presented Ferdinand Jose’s highly stylized “Ang Maya”.

Tessie Tomas, Miriam Quiambao and Boots Anson Roa (with Willie Nepomuceno) took turns hosting the smooth, fast-paced program, each exhibiting her distinctive charm and charisma. At one point, Tessie Tomas, an excellent mimic, fleetingly and amusingly impersonated Imelda Marcos.

Actor Ricky Davao gave a stirring dramatic reading; followed Cayabyab’s Magsimula Ka, this interpreted by the young Miguel Aguila. Violinist John Lesaca played with fluency and fluidity De Guzman’s Maalaala Mo Kaya. The UP Concert Chorus engagingly interpreted San Pedro’s Tagalog Medley and Florante’s Handog, the latter with Dulce.

In sum, the native songs consistently conveyed the performers’ solid, vocal skill and deep feeling, although the seasoned ones exhibited more poise, assurance, confidence and what might be called that indefinable something which immediately communicated with the audience.

“The Best of Aliw” was presented by the Aliw Awards Foundation headed by president Alice H. Reyes.

Some years ago, eminent painter Alan Cosio “invaded” the field of song, rendering challenging arias for family and friends at the residence of Ester Vibal. His is a powerful, stentorian voice.

Alan’s wife, Ivi Avellana, daughter of National Artists Bert and Daisy, and a notable visual artist herself, has also ventured into the field of song. She is giving a recital at the same venue on April 18. Unfortunately, I have already committed myself to another event. Presumably, through constant formal training and practice, Ivi has vastly improved since I last heard her and will continue to be in friendly competition with Alan as visual and vocal artist.