On a recent Sunday, an enchanting concert with a profusion of unique talents of a superb ensemble of musical world of choirs (weeping violins, classics and folklore) settled briefly at the Garrison Theater, Scripps Performing Arts Center in Claremont. It was also a gala benefit event and concert for the victims of Typhoon Haiyan.
Behind the footlights and nuggets of musical lore, the tone was set.
Remember, Rebuild and Sustain: Walang Iwanan – the appeal of their musical values lies with “what beautiful music we can make together”…for the less fortunate folks from Tacloban.
The Students Group featured performances by students from all of Claremont Colleges, together with faculty members. They performed an indispensable eclectic treasury of musical, which included a variety of style.
The choirs’ renditions were almost like reading poetry with a musical background songs of pathos, like fine art from a symphonic music.
Each and everyone gave a part of themselves. Like pebbles, together they made a boulder.
The choir groups’ mellifluous tones echoed quietly across the stage, descending one after another, in songs that could inspire us to pick ourselves when down. The singers gave a musical language that had no barrier of religion, race, country or creed, only selflessness.
You cannot judge Canadian Opera Soprano Ann Harley by her extraordinary voice, nor by her incandescent fame. Her performance (both local and international) are remembered by all who had seen her and heard her Mutya ng Pasig.
Her sublime voice was so lugubrious — reinforcing sadness to such a degree that it blanketed the audience with melancholy.
Commanding the stage with an emotional level which touched the audience, she held them spellbound. She stood there and effortlessly poured forth those ringing high notes.
She threw her arms wide in triumph and bowed her head, in indescribable pain. After her number, she flashed an irresistible smile — brighter than any of the stage lights.
For Harvard-bred concert pianist Dr. Hao Huang, the piano was not just an instrument in his hands. It was joy, chagrin and romance. Love wept in his blessed fingers, when he played Claude Debussy’s L ’Isle Joyeuse.
His hands fluttered, like two butterflies so light, so delicate. One cannot imagine they would be able to bring out the impossible fortissimo of an exultant victory.
His duet with the violin played by Mrs. Rachel Huang makes you succumb to a kind of spell, in the presence of the couple’s musical exploits. It made us fuse ourselves with them.
It was his kind heart and thoughts, which produced the evening of music for the Haiyan typhoon victims.
Dr. Glen Diaz labored quietly for the project in partnership with Dr. Marilou Dichoso, whose personality eluded any attempt to put her in any precise shape or color.
She is too many wondrous things all at once — possessing exquisite beauty, politeness and gentleness and her sense of humility and humanity abound towards all.
She does her humanitarian endeavors in subdued ways.
For Maestro Bob Shroder, with characteristic vigor and untrammeled candor, this was a project after his own heart.
That night he delivered one of the most powerful and integrated interpretations of the score of the night repertoire.
He continues to charm, delight, instruct or cajole orchestral players with his beat, precision and clarity. Kahit Isang Saglit would have meant the world for the typhoon’s hapless victims.
When the performance converged onstage, the thunderous applause spoke for a grateful evening. The ovation at the end was not ordinary applause, but a condensed clapping — a staccato of cheer.
