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    Music Reviewer Grade 10

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    Aliyah Elisia
    This document provides information about the history and development of opera and ballet in the Philippines. It discusses how opera first took shape in the 19th century addressing themes of independence and nationalism. The first Filipino opera, Sandugong Panaginip, premiered in 1902. Original Philippine operas later emerged such as La Loba Negra in 1984. Ballet also grew with productions depicting Philippine folktales like Tatlong Kuwento ni Lola Basyang, performed by Ballet Manila. Overall, the document outlines the origins and evolution of these performing art forms in the Philippines through key early works and productions.

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    © All Rights Reserved
    Download as PDF, TXT or read online from Scribd

    Music Reviewer Grade 10

    Uploaded by

    Aliyah Elisia
    47 views3 pages
    This document provides information about the history and development of opera and ballet in the Philippines. It discusses how opera first took shape in the 19th century addressing themes of independence and nationalism. The first Filipino opera, Sandugong Panaginip, premiered in 1902. Original Philippine operas later emerged such as La Loba Negra in 1984. Ballet also grew with productions depicting Philippine folktales like Tatlong Kuwento ni Lola Basyang, performed by Ballet Manila. Overall, the document outlines the origins and evolution of these performing art forms in the Philippines through key early works and productions.

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    This document provides information about the history and development of opera and ballet in the Philippines. It discusses how opera first took shape in the 19th century addressing themes of independence and nationalism. The first Filipino opera, Sandugong Panaginip, premiered in 1902. Original Philippine operas later emerged such as La Loba Negra in 1984. Ballet also grew with productions depicting Philippine folktales like Tatlong Kuwento ni Lola Basyang, performed by Ballet Manila. Overall, the document outlines the origins and evolution of these performing art forms in the Philippines through key early works and productions.

    Copyright:

    © All Rights Reserved
    Download as PDF, TXT or read online from Scribd
    Download as pdf or txt
    47 views3 pages

    Music Reviewer Grade 10

    Uploaded by

    Aliyah Elisia
    This document provides information about the history and development of opera and ballet in the Philippines. It discusses how opera first took shape in the 19th century addressing themes of independence and nationalism. The first Filipino opera, Sandugong Panaginip, premiered in 1902. Original Philippine operas later emerged such as La Loba Negra in 1984. Ballet also grew with productions depicting Philippine folktales like Tatlong Kuwento ni Lola Basyang, performed by Ballet Manila. Overall, the document outlines the origins and evolution of these performing art forms in the Philippines through key early works and productions.

    Copyright:

    © All Rights Reserved
    Download as PDF, TXT or read online from Scribd
    Download as pdf or txt
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    Opera in the Philippines


    - Started to take shape during the middle part of the 19th century
    - Themes were ripe for voicing out sentiments about their love for the country and longing for
    independence from colonial rule.
    - The element of tragedy, emanating from the popular themes of romance, deceit, murder,
    vendetta, and other elements of human frailty, became a favorite narrative of the Filipino
    opera.

    Local Theaters and Early Philippine Operas


    - Zorilla Theater
    - Metropolitan Theater
    - Cultural Center of the Philippines (CCP)

    First Filipino opera is the Sandugong Panaginip with libretto in Spanish by Pedro Paterno, was
    translate into Tagalog by Roman Reyes, and music by Ladislao Bonus. First staged at the Zorilla
    Theater on August 2, 1902. Produced by Molina-Benito Theater Company. English - The Dreamed
    Alliance.
    Lakangbini by Patricio Mariano, staged at the Metropolitan Theater on December 19, 1933.

    Original Philippine Operas


    La Loba Negra (The Black She-Wolf)
    - Three-act Filipino opera: Acts I and II are based on history; Act III is based on a legend
    attributed to Fr. Jose Burgos
    - The music was composed by National Artist Francisco Feliciano, with libretto by soprano
    Fides Cuyugan-Asensio. The premiere was held in 1984 with National Artist for Theater and
    Film Lamberto Avellana as director

    Noli Me Tangere, The Opera


    The three-act opera Noli Me Tangere was composed by National Artist Felipe Padilla de Leon, with
    libretto by National Artist Guillermo Tolentino. It premiered in 1957 at the FEU Auditorium. The cast
    included Juanita Javier Torres as Maria Clara, Don David as Ibarra, Fides Cuyugan Asensio as Sisa,
    Milo Cristobal as Padre Damaso, and Morli Daram as the director. There were several other
    productions that followed the premiere staging.

    Philippine Ballet
    Ballet - It is a performance in which a story is told without words by using body movements and facial
    expressions. The lack of spoken words or sung lyrics is more than made up for by the creative
    movements and gestures of the dancers. The performance is further enhanced by colorful costumes,
    elaborate sets, visually suggestive music, and sophisticated choreography.
    Original Filipino ballets vividly present folktales and local fables.

    Tatlong Kuwento ni Lola Basyang


    Tatlong Kuwento ni Lola Basyang featured the following stories:
    Lola Basyang is a ballet adaptation of Severino Reyes’ folktales Mga Kuwento ni Lola Basyang. It
    was meant to instill and rekindle the interest of Filipino youth in the beauty, richness, and heritage of
    Philippine literature. The typical storytelling scene shows the grandmother (Lola Basyang, the pen
    name of the author) on a rocking chair with her grandchildren listening to her fascinating tales
    Two of those collections were presented by Ballet Manila, with prima ballerina Lisa Macuja-Elizalde
    as the company’s Artistic Director. Entitled Tatlong Kuwento ni Lola Basyang (2009) and Tatlo Pang
    Kuwento ni Lola Basyang (2013), the stories were taken from dozens of stories in the collection of
    Severino Reyes.
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    1. Ang Kapatid ng Tatlong Marya


    This is a fantasy story set to neo-ethnic music in a contemporary style. It is about a hero’s fantastic
    journey to different kingdoms in pursuit of his bewitched sisters. The music is written by Joey Ayala,
    with choreography by Lisa Macuja-Elizalde.
    2. Ang Mahiwagang Biyulin
    This is a local version of the Pied Piper tale where the main character mesmerizes his followers
    through the music of his violin. The story instills in them the moral lesson that “good triumphs over
    evil.” The music is by National Artist Ryan Cayabyab, arranged by Arnold Buena, and choreography is
    by Tony Fabella.
    3. Ang Prinsipe ng Mga Ibon
    This is a love story where a princess falls in love with a bird. It was choreographed by Ballet Manila
    danseur (a male ballet dancer) Osias Barroso. The music is taken from selected musical works of
    National Artists arranged by Mon Faustino.

    Tatlo Pang Kuwento ni Lola Basyang


    1. Ang Palasyo ng Mga Dwende
    This is a romantic adventure wherein the heroine Yani is being maltreated by her envious
    stepmother and stepsisters. The cursed bird is changed back into a prince with the help of Yani. It
    depicts Mindanao and the ancient Pintados through its neo-ethnic movements.
    The music and musical arrangements were done by Diwa de Leon using a hegalong, a native boat
    shaped lute of the T’boli. Illustration was done by Albert Gamos. The choreographer was Gerardo
    Francisco in collaboration with Kris-belle Mamangun, Naomi Jaena, and Romeo Peralta.
    2. Labindalawang Masasayang Prinsesa
    This is a romantic fantasy of the twelve daughters of the king. Macuja-Elizalde herself
    danced in the ballet portraying the role of the eldest among the king’s twelve daughters. Her real life
    daughter Missy Elizalde played the role of Ate Missy who sat and listened to Lola Basyang’s stories
    and served as the link from the storyteller to the fantasy world. Lola Basyang was played by veteran
    character actress Luz Fernandez – a role that she has reprised countless times. The twelve daughters
    secretly leave their bedroom at night to travel to anenchanted land and dance with the princes.
    Choreography was done by Lisa Macuja-Elizalde, in collaboration with Francis Jaena, Sofia
    Peralta, Rudy de Dios and the Ballet Manila dancers. It featured fairly simple classical ballet
    movements with the traditional adagios or slow movementsfor the prince and princess. It also featured
    the comic variations for the scenes with the king. The colors of the costumes depicted Filipino
    elements in fiestacombinations. The music used OPM hits such as Kailangan Kita and Ikaw ang Lahat
    Sa Akin arranged by Arnold Buena.
    3. Anting-Anting
    This is a horror-comedy play wherein the cowardly hero Huan tries to overcome his fears in order to
    win his love. The slapstick comedy is enhanced by exaggerated movements as Huan is later haunted
    by ghosts that add to his fears for which he looks for an anting-anting (lucky charm) to ward them off.
    Musical arrangements were done by Juan Carlo Magsalin, with choreography by Osias Barroso in
    collaboration with Michael Divinagracia. Illustration was done by Hubert Fucio. Costumes featured
    farmers’ clothing for men and kimona/saya for women.

    Theatrical Elements/Roles
    1. The Performers
    - people onstage who present characters in dramatic action
    - have the skill and attributes so they must be believable and effective as the character
    they are portraying (singing, dancing, and acting)
    2. Directors
    a. Theatrical Director - A professional in the theater field who orchestrates and oversees
    the production of a play; must ensure the overall quality and completeness of theater
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    production especially the acting of the performers and must lead members to do their
    tasks.
    b. Music Director - The responsible for the overall music of the play. Normally, the music
    director serves as the conductor during the live performances directing the orchestra;
    teaches music to the cast and the musician.
    3. Music/Sound
    a. Orchestra - In general, they are a group of musicians who play the instruments from
    different families including bowed strings, woodwinds, brass, and percussion
    instruments unified by the conductor/music director using a score, a notation in a
    manuscript or in a printed form. It serves as the accompaniment an Opera,
    sometimes ballet and in musical plays too
    b. Pop/Rock Band - a small musical ensemble consisting guitarists, bassist, pianist, and
    a drummer.
    4. Theatre Space - important so there will be proper places both for performers and audience
    5. Design Aspects - they establish the setting and the mood of the production. It includes
    scenery, lighting, properties, customing, and sounds.
    6. Script/Text - piece of writing in the drama consisting of dialogues, stage directions, and
    instructions to the actors. One key element is the conflict, because without it, the play would
    be boring.

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