Review Roundup: NOLI ME TANGERE OPERA Manila; Show Runs Until 9/28

Manila, Philippines--The long awaited return of the country's first full-length grand opera NOLI ME TANGERE (a full stage production of the opera* was last seen in Manila 27 years ago), inspired by José Rizal's 1887 classic romantic novel "Noli Me Tángere" ("Touch Me Not"), featuring music by National Artist Felipe de Leon and libretto by National Artist Guillermo Tolentino, is about to enter its second weekend at Resorts World Manila's Newport Performing Arts Theatre. (*Think of a live 30-piece philharmonic orchestra accompanying the opera actors.)

The opera, which has been seen in Chicago, New York City, and Washington, D.C., sung inTagalog (supertitles in English are provided), follows the story of Juan Crisostomo Ibarra who returns to the Philippines after pursuing scholarly studies in Europe. He plans to open up a school and marry Maria Clara, his betrothed. However, parish priest Padre Damaso, the archenemy of the Ibarras, is out to hinder Crisostomo's plans, which creates "a dramatic storyline of forbidden love, betrayal, and revenge."

The opera stars internationally acclaimed tenor Sal Malaki as Juan Crisostomo Ibarra (he also played the same role in New York City and Washington, D.C.); popular Filipino soprano Rachelle Gerodias as Maria Clara; Ivan Nery as Juan Crisostomo Ibarra; Myramae Meneses as Maria Clara; Greg de Leon as Elias; Noel Azcona as Elias; Eggo Velasco as Basilio; Mari Ferrer as Crispin; Antoni Mendezona as Sisa; Jean Judith Javier as Sisa; Andrew Fernando as Padre Damaso; and Jonathan Velasco as Padre Damaso; among others. Freddie Santos directs the members of the cast, accompanied by the Manila Philharmonic Orchestra, under the baton of Rodel Colmenar.

Let's hear what the critics say:

Ceres P. Doyo, Philippine Daily Inquirer: Like a thunderbolt in a dark and forbidding landscape, the character Sisa burst onto the stage and launched into an unforgettable, heartrending, four-hankie vocal and acting performance that might not be seen again in a long time.

O Inang Bayan na sadlak sa dusa (O Motherland mired in sorrow) raced through my thoughts as I beheld the grief-stricken mother in search of her lost sons, her voice rising from the gloomy depths to the gloomy beyond. She wept, she wailed, but she sustained the great soaring voice until she was reduced to a moan, until life mercifully left her.

What a searing scene. I could only gasp in awe and hold my breath. That electrifying solo performed by coloratura Antoni Mendezona rammed into my soul and shattered it to pieces.

Antoni Mendezona plays Sisa. (Photo: Oliver Oliveros)

Rosalinda Orosa, Philippine Star: Vocally and dramatically, the collective rendition was highly impressive. Excellent! Arresting unwavering attention was (Jean Judith) Javier as the crazed Sisa. Eyes blazing, hair in disarray, clothes ragged, she wanders listlessly, restlessly, distraughtly in the forest in a desperate search for her sons. She warbles superlatively. Basilio appears, and as Sisa holds him in a tight embrace, she collapses from grief and extreme exhaustion, and dies. Badly wounded and near death, Elias staggers nearby, instructing Basilio to burn his corpse and that of Sisa's. How gripping is the episode throughout!

Rome Jorge, Rappler.com: Ultimately, an opera is judged by the singing and acting of its cast. The material authored by De Leon, reminiscent of Puccini, provided a great venue for these opera singers to shine. And the ensemble for the premier night in Manila acquitted themselves admirably.

Most memorable was Mendezona as Sisa, who, driven mad by the disappearance of her two sons, wanders the forest, beautifully echoing the trilling of birds, matching note for note the orchestra's avian warbles and chirps.

Gerodias, as Maria Clara, commanded attention in every scene of hers. Her singing was charismatic and her presence magnetic.

Malaki, as Maria Clara's beau Crisostomo Ibarra, possessed the onstage chemistry with Gerodias that was necessary for this romantic role as well as the gravitas to become this opera's much-aggrieved protagonist.

Ramil Digal Gulle, Interaksyon.com: This is a full-fledged opera production that was meant to do justice to the work. Production designer (also the show's Executive Producer) Jerry Sibal did a top-notch job with the sets and costumes. The sets combined with digital images projected in the background to indicate changes in time, place, and mood. The Filipina Dress never looked so beautiful as in this production. One gets the sense that all of these were created with pride and love for Filipino culture...

Malaki's and Gerodias' performances were inspired--opera demands powerful singing and acting; they delivered on both fronts. But we can also say the same thing to the rest of the cast. Antoni Mendezona, for sure, will be earning raves for her turn as Sisa, the madwoman. Her performance of the aria 'Awit ng Gabi ni Sisa" will surely be remembered.

The death scene with Elias (played by baritone Noel P. Azcona) is just heart-breaking...

Pablo A. Tariman, Yahoo Philippines: The Maria Clara of soprano Rachelle Gerodias evoked a tender, if, haunting "Kay Tamis Mabuhay" and Eggo Velasco was a revealing Basilio in the death scene of Sisa. The purity and youth of Basilio had less impact with the amplification that made his aria sound like it was sang by an oversized man (the Basilio in the UP production remains unforgettable).

The opera's showstopper was no doubt soprano Antoni Mendezona who sang "Awit ng Gabi ni Sisa" with all the high notes clear and distinct as a bell and to boot, acting with desired intensity.

There is so much to be learned in the portrayal of baritone Andrew Fernando as Padre Damaso. For one, his singing tugged at the heart (even as his character was widely perceived as repulsive) and his scheming nature was felt inward rather than on the outside. For this opera fan, his prayer scene was the most moving part of the opera and it made people reflect on the human side of this widely hated character in Rizal's novel.

Vladimir Bunoan, ABS-CBNNews.com: The ending also felt rushed. The novel's main revelation, for instance, that Maria Clara is really the daughter of Padre Damaso was merely mentioned as part of her final scene with Crisostomo Ibarra.

But the main attraction of this production are the performers, led by tenor Sal Malaki as Ibarra, who also starred in the Kennedy Center (Washington, D.C.) production and was praised by the Washington Post for his "expressive singing" that sent the opera "soaring."

Vince Layson Vicentuan, BroadwayWorld.com: Freddie Santos' direction proves to be a brave one. Young as he is, and given such an old material, he could have opted for a much modern re-imagination. Santos' faithful take on the material is more of a homage rather than a personal call. The opera in itself is the challenge, an impregnable libretto and score that limits itself within the period it was created. Stylizing or any attempt at modernizing it would have been a mortal sin on Santos' part. The downside to such faithfulness is the opera's fragmented storytelling...

Neni Sta. Romana Cruz, Philippine Daily Inquirer: The stage set was beautiful and the story, though so familiar, continued to engross and engage. My daughter Aina, who did not have too pleasant memories of being mandated to read the "Noli" in high school (before Ambeth Ocampo whose anecdotes and research would have helped teachers make Rizal a more welcome figure to the youth), was enraptured. She said she did not want to look at the English subtitles because she wanted to savor the beauty of our language.

This interpretation of the novel was more love story than revolutionary, and something today's students will warm up to--must-have cultural fare to enrich the curriculum. It is as entertaining and a rich teaching resource as it is a wonderful takeoff point to discuss Rizal in greater depth.

Student tickets at PHP 500 each for Balcony Center, Balcony Left and Right, and Premiere B Left and Right sections are now available to purchase. Call (632) 634-1720 or visit ticketworld.com.ph. (Present current, valid student ID card.)

Theatergoers may also avail of two free tickets upon purchase of 10 group tickets from PHP 1,200 to PHP 3,700 each. Call (632) 634-1720 or visit ticketworld.com.ph.

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