University of Baguio Voices Chorale
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Baguio's got talent
By Dot Ramos Balasbas-Gancayco (The Philippine Star) Updated April 04, 2010 12:00 AM

MANILA, Philippines - I admit I love going to Baguio primarily because of the cool weather. While I would look a total fashion victim/nutcase in Manila wearing my thigh high boots, Burberry scarves, and furry coats, I would look only half crazy attired in such apparel in Baguio (hahaha!). But Baguio is not just all about the permanent free airconditioning and the chance to wear your long-kept-inside-the-baul-temperate-weather attire. It is going through the whole experience of traveling through zigzag roads; having photos perennially taken at our preferred tourist spots; doing the expected exercise of buying ube jam and peanut brittle at the Good Shepherd, walis tambo and woodcarving souvenirs at the market and woven products at the Easter Weaving School; and more importantly, especially during the Holy Week, having spiritual renewal at the various churches and retreat houses that dot the city. For a lover of the arts like me, it is also an endless opportunity of getting a taste of the best Filipino talents in the visual, culinary and performing arts. It is said that the last are very important factors that have made Baguio the country’s Convention City and favorite out-of-Manila wedding site. 

Although my husband Rotary District 3780 Incoming Governor Paul and I were billeted at the exclusive Baguio Country Club for the 2010 District Convention, our staff who stayed at the Holiday Park Hotel, (walking distance to the Burnham Park at only P1,500 for a deluxe room with two beds at that!) gushed at the great amenities and excellent service typically coming from friendly and hospitable Baguio people.   At the fellowship that followed the golf tournament sponsored by the Rotary Club of New Manila East, everyone was delighted by the cool sound and perfect-harmony-so-pleasant-to-the-ears of the Smooth acoustic group. As the night was about to end, top tenor John Glenn Gaerlan (who is himself a proud Baguio native) mesmerized us with a reverberating rendition of The Prayer and O, Sole Mio.

It turned out that our first night was just a sample of what was yet to come. At the Camp John Hay Convention site, the Quezon City Rotarians were wowed by the exhilarating world-class performance of the University of Baguio Voices and Graces Dance Troupe. Baguio City Mayor Peter Rey Bautista, whose family owns the University of Baguio, himself shared with this writer that the local government has funded concerts and musicales by which local talents are further honed. Even at the Reception and Study Center for Children, (a center for abused and abandoned children in La Trinidad), where we chose to go to donate much needed supplies (instead of daintily picking strawberries at the Strawberry Farm), the Rotary spouses were touched by how the impoverished Baguio kids could express themselves beautifully through music. During the Governors’ Ball of Governor Dulce Coyukiat held on the last night, again, we were entertained wonderfully, this time by the Access retro band — a group that could give Manila-based bands a run for their money. (Remember the very popular Session Road band that originated in Baguio? Even singer Tito Mina and director Joyce Bernal, among so many others, hail from Baguio).

Tenor John Glenn Gaerlan explains to this totally overwhelmed writer that high school and university glee clubs, dance clubs and other performing groups are a wonderful breeding ground for Baguio artists. Aside from the University of Baguio Voices and Graces Dance Troupe, they have the University of the Cordilleras Performing Arts Group, the St. Louis University Glee Club and Dance Troupe and Karlo Altamonte’s Open Space and Tanghalan SLU Theater Group, among others. Even the choirs in the numerous city churches produce the best singers. This is the reason why John Glenn, together with Bishop Carlito Cenzon, in the pursuit of continuing excellence in music among Baguio residents, has been, for the third straight year this 2010, conscientiously organizing the Baguio Cathedral International Festival which raises funds for the maintenance of the Baguio Cathedral pipe organ and other musical equipment therein.

Kay Balajadia, former soloist of the UP Concert Chorus and NAMCYA champion says music has always been part of Baguio and its culture. “It has always been the norm that the development of each child must include exposure to the arts. In fact, it was standard that each household should have at least one musical instrument and that the children are expected to learn to play the instrument. There is so much love for music that drives each Baguio-bred artist to excel and become the best,” lawyer-singer Kay elucidates.

Chinggoy Alonzo, an Aliw awardee Hall of Famer and veteran stage, TV and movie actor, explains that, “in the olden days, until now, Baguio has always been conducive to the development of artistic pursuits. The atmosphere in Baguio City lends itself to contemplation, meditation, inspirational thoughts and creative musings, hence, it’s of no surprise to see so many great artists coming from this place,” Chinggoy emphasizes.

Still thinking of a venue for your next convention or big event? You know now where to go.

Baguio Midland Courier - December 20, 2009

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Best shows of the last quarter

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By Ma. Guerrero Amadís
Philippine Daily Inquirer
First Posted 00:01:00 01/07/2008

Filed Under: Lifestyle & Leisure, Culture (general)


MANILA, Philippines - Noted soprano Gia Macuja (a hit in the London production of “The Lion King”) was in town recently along with violinist husband Robert Atchinson. The latter performed with Ukraine pianist Olga Dudnik and prima ballerina Lisa Macuja (Gia’s sister) in “Music, Trio, Magic” at the Cultural Center of the Philippines’ Tanghalang Aurelio Tolentino.

At the press conference before the show, Macuja-Elizalde was asked: “Isn’t this kind of role [coming right after “Swan Lake”] like ‘picking apples?’” “Yes,” she replied, “but the apples were delicious!”

The opera treat of the period was “Music/Lyrics,” featuring the Metro Manila Community Orchestra under Chino Toledo and soloists Randy Gilongo (tenor), Camille Lopez and Jennifer Uy (sopranos), and Lionel Guico (baritone). Each singer had his/her big moments: Uy with “O Mio Bambino Caro” (you cannot go wrong with this short, exquisite warhorse); Guico with the popular “Largo al Factotum” from “The Barber of Seville”; and Lopez with a powerful “La Mamma Morta.”

As for Gilongo, one of our best tenors, he shone in all of his arias except his first (“Cielo e Mar”), when his voice sounded unsteady. As always, conductor-composer Toledo was master of the situation, egging on the improved (and mostly young) MMCO members to do their best.

Ravel, Franck

Maurice Ravel and Cesar Franck were the stars in the Philippine Philharmonic Orchestra’s “A French Affair” at the CCP. British pianist Rolf Hind successfully essayed Ravel’s daunting “Concerto for the Left Hand” and then, as an encore, he played a Debussy piece to prove to the audience, as he put it, that “I can play with two hands.” The evening was capped by a spirited rendering of Franck’s mighty Symphony in D Minor by the PPO under Eugene Castillo.

Legitimate (musical) theater again invaded the malls (SM Southmall Cinema) with Gantimpala Theater’s “Ang Pagong at ang Matsing,” directed by Tony Espejo and performed before a big crowd of grade-school kids. It was an entertaining cavalcade of song, dance and humorous situations amidst a forest setting. The music of Jesse Lucas ends in a rousing call to preserve the environment.

Seen again after a generation, “Fiddler on the Roof” (Repertory Philippines, OnStage, directed by Baby Barredo and Robbie Guevara) still manages to tug at the heartstrings with its universal tale of love overcoming rigid, turn-of-the-century Jewish traditions (except “marrying outside the faith”), engaging music and lyrics, juxtaposed against the persecution of the Jews under Czarist Russia.

The Rep has already announced that its big musical for 2008 will be “A Christmas Carol.” This is all very appropriate, but in the future let’s have more challenging musicals and operettas like “Showboat,” “Brigadoon,” “Rosemarie,” “The Student Prince,” “The Desert Song”… I could go on and on.

‘Into the Woods’

Composer Stephen Sondheim’s “Into the Woods” is a merry, witty and sophisticated retelling of coalesced fairy tales for adult consumption. Under the direction of multitalented Rito Asilo, this New Voice production (at Music Museum), with a slew of highly talented singing actors and actresses, was a crackling good show, marked by intense acting and singing.

As Jack, young hunk Joaqui Valdez made an auspicious debut. Give him more roles in musical theater. The musicians (Ceejay Javier, Molinder Cadiz, Jason Quitane and Ricky Villante) were instrumental—pun not intended—in setting the mood of the play.

At Caffé Puccini (near NBC Tent, Fort Bonifacio, Taguig), the new watering hole of lovers of opera and of authentic Italian cuisine, five tenors from the Philippine Opera Company—Juan Alberto Gaerlan, Jack Salud, Al Gatmaitan, Sherwin Sozon and Elver Esquivel—rendered a tribute to Luciano Pavarotti, singing arias and Neapolitan songs identified with the late, great tenor.

The show was made more meaningful with the sharing of highlights from Pavarotti’s remarkable career. Next to Enrico Caruso, Pavarotti was probably the finest tenor of the 20th century.

Choral concerts

The last quarter was a great period for choral concertizing. The Andres Bonifacio Concert Choir (ABCC), led by eminent composer Jerry A. Dadap, linked up with the Smokey Mountain Children’s Choir (Mga Anak ng Inang Daigdig) and the University of Baguio Voices Chorale on Bonifacio Day to honor the Supremo (at Philamlife Theater).

Then the ABCC joined the acclaimed University of the Philippines Singing Ambassadors (under conductor Ed Manguiat) for the turnover rites of the UP carillon bells to the UP administration, an event organized by the UP Alumni Association.

Although heard for the nth time, Handel’s “Messiah” remains an exhilarating experience when performed by first-rate musicians and singers: the Philippine Philharmonic Orchestra under guest conductor David Wordsworth, Coro Tomasino and the University of Santo Tomas Liturgikon Vocal Ensemble. Soloist Ferleoni Medina, soprano, gave a good account of herself in the virtuoso passages. The Christmas concert was staged at the Tanghalang Francisco Balagtas.

The Institute for Orchestral Development in the Philippines—with the tireless Chingay Diaz Lagdameo as executive director—presented Bach’s triumphant “Christmas Oratorio,” as interpreted by three major choirs: the UP Camerata Singers, Ateneo Chamber Singers and Novo Concertante.

The six cantatas of the oratorio had to be spread out in three churches: Santuario de San José in Greenhills, Church of the Gesu at the Ateneo University and St. James the Great Parish in Ayala Alabang. Soloist Evrin Lumauag stood out because of his distinctive tenor and stage presence.

It was a grand tribute to the Christ Child, and a fitting farewell to the year 2007.

Manila Bulletin - November 24, 2007

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UB VOICES CHORALE

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January 07, 2007  

Angels invade the City in the Sky

By Deni Rose M. Afinidad

(An excerpt from Manila Standard Today, January 04, 2007 issue)
‘WE Filipinos sing very foreign songs. We sing songs by pop stars. We’re very good at imitating others. Sometimes, we’re even better than the original. But will foreigners respect us for doing these?’

This was the question that Department of Tourism Undersecretary Oscar Palabyab raised during the opening of the 2nd Wow Philippines—Cordillera Indigenous Choral Competition held recently at St. Louis University in Baguio City.

To protect, maintain, and respect the Cordillera’s culture and arts, the Indigenous Choral Competition was staged at the Cordillera Autonomous Region, said Palabyab.

According to Reinaldo Bautista, Baguio’s acting mayor, this is also to honor the Ifugaos’ tradition of singing and playing gongs to ask rain from the gods.

While in Manila, the fuss was on who would be the first Philippine Idol or the foremost grand winner of Pinoy Dream Academy, in Baguio City, the sensation was on which choral group would prevail in interpreting native Cordillera songs and chants.

Baguio City, dubbed the “City in the Sky” for being elevated 5,000 ft above sea level, became even chillier as this year’s student contenders from six schools enveloped St. Louis University’s Center for Culture and Arts with their nippy, angelic voices.

Unlike other contests, Cordillera’s local choral challenge was peculiar as competitors tediously memorized and sang the ritualistic rhythms and difficult lyrics of the Ifugao hymns.

Opened to all Cordillerans, the showdown required that the choirs should be mixed, all-male or all-female; school, church or community choirs, with an age range of 15 to 21.

Clad in their skimpy native costumes while enduring the natural holiday coldness of Baguio, the challengers also incorporated choreography and theatrics in their numbers, but were limited to the use of only Cordillera ethnic musical instruments.

To make it fair and square, the contest rules further stated that none of the recitalists must be a professional singer or an artist; winners of international and national contests were automatically disqualified; participating choirs must be in existence for at least one year; and each team must have had a maximum of 30 singers, including one accompanist and one conductor.

For a maximum of 10 minutes, each ensemble belted out two songs—the contest piece and a choice piece, which was also a Cordillera ethnic song.

Kicking off with Pines City National High School, the mandatory contest piece, “Bagbagtu,” a Cordillera lullaby, was introduced to hundreds of spectators from Baguio City, Manila, and neighboring provinces.

As observed, “Bagbagtu” is repetitive yet celebrative. It includes the alterations of male and female voices, with more emphasis on the women’s part. Listening to it felt like riding a rollercoaster—the music plunges to soberness then surges back to buoyancy before finally, a striking shout marks its end.

For its choice piece, Pines City National High School performed a seemingly worship song for the Supreme Being of the Cordilleras.

Second to perform was Benguet State University Glee Club, which balanced its minimal choreography and tranquil serenade with elaborate ornamentation and tattoos. The group changed its blockings while playing their drums and bamboo flutes.

The Young Minstrels of Baguio City National High School came in next, making the crowd utter an “ahhh” with its romantic rendition of an Ifugao courtship trance. The men wore feather headdresses, while the women wore pearl ones. From their step design which somehow dramatized the Cordillerans’ way of life, the audience had a sneak on the day-to-day happenings of Cordillera culture.

With a mix of a little indigenous dancing, some shoulder shaking, and bits of teeny-bopper puppy love, the Young Minstrels married relaxed a capella to song parts that were accompanied by gongs, rainmakers, and piano.

Another unforgettable act was that of University of Baguio Voices Chorale, which gave a playful, operatic twist to Bagbagtu and their choice of indigenous song.

Armed with powerful voices and only spears as musical instruments, University of Baguio Voices Chorale members offered a foot-thumping experience to their audience. Of all contestants, the company was also the only ones to modernize and personalize the Cordillera outfit by paring jazzy, black over-alls with a touch of indigenous accessories.

While some groups were successful in entertaining and thrilling their watchers, some troupes, like Mountain Province’s Lubon Performing Arts Group and the Kalinga Apayao State College, lulled their audience to sleep with their sullen versions of the Cordillera chants.

But of course, the host school, St. Louis University, did not let the other schools out-sing its very own choral assembly. As intermission number, the St. Louis University Glee Club bolted the contest with a chain of gripping Cordillera Christmas songs.

Based on tone quality, rhythm, harmony, interpretation and dynamics, and choreography and stage deportment, University of Baguio Voices Chorale emerged as the cream of the crop, taking with them a cash prize of P15,000, a trophy, and the upper hand in using the stage for picture-taking.

The Young Minstrels jumped into the second post, only P5,000 less rich than the first placer. Benguet State University Glee Club then completed the roster of victors that afternoon, with P5,000 in their pockets. All the others raked P3,000 each as consolation prize.

Despite having to grapple for subtitles to better understand what the contestants sang, the spectators went home almost memorizing the Bagbatu, fulfilled to discern that they have known a little bit more about the Cordilleras other than the coolness, strawberry jam, choco flakes, fresh veggies, wild flowers, and Igorot beggars of Baguio.

Just outside the auditorium where the competition took place, Jim Bahag, the Dutchman who embraced Ifugao culture and who has been living in the Mountain Province for 28 years now, was spotted chatting with true-blue Igorots, using Tagalog and Cordillera words more fluently than any other Filipino who could have spoken the native Filipino tongue.

Jim Bahag is perhaps the paradox of what Palabyab said that “Our own indigenous songs are more foreign to us than the songs of foreigners.”

Sadly, more Filipinos feast on the hits of Caucasian and Negroid angels, while the tunes of the Filipinos’ very own seraphs in Cordillera remain hidden in the thickness of the Baguio fog.