Abdul Candao, the Filipino tenor based in the cultural capital of Vienna and who has lived in Europe for the past 26 years, shares something with opera stars like Pavarotti and Carlo Bergonzi. He likes to eat and cook as a form of therapy.
My cat loves opera. Ever since Manny C turned me on to the Classica channel, the cat has been sitting at the foot of my bed, watching intently. The set is only a few inches above her head. When “Turandot” begins, her ear twitches with pleasure—or is it the tickle of a flea?
September in Paris is one of the best times to visit the City of Light, with the end of summer and beginning of fall.
Filipino-American tenor Arthur Espiritu, 36, is a new name in the Philippine performing arts scene where opera productions come few and far between.
‘Awareness of Light’ serves as a vital resource not only for students but also for lovers of theater and the performing arts
“Noli Me Tangere, The Opera,” written by the late Filipino National Artists Felipe de Leon (music) and Guillermo Tolentino (libretto in Filipino), runs at the Cultural Center of the Philippines (CCP) Main Theater from Jan. 28 to Feb. 3.
After eight long years, there will be a new set of National Artists who will be proclaimed in august ceremonies in Malacañang this August.
Puccini has the superb ability to dramatize his music at the right moment so as to stir the emotions.
The Opera at the MET series, a project of the Cultural Center of the Philippines (CCP) with the New York Metropolitan Opera, came to a successful conclusion with the showing at Greenbelt Cinema 3, in Makati City, of Puccini’s “Madama Butterfly” and “Turandot,” and Wagner’s epic “Tristan und Isolde.”
I’M HOPELESSLY awed by the operatic voice. I’ve been star-stuck since my first full opera in Vienna, “La Sonnambula,” by Bellini, a most difficult opera, requiring a certain maturity of the soprano’s voice and training in bel canto, the equivalent of vocal calisthenics. I don’t remember the singers, but I’ve never forgotten the experience.
