THEATER REVIEW: NOLI ME TANGERE THE OPERA (TDR)

Article by Reynald Russel Santos

Background

MANILA, Philippines, January 27, 2017 – The Cultural Center of the Philippines (CCP) and J&S Productions, Inc., in cooperation with Ayala Foundation, present the 60^th anniversary production of Noli Me Tangere, The Opera, written by National Artist for Music Felipe de Leon, and set to a libretto by National Artist for Sculpture Guillermo Tolentino, at the CCP’s TanghalangNicanorAbelardo (Main Theater) for a limited six-performance run from January 28, Saturday (gala performance), to February 3, 2017.

Noli Me Tangere, The Opera, is based on Dr. Jose Rizal’s 1887 classic novel of the same name. It 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. However, parish priest Padre Damaso, the archenemy of the Ibarras, is set out to hinder Crisostomo’s plans, which creates the dramatic storyline of forbidden love, betrayal, and revenge.

This production features more than 200 opera singers, musicians, and crew. The production, sets, and costumes were designed by Jerry Sibal, a sought-after event designer in NY. Jose Jeffrey Camanag is the assistant director, Edwin Mendiola is the sound designer, and John Batalla designed the lights. Noli Me Tangere, The Opera is directed by Jerry Sibal.

The Opera premiered in 1957 at the Far Eastern University, and made its CCP debut on 1974. It was recently staged in Manhattan, New York (2013), Washington, D. C. (2013), and Resorts World Manila (2013).

For more information, visit NoliMeTangereTheOpera.com and facebook.com/NoliOperaManila.

Review

Noli me Tangere, the book by Dr. Jose Rizal, was published in 1887. It was written to spread the consciousness of Rizal to his fellowmen. Quite surprisingly, the problems enumerated in this novel can still be found in our society today – in different forms, yes, but present, nonetheless.

Being a classical masterpiece, this production’s score and orchestrations are arranged in the Western operatic tradition with overflow passages reminiscent of Mozart, Puccini, and Wagner. Although the lyrics are in Filipino, watching the play requires the audiences’ full attention, in order to appreciate the songs and the story. Good thing, though, that supertitles in English are provided. The opera has so much to offer and will surely be enjoyed by Filipinos of all ages. Everyone on and off-stage are all very talented, bringing this classic to life.

The actors are very talented. Plus, the actor portraying Ibarra is not the typical leading man we are used to. Props to the casting head for breaking this stereotype. I believe that the actors must cling and embody all the characters’ dimensions and nuances, most especially when hitting the high notes, to give birth to their characters. Opera singing must really be difficult that the actors sometimes slightly forget that they are, in the first place, acting, and not just singing. To address this, I believe that the craft of singing and acting must find the perfect balanceto deliver the characters’ motivation.

The costumes were very effective and brought more texture to the play. The design and the fabrics work perfectly together, giving dimension to the characters.

It is very evident, too, that the same amount of effort and brains were put in creating the production design. Every set was executed properly transforming the stage effortlessly to reality.

I believe, however, that more effort and polishing must be done with this opera to better fulfill its mandate in remindingusof our history. A little bit more improvement on acting while singing, enunciation, on the balance of elements and maximization of the stage, morereason to the minor characters and the ensemble, and no holds barred performance to give justice to the characters and their inspirations. This can help in making the audience involved in the play, as compared to just watching the play, especially the younger ones with shorter attention span.

The production, in general, reminds you of how you become the Filipino you are right now, who enjoys sovereignty and freedoms. It poses a challenge as to how much you will give to protect and pursue the freedom and the rights that you enjoy, especially in the kind of situation our country is inright now. As mentioned earlier, the lessons in this book are applicable to today, we just need an open eye and a brave Katipuneroheart to live them.

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You may catch Noli Me Tangere, The Opera from January 28 to February 3, 2016 at the CCP. The producers are also planning to stage the opera to grades 11 and 12 students to ingrain in them the values shared willingly by our National Hero.

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About the Author

Reynald Russel Santos is a freelance writer and performer, and is currently training as an Assistant Director for TV Production in ABS CBN. He is a graduate of BA in Broadcast Communication (cum laude) from the University of the Philippines in Diliman where he took up different theatre electives in the College of Arts and Letters (Philippine Theatre, Acting, Stagecraft, and Musical Theatre), as well as video and audio production electives at the College of Mass Communication. He has attended a number of improvisational and theatre acting workshops by PETA, NCCA, and Alyansa, Ink. He was also a member of the UP Pep Squad. In the future, he plans to pursue a graduate degree in Musical Theatre overseas.