There was visible excitement in the roomful of creative people during the press conference of Turandot.
At The Turandot press conference, from left, CCP artistic director Dennis Marasigan, Rustan’s chairperson Nedy Tantoco, CCP president Margie Moran Floirendo and Italian Ambassador H.E. Marco Clemente
Rustan’s chairperson Nedy Tantoco welcomed the guests with optimism, even as she admitted that mounting an opera just after the pandemic is doubly difficult. But with a lot of help from the Cultural Center of the Philippines (CCP), through its president Margie Moran Floirendo, the Italian Embassy through H.E. Ambassador Marco Clemente, and other support groups, opera is assured of a grand rebirth.
Thus, Tantoco announced that Metro Manila is ready for another opera after a long intermission of two-and-a-half years.
The return of Turandot (it was last mounted at the Manila Metropolitan Theater in 1979) also celebrates many meaningful anniversaries for the sponsors and producers.
Tantoco pointed out: “To the Philippine Philharmonic Orchestra, this will be their first major performance under the baton of Italian conductor Maestro Valentino Favoino after the pandemic. The beneficiary—the Philippine-Italian Association—commemorates its 60th year, while the Philippines and Italy celebrate 75 years of solid and strong diplomatic relations. The return of live opera will also mark the 70th year of Rustan’s in the retailing business. Let’s enjoy the moments of this exciting rebirth of opera.”
The opera exchange during the presscon yielded many insights.
Ambassador Clemente announced he has invited some 700 public school students to attend the December 7 dress rehearsal of Turandot at the CCP through the Department of Education. “We have to involve the young people because they are the future audience of opera. We need young audiences, because the old generation of opera lovers is fast fading out.”
Nedy Tantoco with director, Maestro Vincenzo Grisostomi Travaglini and assistant director Prince Ravivaddhana
Monipong Sisowath
A towering presence during the Turandot presscon was director Vincenzo Grisostomi Travaglini, who came with his assistant director, Prince Ravivaddhana Monipong Sisowath.
Director Travaglini’s opera connections include working with opera icons like Gian Carlo Menotti, Luchino Visconti, and Franco Zeffirelli
Maestro Travaglini’s opera connections include working with opera icons like Gian Carlo Menotti, Luchino Visconti, and Franco Zeffirelli, among others. He assisted poet-filmmaker Paolo Pasolini on the set of the film version of Medea starring the great Maria Callas. He was also artistic consultant of Zeffirelli in one production in Japan for the inauguration of the New National Theatre of Tokyo during the 1997/98 season. He is author of a book on the life of soprano Katia Ricciarelli on the 25 years of her career.
Prince Ravivaddhana Monipong Sisowath, who has worked with Maestro Travaglini in several productions, recalled the staging of Lucia di Lammermoor at the CCP in 2020.
“The whole Lucia experience in Manila was absolutely great. We had such a nice time, sharing and discussing concepts with our fellow artists. The contribution of tenor Arthur Espiritu was crucial. We felt so warmly welcomed and the understanding was complete, not only among the artistic team, but also the technical people of CCP. The PPO gave its best to Maestro Alessandro Palumbo and the result was so rewarding. I remembered with emotion the crowd of young and passionate opera lovers, when we went to greet them at the CCP stairs after the matinee. The joyful smiles and admiration for the performance were so sincere!”
Turandot creative team: conductor Valentino Favoino, director Vincenzo Grisostomi Travaglini, Ervin Lumauag who plays Pang, Alessandro Liberatore who plays Prince Calaf, assistant director Prince Ravivaddhana Monipong Sisowath, Rachelle Gerodias who plays Liu, Ivan Nery who plays Pong, and Byeong In Park who plays Ping, grand chancellor.
How do they work together as director and assistant director in opera directions? Offhand, the working relationship is light. “With the creative team, we are usually joking, saying that the director is God on stage and that we all are his angels. Seriously, we are all respectful of his authority and he decides everything in the end. However, as an assistant director working with him for more than 12 years now, I usually give him my advice on the whole production: staging, set and costume conception, light designing.
“My duty is a little more crucial in dramaturgy, especially in the historical genesis of an opera. I do all the research on the myths, the original stories, the concepts to be put ahead of the staging process, the historical and social context of the creation of the opera. We discuss all that several hours a day, even when we go together to watch operas staged by others. Maestro Vincenzo Grisostomi Travaglini is very precise and wants the utmost care in following the libretto marking in all operas.”
He says the usual tasks before opening night include taking care of all details and giving warm and encouraging advice to the artists. “The days before, we spend all our time on lighting design and working quietly with our assistants.”
Thus far, working with Maestro Travaglini in several productions has been quite rewarding. “I increased my knowledge of musical concepts and techniques. The Maestro is never tired when an opera is to be staged. He always wants the best in every field, but he is also very close to his colleagues, artists, or technicians. Even though he could have strong reactions once in a while, he always listens to others with polite attention and care. He toured the world by staging operas in Argentina, Florida, Japan, Spain, Turkey, Cambodia and of course, the Philippines, and he appreciates all these countries for their genuine appreciation of Italian music and art. Our challenge to introduce opera in Cambodia, for instance, was very difficult, but in the end, we made it, with Cavalleria Rusticana in 2018, which was the first opera staged on a Cambodian stage.”
Prince Ravi was brought up in a very artistic environment. ‘My mother used to dance and sing classical Cambodian songs’
Prince Ravi was brought up in a very artistic environment. “My mother used to dance and sing classical Cambodian songs, and my father was a great passionate admirer of Western classical music. As a young boy, I was introduced to opera, thanks to the huge collection of LPs my father owned.”
The first opera he saw live was Mozart’s Don Giovanni. “I was a history student at Paris University, and we were given the opportunity to attend for a very cheap price the general rehearsal of this Mozart opera at the Opera-Comique. It was thrilling, and as an 18-year-old, I was mesmerized by everything: the music, the singing, the staging, the costumes and sets, the lights.”
Prince Ravi’s fascination with opera started as a teenager in France, where his family created several associations to maintain and preserve Cambodian culture and arts. “Opera was a hobby at that time. When I moved to Italy and learned to speak Italian, opera was even more present in my life. My encounter with Maestro Travaglini was decisive. As a faithful student of Luchino Visconti and Franco Zeffirelli, he transmitted to me his duty to fulfill his art by staging opera in a traditional way, but always rendering it accessible to the audience with particular attention to younger generations.”
His passion for opera grew when he moved to Italy 25 years ago. “I had the opportunity to meet many artists. As I lived near the Rome Opera House, I just had to walk a few hundred meters from my place to watch these marvelous productions. When you are in love with opera, it usually lasts your whole life long.”
‘My teacher Pavarotti taught me not just vocal technique but respect for the opera as art form’
Tenor Alessandro Liberatore. His first Calaf in Manila.
Tenor Alessandro Liberatore with Turandot ensemble in rehearsal.
Italian tenor Alessandro Liberatore, who is singing the part of Calaf is just excited to be part of Turandot in Manila. He had heard of other Italian opera greats singing in Manila like Franco Corelli, Ferruccio Tagliavini, and Arrigo Pola. His teacher, Luciano Pavarotti, also sang in Manila in 1994.
He recalled his teacher: “My teacher Pavarotti taught me not just vocal technique but respect for the opera as art form, and for its audiences. The role for me means you have to be princely and imperial in every phrase.”
Asked how he coped with the pandemic, the tenor said, “I learned during the pandemic that a country without art is a country for the dead.” The tenor has just sung Otello in the Teatro San Carlo di Napoli, and is due to sing Alfredo at the Rome Opera.
Playing the title role of Turandot is Korean diva Lilla Lee, who is a most sought-after singer for the role of the Puccini heroine in European opera houses. Interviewed by email, the diva said, “Yes, it’s my first time in the Philippines and I am also excited. I always treat the theater where I am performing as my second home.”
The role of the Chinese princess in Turandot is one of Lee’s major roles in opera, along with Verdi’s Lady Macbeth and Puccini’s Tosca. Lee said her favorite Turandot is Birgit Nilsson with the Calaf of Franco Corelli.
(Nilsson has sung Turandot with Filipina soprano Evelyn Mandac as Liu with the Seattle Opera many years back. Corelli sang in Manila in the early ’70s for the fundraising projects of former first lady Imelda Marcos.)
The role of the Chinese princess in ‘Turandot’ is one of soprano Lilla Lee’s major roles in opera, along with Verdi’s Lady Macbeth and Puccini’s Tosca
Lee grew up in Korea and moved to Italy for further studies. A graduate of the Giuseppe Verdi Conservatory and the Novara Conservatory, she won several competitions, including the Iris Adami Corradetti Competition in 2009.
Turandot repetiteur May Anne Espina in action.
Very few know that she was a mezzo soprano when she studied in the Italian conservatories. But a meeting with renowned bass Bonaldo Giaiotti (with whom she refined her operatic repertoire) changed her vocal path. “I was originally trained as a mezzo soprano, but I turned into a soprano after completing vocal studies at conservatories,” Lee said. “This is almost impossible. But Bonaldo Giaiotti, who has specialized in the Italian repertoires of Puccini and Verdi at the Metropolitan Opera for many decades, told me I should be a spinto soprano after hearing my voice. Finally, he won and I became a soprano.”
It’s her first time in Manila. “What does it take to pull off the role of Turandot? The basics: good technique and a healthy body. The arias are full of high notes, and you must be able to sing above the orchestra even if it is playing loud. I do the basic things as well before opening night. I pray to receive blessings from God, I sleep well, and I do a lot of stretching for my body and voice.”
Prince Ravi admits staging any opera is always a big challenge. “But staging Turandot is an even bigger challenge because of our high regard for the Philippines and the Filipino artists and Filipino audience. There is so much respect and affection towards performing arts in your country that we cannot afford to fail in our mission. We take it as a big honor to join Filipino audiences in a night of opera mounted as a pure labor of love in full partnership with Filipino artists.”
For both opera and non-opera fans, watching Turandot is a once-in-a-lifetime chance to hear the signature aria Nessun dorma as sung by Calaf with a full complement of ensemble singers in full costume.
Maestro Grisostomi Travaglini and Prince Ravivaddhana Monipong Sisowath greet members of Mandaluyong Tiples children’s Choir during rehearsal.
Soprano Rachelle Gerodias and Maestro Grisostomi Travaglini in blocking rehearsal.
(The other members of the cast of Turandot include soprano Rachelle Gerodias in the role of Liu, baritone Byeong In Park in the part of Ping the grand chancellor, tenor Ervin Lumauag as Pang the grand administrator, and tenor Ivan Nery as Pong the grand intendant. Also in the cast is tenor Nomher Nival as Emperor Altoum and baritone Greg de Leon as Mandarino. The Turandot ensemble will come from the members of the Viva Voce Voice Lab and the Tiples de Mandaluyong Children’s Choir. Dancers will come from the ranks of Alice Reyes Dance Philippines.
The two-day opera gala of Turandot is sponsored by LCS Group of Companies, San Miguel Corporation, Sta. Elena Construction and Development Corporation, BPI and Danny Dolor. Ticket prices are: orchestra center, P6,000 and P4,000.00; orchestra sides (right and left), P5,000 and P3,000; balcony I center, P2,500 and P1,500 and sides (right and left), P2,500 and P1,500.00. Contact Numbers and email addresses for inquiries: Lulu Casas, tel. no. (0917) 570-8301, [email protected]; Maricar Alamodin, tel. no. (0917) 538-4508, [email protected]; Rustan’s Makati, tel. no. 8813-3739 loc. 280; Rustan’s Shangrila, tel. no. 8633-4636 loc. 400; Rustan’s Alabang, tel. no. 8850-5592; Rustan’s Gateway, tel. no. 8931-2460; CCP Box Office, tel. no. 8832-3704; and TicketWorld, tel. no. 8891-9999.)
