Harana enthralls again/Jewelry fashion exhibit

Fascinating and enlightening as “Harana” was the first time the Philippine Opera Co. presented it, the program seemed even more so on second viewing at the RCBC Auditorium last week.

The cast consists of young, singularly talented and attractive singers — sopranos Florence Aguilar Barquez, Deeda Barretto, Ana Feleo, Karla Gutierrez (managing director of POC), tenors Juan Alberto Gaerlan and Sherwin Sozon, baritones Miguel Castro, Larence Jatayna, and Noel Rayos.

They enhance their singing with smooth dancing and persuasive acting, thus making them a specially versatile group which the audience at the Theater de Compagnie in Amsterdam will be watching on Philippine Independence Day.

The program encapsulates Philippine culture in song and dance through pre-Spanish, Spanish and contemporary eras, excluding the American which predominates to this day. (I agree with the omission because American songs and dances are so pervasive, they will not introduce anything new to foreign audiences.)

The film clips shown on the stage screen will help to enlighten Dutch viewers who will be taken on “A Cultural Journey”, from way up north in the Philippines to way down south. Enroute, they will see Igorot, Maria Clara, Rural, Muslim, Folk and Contemporary Suites.

Since last shown, the dances have become even more precise and energetic. They offer revealing insights into the Filipino psyche, including our distinctive and charming humor, our fun-loving nature, especially obvious in the Folk Suite, and our peculiar practices and customs.

The performers are thoroughly enchanting as they sing zestfully and expressively dance gracefully and emote eloquently. The blending of voices in duets, trios, quartets is smooth and mellifluous. The soaring, collective volume emanating from the entire ensemble is most impressive. The costumes are colorful and eye-catching; some are ravishing yet tasteful. (There is, however, a curious pairing of a male participant’s blue trousers with a female participant’s green tapis.)

The program is fast-paced, mindful as the producers are that foreign audiences become thoroughly impatient with long waits between numbers.

Before the spirited program ends, members of the ensemble go downstage and “serenade” the audience singing their hearts out to the immense pleasure of listeners who erupt in thunderous applause as the group continues its singing onstage.

“Harana” will doubtless enthrall foreign spectators. May I suggest that each side of the stage in the theater abroad be provided with translations of the songs to increase the viewers’ appreciation.

The “Harana” production team consists of POC, executive producer; Ana Feleo, producer; Von de Guzman, musical arranger; Irina Feleo, choreographer; assistant choreographer and music consultant, Elmer Ardiente; Zenaida Gutierrez, costume designer; Kokoy Jimenez, artistic consultant.

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The word “program” refers to the specific numbers being presented at a single concert or performance. The word “repertoire” refers to the total amount of works or compositions a pianist (or any other performer) has learned throughout his life or career, some of which works he chooses to render at any given concert or occasion.

The virtuoso pianist Raul Sunico has about five hundred (500) works in his repertoire. It would take an audience about a whole year to listen to it in its entirety. In 2003, he played Rachmaninoff’s four concertos in one single evening without the use of a score — a feat not yet duplicated by any other pianist Filipino or foreign. The four concertos he rendered for a particular program did not constitute his repertoire.

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On June 5 and 6, in support of various charity projects, Ambassador of Belgium and Mrs. Gregoire Vardakis will hold an invitational fashion jewelry exhibition from 2 to 7 p.m. at their Forbes Park residence.