What I Need to Know
This module provides you the features of 20th and 21st century opera,
musical play, ballet, and other multimedia forms. In your journey through the
discussions and different tasks, you are expected to:
1. describe how an idea or story in a musical play is presented in a live
performance or video (MU10MM-IIIa-h-1);
2. explain how theatrical elements in a selected part of a musical play are
combined with music and media to achieve certain effects (MU10MM-IIIa-
h-2);
3. create/improvise appropriate sounds, music, gestures, movements, and
costumes using media and technology for a selected part of a musical play
(MU10MM-IIIc-h-4); and
4. perform an excerpt from a 20th or 21st century Philippine musical and
highlights its similarities and differences to other Western musical plays
(MU10MM-IIIg-h-5).
Directions. Read the following statements and identify what is being asked. Choose
your answer from the given choices below. Each correct answer will be given one (1)
point.
Lola Basyang Lakangbini Sandugong Panaguinip
Showboat Anting – Anting Ladislao Bonus
Jose Rizal Ang Kapatid ng Tatlong La Loba Negra
Marya
Les Miserables Ramayana Felipe Padilla de Leon
Rama Hari Dr. Ramon Javier Ryan Cayabyab
1.It is the first Filipino Opera.
2.He is the composer of Sandugong Panaguinip.
3.He wrote the novels Noli Me Tangere and El Filibusterismo.
4.He composed the opera Noli Me Tangere and El Filibusterismo.
5. It is the Philippine adaptation of the Indian epic Ramayana set to
music, dance, and drama.
1. It is a ballet adaptation of Severino Reyes folktales that was meant to instill
and rekindle the interest of the Filipino youth in the beauty, richness, and heritage of Philippine
literature.
7. It is a tragic Opera in three acts written by Patricio Mariano that literally translates to “Muse” and
which narrative was based on the Spanish invasion of Manila.
8. This is the last movement of Ballet Manila’s Tatlo Pang Kwento ni Lola Basyang, a horror - fantasy -
comedy featuring H u a n .
9. This is a fantasy story set to neo-ethnic music in a contemporary style mounted by Ballet Manila,
choreography by Lisa Macuja-Elizalde, and music by Jo ey Ayala.
10. He is the first Filipino opera impresario who promoted local talents to participate in foreign
productions.
Lesson
1 PHILIPPINE OPERA
Lesson
1 PHILIPPINE OPERA
The opera is both a musical and art form wherein
singers and musicians perform a dramatic work
combining the text (called a libretto) and the music,
usually in an elaborate theatrical setting. It incorporates
many of the elements of theater, such as acting, scenery,
costumes, and sometimes, even dance. The performance
is typically presented in an opera house, cultural center,
theater, or auditorium. It is accompanied by an
orchestra or a chamber ensemble. The dialogues were
sung and not spoken – they are called recitatives.
OPERA IN THE PHILIPPINES
The emergence of the Filipino opera started to take shape during the
middle part of the 19th century. Foreign performers, including
instrumental virtuoso, as
well as opera singers and Spanish zarzuela which is also known as the
drama simbolico dominated the Philippine theater scene. Performers came to
the country to perform for enthusiastic audiences.
As the locals were being exposed to Western art and music, they were
also realizing their inner talents and passion for opera. The 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. Some works
were based on previous literary creations, such as Rizal’s Noli Me Tangere
and El Filibusterismo. Tragic endings and unresolved conflicts made for
excellent choices of opera productions.
Local Theaters and Early Philippine Operas
Zorilla Theater Metropolitan Theater (MET)
Cultural Center of the Philippines (CCP)
Local theaters, including the Teatro Zorilla, Vista del Teatro Principe Alfonso
XII (located nearby the modern day Metropolitan Theater), Variedades, Teatro de
Tondo, Circo Teatro de Bilibid, Teatro Filipino, and Teatro Popular were the choice
venues for the mainly Italian operas that came into the country, such as Il Barbiere
di Siviglia, Ernani, and La Sonnambula. Later on, other opera venues were
established, led by the Manila Grand Opera House and the Metropolitan Theater
(Met).
The first Filipino opera is the Sandugong Panaguinip with libretto in Spanish
by Pedro Paterno, a poet, novelist, musician, and government official, and was
translated into Tagalog by Roman Reyes, and music by Ladislao Bonus. This was
first staged at the Zorilla Theater on August 2, 1902. Sandugong Panaguinip was
produced by Molina-Benito Theater Company which was owned by J u a n Molina
(father of soprano and actress Titay Molina and National Artist Antonio Molina). It
was later translated by the Englishman M.W. Loving with the title, The Dreamed
Alliance.
Following this historic development, other prominent figures and
ensembles contributed significantly to the promotion of opera. The
Orquesta Molina (Molina
Orchestra) was known for their interpretation of operas as well as
other classical compositions.
Subsequent Filipino operas followed sporadically, such as
Lakangbini by Patricio Mariano that was staged at the Metropolitan
Theater on December 19, 1933. Operatic divas included Nelia Manalo,
Mercedes Matias-Santiago, National Artist Jovita Fuentes, Isang Tapales,
the bass-baritone Jose Mossesgeld Santiago, and later on some of their
students including Elmo Makil, Gamaliel Viray, Emmanuel Gregorio,
Irma Potenciano, and Fides Cuyugan. The establishment of the Cultural
Center of the Philippines (CCP) by virtue of Executive Order No. 30 in
1966 paved the way for other Filipino operas to be staged at a
legitimate venue of international standard.
Leandro Locsin designed its architectural structures, Carlos “Botong”
Francisco designed the logo, and Lucrecia Kasilag became the first
Theater Director – all three eventually became National Artists. Jaime
Zobel de Ayala and former First Lady Imelda Romualdez-Marcos
served as Executive Director and Chairman respectively alongside its
Board of Trustees that include J u a n Ponce Enrile, Antonio Quintos, Fr.
Horacio Dela Costa, Ernesto Rufino, and Antonio Madrigal.
ORIGINAL PHILIPPINE OP E RAS
L A LOB A N E G R A
La Loba Negra (The Black She-Wolf ) is a three-act Filipino opera. Acts I and II
are based on history. Act III is based on a legend attributed to Fr. Jose Burgos,
one of the three martyred priests Gomez, Burgos, and Zamora who were executed in
Bagumbayan (now Luneta) in 1872. 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.
Sypnosis
The opera begins with a Prologue depicting the scene of a
woman dancing
around a priest tied to a log. She scolds him in a haunting
atmosphere of pitch darkness and a howling wolf from the distance.
The scene shifts to the Governor’s Palace Ballroom where a welcome
party in honor of the new Governor-General Bustamante is in
progress. Upon the arrival of the Governor, lavish gifts are offered to
him by the various guests. To their surprise and dismay, the Governor
downplays their ostentatious revelry and gift giving as a sign of
potential corruption in his song Makinig Kayo. The entry of Fray
(friar/priest) Totanes and his regal posturing further elicits sarcastic
remarks from the Governor. As he and his wife Doña Luisa exit the
scene, an indio (Spanish term used for a Filipino native) servant
named Macatangay enters with a message to the Governor from his
employer, Auditor General Torralba.
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
SYNOPSIS:
Act I
The spacious sala of Santiago de los Santos, otherwise known as Kapitan Tiago, in
Sa n Diego, is the setting for the welcome reception. It was a gathering
honoring the 22-year-old student Crisostomo Ibarra after a seven-year stay in
Europe. The Gobernadorcillo and his wife Doñ a Victorina lead the guest list that includes
Padre Damaso, vocal in his criticism of the Filipino whom he referred to as “indio” while also
blaming the Gobernadorcillo for interfering in their local affairs. He continues this harsh
attitude upon the arrival of Ibarra when he ignores the latter as he tries to greet the friar.
Ibarra is also shaken and shocked by the news of the death of his father, where he
confides to Don Filipo his puzzlement surrounding his father’s death. Before Ibarra left for
Sa n Diego, Lt. Guevara, a civil guard, revealed to him the circumstances that led to his
father’s death. Don Rafael Ibarra, a rich hacendero of the town, was unjustly accused by
Padre Damaso of being a heretic and a subversive and subsequently jailed. As the case was
almost being resolved, Don Rafael fell sick and died in his cell. His remains, initially interred
at the Catholic cemetery, were ordered transferred by Padre Damaso to another location.
EL FILIBUSTERISMO, THE OPERA
The opera El Filibusterismo was composed by National Artist Felipe
Padilla de Leon in 1970, with libretto by Anthony Morli. It is in three
Acts and written in
Tagalog. It was first staged at the Cultural center of the Philippines.
The Novel Behind the Opera
El Filibusterismo (The Filibuster) was a novel by Dr. Jose Rizal and a
sequel to
the earlier Noli Me Tangere. It tells of the continuous struggle of the
Filipino people to achieve freedom and emancipation from colonial rule.
Through the major characters involved, it reflects the prevailing state of
Philippine government and society that has become corrupt and immoral. For
which, a revolution was being seen as the only solution for change. It was also
perceived as a warning from Rizal – an intellectual from the highest order.
Although he favored a peaceful way of instituting reforms, the seemingly
hopeless situation points to armed rebellion in aim of independence.
SYNOPSIS:
The major character is Crisostomo Ibarra. He had escaped from prison
for subversion charges some 13 years before. He was thought to have drowned
in the river. He arrives aboard a steamship along with passengers from
different walks of life. He disguised himself as Simoun in search of his beloved
Maria Clara.
Maria Clara had become a nun after learning of Ibarra’s supposed
drowning and because of her refusal to marry another man as arranged by her
evil father. In an earlier letter to Maria Clara, Simoun tells her of his plan to
lead a revolution. He had been sentenced for execution before he had
managed to escape. Now, upon his return, he is bent on fulfilling this plan by
asking the support of key people.
Simoun also comes across a medical student named Basilio while the
latter was visiting the grave of his mother Sisa. Basilio recognized the
disguised Simoun as Ibarra. Basilio however refuses to join his revolutionary
cause. He preferred instead to marry his love Huli and lead a peaceful life
devoted to healing the sick.
What’s More
Directions. Complete the table below by indicating the contributions/works of the
following prominent figures in Philippine Opera.
Prominent Figure Contribution/Works
Ladislao Bonus
Leandro Locsin
Orchestra Molina
First Lady Imelda Marcos
Nelia Manalo
Mercedes Matias-Santiago
Jovita Fuentes
Carlos “Botong” Francisco
Patricio Mariano
Lucrecia Kasilag
Lesson
2 PHILIPPINE BALLET
In Lesson 1, you have learned that Opera is part of Western classical music
form and tradition. Philippine Opera started during the middle part of the 19 t h
century. You have encountered three original Philippine operas namely, La Loba
Negra, Noli Me Tangere, and El Filibusterismo. Following the development of
Philippine Opera was the birth of Philippine Ballet.
What’s In
The dance form known as ballet has been used to interpret stories of all kinds.
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.
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.
The second production, Tatlo Pang Kuwento ni Lola Basyang,
included the following stories:
1. Ang Palasyo ng Mga Dwende
This is a heroine romantic adventure wherein the being maltreated by her
Yani is stepmother and envious 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 G am o s . The
choreographer was Gerardo Francisco in collaboration with
Kris-belle Mamangun, Naomi J a e n a , 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
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.
What is It
RAMA HARI
Rama Hari, translated as King Rama, is the Philippine adaptation of
the Indian epic Ramayana set to music, dance, and drama. Originally
presented on February 8 to 17, 1980, the creative team consisted of Ryan
Cayabyab (Music), National Artist Alice Reyes (Choreography), National
Artist Bienvenido Lumbera (Literature), and National Artist Salvador Bernal
(Theater Design), with the C C P Philharmonic Orchestra conducted by
Cayabyab. The major roles were performed by Basil Valdez (Rama), Kuh
Ledesma (Sita), and Leo Valdez (Ravana). Their counterpart dancers were
composed of Alice Reyes as Robert Medina’s Sita, Nonoy Froilan and Robert
Medina as Rama,
Effie Nanas as Nonoy
Froilan’s Sita, Ester
Rimpos, and Butch
Esperanza as Ravana. The
production had
Indian Epic Behind the Musical Production
The Ramayana is one of the two great Indian epics that talk about Indian life
around 1000 B C and how dharma was practiced. Later, it became a model of behavior for
the whole Hindu population. Dharma is a type of behavior said to be in accordance with
the order that makes life and the universe possible. According to its meaning, it explains
the expectations in fulfilling duties, respecting rights, observing proper conduct,
practicing virtues, and maintaining a rightful way of living. The epic Ramayana consists
of 18 books containing approximately 24,000 verses divided into 500 songs.
What’s More
Activity 1: Watch and Listen!
1. Watch and carefully observe the music and movements of following Philippine Opera and Ballet
productions on the internet using the links below and
answer the reflection questions.
A. Philippine Opera:
Noli Me Tangere, The Opera
https://www.youtube.com/watch?v=VBFEKptGkZg
B. Philippine Ballet:
Rama Hari - Iisang Tibok ( Awit ng Pagsinta) https://ww
w.youtube.com/watch?v=JYbyyjnHtoU
What I Have Learned
Complete Me (Knowledge Assessment). Fill in each blank with the
missing word to complete the statement. Write your answers on your
paper.
The dance form known as (1) has been used to interpret stories
of all kinds. It is a performance in which a story is told without words by
using (2) and (3) . The lack of
(4) or sung lyrics is more than made up for by the creative
movements and (5) of the dancers. The performance is
further enhanced by colorful (6) , elaborate
sets, visually (7) music, and sophisticated (8) . Original
Filipino ballets vividly present
(9) and (10) .
Assessment
Directions. Read the statements carefully and write the
correct answer on your paper.
1. When did Opera began to be a part of the
Filipino consciousness?
2. It is an art and music form in which singers and musicians
perform a dramatic work combining text (called a libretto)
and music.
3. This was premiered at the Zorilla Theater on August 2, 1902.
It was later translated by the Englishman M. W. Loving with
the title “The Dreamed Alliance”.
4.What Executive Order in 1966 contains the
establishment of Cultural Center of the Philippines
(CCP)?
5. Who designed the architectural structures of the
CCP?
6.Which of the following is NOT a characteristic of an
opera?
7.Which of the following stories featured in Tatlong
Kuwento ni Lola Basyang is considered as a local
version of the famous Pied Piper tale?
8. This tells of the continuing struggle of the Filipinos
to achieve freedom and emancipation from Spanish
colonial rule and was written four years after Noli
Me Tangere.
9. This is a ballet adaptation with typical storytelling
scenes showing the grandmother on a rocking chair
with her grandchildren listening to her fascinating
tales.
10.This is a three-act Filipino opera based on a
legend attributed to Fr. Jose Burgos.
II. Directions. Classify the following as Opera or Ballet. Write the answer
in the column where it belongs.
LA LOBA NEGRA RAMA NOLI M E TANGERE
HARI LOLA BASYANG
EL FILIBUSTERISMO
LAKANGBINI
SA N D U G O N G PANAGINIP
ANG PALASYO N G MGA DWENDE
ANTING-ANTING
ANG PRINSIPE N G MGA IBON
OPERA BALLET
