SPC's grand celebration / George Yang's magnanimity

A grand celebration at the Fleur-de-lis Theater marked the hundredth year of the St. Paul Chartres Foundation in the Philippines. Meaningful messages were delivered by Provincial Superior Sr. Zeta Caridad Rivero, Provincial Assistant for Formation Sr. Emily Louise del Castillo and Sr. Maria Eden L. Orlino.

A history of the religious order was presented, with film clips of the mother house in France, school and office buildings and cathedrals. Film clips also showed a day in the lives of the novices — their work, community service and recreation, finally leading to the concert itself. Inevitably, the entire program became rather long.

It opened with a hundred nuns, their backs to the audience, ascending the stage where a profusely decorated statue of the Virgin stood. Holding candles, the nuns made a spectacular sight while emitting a spectacular volume owing to their vast numbers. Soon, they were dancing in a childlike, charming manner, their movements simple and elementary. Their costumes in harmonious colors were likewise simple. Constantly changing patterns and designs on the screen enhanced the stage setting.

Sr. Anunciata Sta. Ana, who composed some of the songs, was a dynamic conductor, directing with undiminished energy and vigor. Sr. Orlino was assistant conductor; Sr. Maria Theresa L. Asencio and Sr. Maria Corazon Querubin serve as accompanists; Jenny Joey Medina was assisting artist.

The nuns revealed versatility as they sang or danced Christian, Muslim or folk to the accompaniment of native, Muslim or ethnic instruments.

Sr. Remedios Sandalo and Sr. Asencio (Piano 1), Sr. Querubin and Sr. Veneranda del Rosario (Piano II) rendered with flawless, impeccable precision Ryan Cayabyab’s Nais Ko arranged by Nhick Ramiro, and Rhapsody in D Minor by Ralph Federer. The organ ensemble created another feat: Sr. Asencio, Querubin, Sandalo, Nicole Dabalus and Del Rosario interpreted Hooked on Classics, this arranged by Rosemarie Asencio Jose, with a male performer providing jazz percussion effects.

The concert significantly extended the dimensions of music with its contemporary (Hooked on Classics), modern Filipino (Nais Ko) and jazz numbers.

Many songs composed by the nuns were anti-climactic, repeatedly reaching climax after climax, with the end long anticipated but far in coming, thus greatly diminishing the effect of the final climax.

In an impressively nationalistic episode, a group of Muslim singers-dancers and a group of Christian singers-dancers performed, with each asserting its identity. Later, the two groups merged while long strips of red, white and blue clothing were stretched across the stage to signify the flag of one people, one nation. What an admirable stroke of inspiration!

Credit for production goes to Sr. Zeta Caridad Rivero; for direction and stage design, to Sr. Orlino; for choreography to Pamela Ortiz Bonded and Winston Lopez.

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Opera Gala at the Philamlife Theater featured the scholars of the Klassikal Music Foundation established by tenor-taipan George Yang. The gala was directed by international baritone Andrew Fernando, with Farley Asuncion as piano accompanist. Special guest performer was Yang who has taken his place among eminent tenors.

The sopranos were Stephanie Aguilar, Marie Anne Dominese, Micah David Galang, Rosette Marie Aguinir, Barrely Espina, Lailanie Labre, Karla Villanueva, Ruth Escrupulo, Vida Grace Mirang, Jhomerita Chua-So, Veronica Cruz, Geraldine Flores and Jude Rubis Riccio.

The tenors were Paul Azul, Rowell Cruz, Leo Angelo Lanuza, Nomer Madridejo, Christian Nagano and Glenn Naquila. The baritones were Jillbert Chua, Cipriano de Guzman, Jr. Belford King Mabunga, Vincent Jonas Olandesca and Huaxing “Erik” Yu.

They rendered solo arias, duets, quartets from operas by Mozart, Verdi, Puccini, Gounod, Offenbach, R. Strauss, Bizet, Douglas Moore, Gershwin and an operetta by Lehar.

The Opera Gala was made possible by the unmatched magnanimity of George Yang. “I just want to give back,” Yang said, taking great personal interest in the progress of his scholars.

I deeply regret having missed the Opera Gala but I believe I can safely presume that with the arduous training and rehearsals the dedicated young talents went through, they reached the highest degree of competence and, in certain instances, of excellence, in the Opera Gala.

May Yang’s tribe increase!