THIS YEAR AT CCP — ‘KARNAL: THE OPERA’, BASED ON THE CLASSIC 1983 FILM

The film, written by Ricky Lee and directed by Marilou Diaz Abaya, has inspired four acts’ worth of music composed by Joed Balsamo, with book and libretto by Dennis Marasigan

“Tanghalan ng Bayan.” That was how Dennis Marasigan, currently the artistic director of the Sentrong Pangkultura ng Pilipinas, recently described the most important bastion of Philippine culture and its seven arts.

But the CCP needs urgent rehabilitation, and raising the P2 billion pesos needed to fully renovate its majestic edifice along Roxas Boulevard has become an arduous journey. Still, it must be done, given the institution’s continuing relevance and value to the nation.

Recollections

My first entry into the CCP happened during my high school junior year. As part of a field trip, we watched Oscar Wilde’s The Importance of Being Earnest, a comedy of manners staged by Teatro Pilipino.

Of the many stars who performed that af ternoon, it was Ella Luansing, the great muse and wife of Rolando Tinio, who captured my attention. What a stunner she was — haughty and vivacious, and who spoke the King’s language with such command and perfection.

Teatro Pilipino, together with Bulwagang Gantimpala, were the two dramatic arts companies under the wings of the CCP then. The two transferred to the Metropolitan Theater after the EDSA Revolution. Tanghalang Pilipino became the resident theater company of CCP, taking over the production of untried, unstaged and unproduced plays that used to be the forte and expertise of BG, and classics translated in Filipino which was the domain of Tinio and Luansing’s Teatro Pilipino. Later on, I marveled the talent, discipline, grace, strength and world-class talents of ballerinas and danseurs on the CCP stage. I perceived the silent rivalry between Lisa Macuja (when she was not yet an Elizalde) and Toni Lopez Gonzales. Both ballerinas were trained internationally, captivating everyone with their precision, technique, lines, elegance and everything else a ballerina gave to her character.

However, it was prima ballerina Maniya Barredo’s performance of Giselle that thoroughly mesmerized me. It was divine, delicate, ethereal.

Carissa Adea, she with the supermodel face, acting talent and an air of sophistication and elegance, also became a favorite ballerina.

I watched the very first incarnation of La Revolucion Filipina at CCP, with Nonie

Buencamino as the original Aguinaldo and Alden Lugnasin as Apolinario Mabini. The second actor to play Aguinaldo was Raymond Bagatsing. The two actors were superlative given the fact that they were not dancers, with no formal classical ballet training at all.

Among the BP male dancers, the stunners in my mind were Lugnasin, Biag Gaongen and Novy Bereber.

I remember as well the modern ballet creations of Agnes Locsin — brave new works that stirred controversy and conversation such as Encantada, Elias and the Ifugao number in Trio con Brio.

Among the many ballet numbers from BP that I cannot forget is “Je Tu Elle,” which featured five amazon dancers giving powerful jetes and turns, lifts, lines and extensions to the iconic music of Vangelis.

Exciting lineup

At a recent press conference for CCP’s 2024 lineup, what excited everyone the most was the announcement that, by October of this year, as part of the CCP’s Out of The Box program, Karnal: The Opera will have its premiere at the Tanghalang Ignacio Jimenez.

The classic film, written by Ricky Lee and directed by Marilou Diaz Abaya, has already inspired four acts’ worth of music composed by Joed Balsamo, with book and libretto by Dennis Marasigan. “Everything that happens in the 1983 film, the mystery and its intriguing set of characters particularly Puring, Narcing, Goryo and Gusting; the feels, the people of that small town, the tragedy and confusion — all of it make for great opera,” said Balsamo.

An aria of Puring, performed by Margarita Roco, wowed the presscon crowd.

Marasigan also reported that the announcement of who will be declared National Performing Arts Companies will be declared soonest. The selection process and deliberations are nearing their final phase, and the budget allocation for each chosen company is already available.

The continuing relevance and value of the Cultural Center of the Philippines cannot be underscored. It has gone beyond being the premiere performance venue in the country by embarking on and implementing diverse programs and projects that highlight the rich culture and stories of the Filipino.

We have artists and cultural workers who call the CCP their home and guiding light, providing them the inspiration to pursue and realize their artistic dreams, conscious of the power of the arts to enlighten minds and spark aspirations for social change. May the CCP live on for many, many more decades.