Faith and love in 'Liyab,' a tribute concert for Ryan Cayabyab
Liyab treads on the inextinguishable faith of the Filipino spirit.
Faith in God. Faith in country. Faith in love. All done in music—because songs have the capacity to fathom the deepest of human emotions.
A one-day concert built entirely around the songs and compositions of National Artist for music Ryan Cayabyab, "Liyab: Mga Himig ng Dakilang Pag-ibig" was part evangelization because it started with songs that invited the audience to a life of faith.
The first part of the concert, “Pag-ibig sa Diyos,” heralded the music of Mr. C, the short sobriquet of Ryan Cayabyab for his vast musical contribution to the country, that paid homage to love for the Creator: “Kyrie” and “Credo” from Misa, “Tomad Senor” from Ignacio de Loyola, “Il Signore” (where Mr. C created his music based on the text attributed to St. Francis of Assisi) and “Te Deum.”
On stage at The Theater at Solaire all throughout the almost three-hour concert were the Philippine Philharmonic Orchestra and the 200 voices from eight prestigious choirs in the Philippines: Ateneo Chamber Singers, iMusicapella, Konsertus, Mass Appeal, Novo Concertante Manila, The PCSO Chorale, UP Concert Chorus and UP Manila Chorale.
Imagine the magic that took place on stage when those choirs joined Lea Salonga, Martin Nievera, Bituin Escalante, Ogie Alcasid, Jed Madela and Armand Ferrer for the gala. At the matinee, where Lea was not present, Sofronio Vasquez and Gigi de Lana were part of the cast.
The merry mix of voices of the choirs, singers and the orchestra came more alive under the baton of musical conductors Dr. Jonathan Velasco and Toma Cayabyab. To the initiated, the presence of the two conductors was proof of life coming in full circle: Jonathan was the music student of Mr. C. On the other hand, Toma, Mr. C’s son, was the music student of Jonathan. The presence of the three artists on stage made clearer the single artistic vision of concert director and writer Mikko Angeles.
The concert was a total experience because aside from pure talents performing on stage, the set design mesmerized with above-the-stage panels showing the works and quotes of other National Artists for literature, architecture, visual art, dance, film.
Worthy to note, too, was the presence of six National Artists under one roof for Liyab: Bencab, Ricardo Lee, Rio Alma, Alice Reyes, Gemino Abad, and, of course, Mr. C.
Liyab, a musical tribute to Mr. C, was the first venture of Ducks Entertainment Inc., a company that “makes a beautiful noise—beautifully.” It was founded by Dr. Melfred Hernandez and Ramon Eugenio, with their respective spouses, Dr. Arlene Hernandez and Monique Eugenio.
Liyab was also part love of country, as evidenced by the songs in part two of the concert, Pag-ibig sa bayan. It dared to dream more for a country that was at the seeming crucible of uncertainty. Where pollution in land and mind was present, there was Paraiso, as its antidote, sang with haunting gusto by all the choirs. Where there was longing for a world where peace was once a gift, there was Armand Ferrer singing Iduyan Mo, imagining the carefree life where abundance and tranquility were once the norm.
Armand Ferrer, even if the concert was far from over, received a standing ovation after he sang his second song Mi Ultimo Adios from the musical Ilustrado.
Liyab was also a celebration of love, as many of the songs of Mr. C are songs of the heart. In the third and last part of the concert, Pag-ibig sa Sinisinta, Jed Madela gave a fuller meaning to Kahit Ika’y Panaginip Lang with his inherently high and emotional voice. Ogie Alcasid made T’wing Umuulan at Kapiling Ka his own. He was funny and excellent in Da Coconut Nut where he treaded between being comical and satirical. At some point, Liyab was subversive in its intent to love the Philippines.
Bituin Escalante’s presence at the concert was already a show on its own. Her Mamang Kutsero and Once Upon a Life were renditions that were etched in mind and soul. She gave the songs new lives.
Martin Nievera, always, always a bankable artist, shone his best in Sometime, Somewhere and How Can I?
Then Lea Salonga occupied the stage, like she occupied a whole archipelago with her voice. In her Limang-dipang Tao, she clearly sang the narrative of the commuters pushing and elbowing each other to secure a jeepney ride; their submission to the chaotic and crowded streets of the city was present in the voice of Lea that bore not only pristine clarity but also flawless pitch accuracy.
Lea’s rendition of Magbalik Ka na Mahal was a paean to the resilience of the heart that knew love.
Her duet with Bituin in Minsan ang Minahal ay Ako was one of the many memorable highlights of the night celebrated in more than 25 songs and music of Mr. C.
When O, Bayan Ko was sang by all the performers, a certain kind of nationalism spawned that night.
With hilarity and a dose of optimism, the concert ended with the performers and the audience singing Kumukutikutitap. Christmas was felt on that September night.
Liyab celebrated love—for the divine, for the one, for the self, for the country. It was hopeful, daring and rebellious at times. It had the welfare of the Philippines in its core.
Liyab deserves a repeat. It’s a beautiful challenge for Doctors Melfred and Arlene Hernandez and Ramon and Monique Eugenio of Ducks Entertainment to outdo themselves.
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