Opera-loving audiences in Metro Manila are up for a rare vocal treat when young sopranos interpret rarely sung opera heroines Saturday, May 3, 7 p.m. at Manila Pianos along Paseo de Magallanes in Makati City.
The program package consists of arias from twelve different operas each showcasing unique personalities of women in opera and each requiring distinct vocal textures and dramatic intensity.
The young sopranos are Angeli Benipayo, Nerissa de Juan and Marielle Tuazon with pianist Gabriel Allan Paguirigan.
Treading on unfamiliar repertoire and selling it to opera audiences is nothing new to impresario Joseph Uy who has presented seasoned international artists to Manila audiences for many years.
As always, Uy is aware of the financial challenge of new programming. “When we decided to mount this concert, we expected not to make money but hopefully we break even. The purpose of the concert is to present and introduce the new crop of most promising young singers today and presenting a unique program dwelling on rare masterpieces seldom performed or never performed in the country.”
Uy said the program was chosen based on the type of voice that will suit a certain aria. “In every program, we plan to introduce one or two unfamiliar numbers to get the chance to be heard live by local music lovers,” he added.
“This captivating evening covers the Baroque era to the 20th century featuring beloved arias and rarely performed vocal gems.”
The concert organizer added the many of the featured works will be performed for the first time in the Philippines, offering a rare opportunity to witness the intricate virtuosity and emotional depth of these masterpieces. “From the soaring romance of Gounod to the dramatic intensity of Wagner and the nuanced artistry of Handel, this concert promises to be an extraordinary showcase of diverse styles and in a likely unforgettable evening.”
For pianist Paguirigan, working with the three young singers have always been inspiring. “The rapport comes easily because they are not only amazing vocally but also extremely passionate about opera. Working with them in this concert, one can’t help but be passionate as well. Rehearsals are always interesting because of the amount of exploration they have done with their arias and their understanding of them in context to the entire operas. It is so satisfying to hear the three sopranos give life to these opera heroines. It reflects their own personality and how they prepare the characters they will be interpreting. I must say I tend to get carried away by their enthusiasm.”
Fresh from her portraying Micaela in the Bizet opera Carmen mounted by the Singapore Lyric Opera, Nerissa de Juan found her first international exposure an eye-opening experience. “It was my first time performing an operatic role abroad and I felt very honored to be part of an international production. Working alongside artists from different countries inspired me to bring out the best of myself both as a singer and as an actress,”
She felt that being the only Filipino in the cast came with a sense of responsibility. “I felt a pressure to present myself as a good representative of Filipino talent which motivated me to give my best.”
Getting the role presented other extra challenge. “First were the time constraints. We only had a few days to block and run the whole production. There was definitely an expectation to come fully prepared and to adapt quickly to staging and musical adjustments.”
From her Singapore opera exposure, she learned the importance of self-discipline and flexibility. “I also realized how important it is to trust your own sense of artistry while being open to all forms of collaboration. It gave me a clear idea of the production standards expected in an international level. It pushed me keep learning and growing.”
From that Singapore production she learned how to work within an ensemble. “The ensemble experience was wonderful. Even as a soloist, I felt a strong sense of teamwork and camaraderie with the chorus and other artists. Everyone was committed to serving the overall vision of the production. There was a real respect for each other’s contributions whether big or small.”
De Juan thinks there is a lot that Filipino producers can learn from Singapore.
As in any Asian country where opera is not as popular as pop music, she feels Singapore is surviving beautifully in such a situation. “I notice that there is a steady effort from different companies to stay active and produce work consistently. This active participation even on a modest scale helps maintain visibility for opera and creates more opportunities for artists to perform and grow. I think Philippine producers can take inspiration from this by encouraging more regular productions — even small ones — to keep building and sustaining the opera community.”
The challenging arias and the opera heroines the young singers will bring to life are D’Oreste d’Ajace sang by the vicious Elettra from Mozart’s Idomeneo, the Letter Scene sang by the naïve and innocent Tatiana from Tchaikovsky’s Eugene Onegin, Ragion nell’alma siede, sang by Flaminia from Haydn’s Il Mondo della Luna, Il est doux, il est bon sang by Salome from Massenet’s Hérodiade, Oh nube! Che lieve…Nella pace del mesto riposo sang by Maria Stuarda from Donizetti’s Maria Stuarda and the fiendishly difficult GroBmächtige Prinzessin sang by Zerbinetta from Strauss’s Ariadne auf Naxos.
For tickets, call 0920-954-0053, 0918-347-3027, 0916-726-5584.
