Argentine artists electrify/SPU’s A Night at the Opera: Amateurs vs professionals

A dancing pair, a six-member orchestra and a singer from Argentina gave such a marvelous, indeed memorable performance at the Pen’s Salon de Ning, the prefatory remarks of Charge d’Affaires Monica Deregibus became totally credible: “Seleccion Nacional de Tango started on June 2005, making history by selling out every seat in Buenos Aires’ Teatro Colon.”

Pianist Abel Ragantini, bass player Enrique Guerra, violinists Damian Bolotin and Cesar Ragon, players of the bandoneon (a type of accordion) Nicolas Enrich and Santiago Polomeni enchanted and fascinated the audience with their vitality, vibrance, rhythmic verve and fire — all these evoking the fiery passion characteristic of Latin-Americans.

The music was not like the tango of yesteryears with its exquisite, lush melodies, and very distinct one, two/one, two, three beat. The passages were intricate, their rhythms strongly propulsive, the melodies not very lyrical. The impression given was of intriguingly new, innovative and aleatory music although each player had a score. Its newness was stressed by two old, familiar tangos, one of them being “La Comparsita.”

Again as danced by Silvana Soledad Nuñez and Ivan Leonardo Romero, the tango was not the simple one in my younger days, the pair gliding fantastically in fleet-footed fashion. They observed the aforementioned beat yet moved in incredibly rapid tempo.

It was presumably the modern exhibition tango — far removed from its origin toward the end of the 19th century in Argentina. Lifts, twists, whirls, turns, bends, horizontal poses, and vigorous leg thrusts — all these hit the audience like a cyclone with the dance growing increasingly fiery and tempestuous. And electrifying!

Vocalist Leandro “El Negro” Falotico, in his own infectiously lusty fashion mesmerized the ladies who could not have enough songs by the handsome serenader.

Among those present were Marivic Rufino, Argentine diplomat Miguel Realmonte, Vicky F. Zubiri, Elena Colome, Isabel C. Wilson, Lourdes Montinola, Lorna Laurel, Arturo and Tessie Luz.

*      *      *

In quick succession, St. Paul U.’s College of Music under dean Sr. Anunciata Sta. Ana has presented its faculty members and students in recitals, the latest being “A Night at the Opera.” One wonders at the wisdom of having amateurs and professionals appearing together, owing to the disparity in performance. On the other hand, students gain experience and exposure at such recitals — where else? — as also the impetus and inspiration to achieve their full potential.

Pianists Najib Ismail and Melissa Taqueban opened the program with the Overture from Verdi’s Traviata, later providing excellent assistance to the singers. The English translation of the arias was flashed on the screen for better comprehension by the audience.

The students were John Maxell Magtibay in an aria from Handel’s Serse, Minette Angelica Sto. Tomas in an aria from Mozart’s La Clemenza di Tito, and Marlon Fernandez in an aria from Cosi fan tutte, also by Mozart. Alumnus Aristotle Molina conveyed emotion vocally and visually in his aria from Verdi’s Masked Ball. Sustaining full top notes were students Jewel Solidum in an aria from Turandot, and Grace Garrol in an aria from Manon Lescaut, both by Puccini, their timbers, however, tending to be rather metallic. Rosette Marie Aguilar vividly sang — and acted out the telephone aria by Menotti.

The faculty members were more assured and relaxed, their voices more vibrant, their timbers rounder and more pleasant, their volumes fuller and longer sustained. Eudenice Palaruan captured the carefree spirit while conveying elan in Gershwin’s “I got plenty of nothing” from Porgy and Bess; Elisante Cortes was a deeply disconsolate Micaela in her moving aria from Bizet’s Carmen. Impressively in top form, tenor Ronan Ferrer as Romeo serenaded Juliet with ardent devotion, his voice ringing in Gounod’s aria. Nenen Espina beautifully interpreted Leonora’s melancholy air in Mio Fernando from Donizetti’s La Favorita.

The St. Paul U. Chorale gave a rousing climax with songs from Verdi’s IlTrovatore, Nabucco and the all-time favorite, the Brindisi, from La Traviata, the cast members creating ambiance as they danced and sang in full-throated joy. After two inspiring encores, Sr. Anunciata appealed for aid to the victims of Yolanda.