Perhaps the obvious questions to ask world-acclaimed tenor Arthur Espiritu, soprano Stefanie Quintin-Avila, and accompanying artist Najib Ismail about their forthcoming all-kundiman concert and recording are: “Why only now? What took you so long?”
Ismail answered for the three: “When Arthur asked me if we could do an album together, we both decided to do Filipino songs. It’s a good way for him to reconnect with his musical roots (Arthur is Filipino-American), which he is deeply passionate about. My collaboration with him involves choices on what songs are suitable for his voice, what aspects of the Filipino song repertoire we should present, and such matters.”
Najib Ismail
Espiritu said, “It was actually an idea from Najib and (producer-impresario) Joseph Uy. They encouraged me to make a recording of a few kundiman songs. I have long wanted to record something, but I wasn’t sure what to record.”
Quintin-Avila’s participation is in two duets with Espiritu, and she considers herself fortunate to have been invited to join the project.
The concert is on May 14, 6:30 pm, at The Gallery of MiraNila Heritage House, 26 Mariposa Street, Barangay Bagong Lipunan Crame, Quezon City. Doors open at 5:30 pm.
Espiritu did background research on the style and composition of each song. Among the featured songs are the revolutionary Jocelynang Baliuag (unknown composer), Nicanor Abelardo’s Mutya ng Pasig, Levi Celerio’s Lagi Kitang Naaalala, Leopoldo Silos’ Dahil sa Isang Bulaklak, Ernani Cuenco’s Nahan, and Augusto Espino’s Kundiman ng Langit.
This is what he found out: “Kundiman and mostly Filipino art songs have a very distinct style in the purity of their lyrics. The words being expressed are so vivid and have a visceral effect. There are some synonyms, but to replace these words with another set could mean the total collapse in interpretation. This is the challenging part. But to express it through sound is quite natural. To overcome them is as easy as knowing its true meaning within the context and the story that the composer intended to tell.”
Quintin-Avila found that “all the pieces assigned to me were familiar. They are part of my regular repertoire.”
As for the challenges of singing and interpreting the kundiman, she said, “One challenge I encountered when I started singing kundiman at the age of 14 was being mindful of its musical style. Growing up exposed to popular music, I had to avoid the inflections of pop singing such as adding slurs and riffs. Another challenge is fully understanding and internalizing the archaic text of most kundiman. Since I am not ethnically Tagalog (she is originally from Baguio City), my vocabulary is not as deep as that of the Batangueños and the Bulakeños. Sometimes I consult with colleagues and friends who are adept in the language.”
Asked about the crucial role of Ismail in the project, Espiritu said, “Najib is one of the most well-versed artists when it comes to song interpretation, especially art songs. What sets him apart is his capability to read another artist’s tendencies and his impeccable timing. He is very sensitive and very well-versed in the kundiman. I can only credit him as someone who taught me how to sing kundiman. It is due to that wealth of knowledge that I am inspired every time I work with him.”
For her part, Quintin-Avila said, “Sir Najib is one of my idols in the Filipino music scene. I remember seeing him in a concert when I was a teenager, and his performance absolutely enthralled me. His musicality is on a different level. His musical intuition is infectious. I no longer need to think about how I’ll shape my melodic lines because he already provides them through his playing. He’s a joy to make music with!”
She added, “I still can’t believe that I got the chance to work with him on this project. Performing and recording music with him is a dream come true.”
Told that it’s a pity that their program, a fundraiser for MiraNila, is just for one night, Espiritu said, “We plan to do a few concerts after the release of the album. Where and when will be up to the arts organizer.” The National Commission for Culture and the Arts (NCCA) underwrote the recording of the album.
The National Commission for Culture and the Arts (NCCA) underwrote the recording of the album
Quintin-Avila echoed Espiritu’s wish that “there will be a reprise in the future!”
The singers are both parents of very young children, with the soprano having just given birth to a boy. She said of time away from her kids while rehearsing or performing: “I have a fear of missing out on milestones of my babies every time I prepare for a concert. I need hours to practice, and I could not do that with them around, constantly asking for milk and attention. I have to stay in a different room so I can focus and practice.”
With Espiritu, the distance from his family is greater due to his opera commitments, mostly in Europe. He has had to deal with homesickness and missing out on the developments of his three children and his wife Christine, also a soprano.
He said, “It is not very easy. I put myself in that mental state where I am a bit indifferent to my new environment. For those days I have to rehearse and perform, I keep that in one box, then when I get back to my hotel or home, loneliness sets in. Especially if one kid gets sick, it affects me. I cannot stop worrying. The normal daily routines I’m used to at home are missed without fail each day I am away. So I have to appear strong and collected, but I’m a mess inside. After the bows and the audience applause, I walk back in tears because of this loneliness. I get used to it every day I am away. But when going back to them, I hold back my tears for them because I want them to see me as a strong man. I cannot show this side of me. But yes, when I get home, I feel enormous gratitude for having them in my life. They keep me sane in this insane business. They center me.”
With so many singing talents in the country, the two were also asked, what is taking the Opera Company of the Philippines so long to get formed? How can it take off, considering those talents we see, and who need encouragement and training?
Espiritu said, “First, cooperation and getting along with one another is key. Set aside professional jealousy and just come together in solidarity to create a theater for the people. Funding has to come from the government, because dependence on private entities means giving away your vision and your plans. You are beholden to their wishes and preferences, so you are bound to bend to their will. Communicate and be kind to one another. Our leaders have to support us. The Cultural Center of the Philippines (CCP) needs to open their young artist programs. An opera theater has to start residency within the building. This is actually possible, but I don’t know where they are distributing the budget.”
Quintin-Avila said, “There are various small opera companies in the Philippines at the moment, but what we long for is a government-subsidized opera company, hopefully under the banner of the CCP. Sir Arthur has a proposal for this. We need legislators who are willing to help bring this proposal to fruition.”
After the concert and album launch, Espiritu is preparing for a masterclass for singers in June. He said the opera workshop will focus “mostly on developing artistic and interpretation skills. stage timing acting while singing, the logistics of using our entire body. It will be needs-based. The venues will be at Mirror Studios at SJG Building on Kalayaan Avenue, Makati and Varlez Pianos on Ortigas Avenue, San Juan. We will be staging the scenes and will present them like a mini production. At the end, we will pick the successful scenes to tour all over the Philippines. At least we are hoping to do so.”
Soprano Stefanie Quintin-Avila
The opera audience is starved for a full-length opera ever since the late producer Nedy Tantoco died. Espiritu said, “We are going with a concert opera version of Gounod’s Faust for next year. Stefanie will likely do Marguerite with me in the title role.”
Quintin-Avila said, “Fingers crossed! I hope we can do this next year.”
For tickets to “Mga Awit ng Pag-ibig at Kundiman,” contact Steve Vega at Viber no. (0945) 853-0963 between 3 and 9 pm every day.
