Bringing out the opera in us
Irene Marcos-Araneta recalls her first encounter with opera at nine years old.
She says, “I witnessed the inaugural offering of the CCP—Lamberto Avellana’s musical Golden Salakot: Isang Dularawan. (You could call it) an unusual, if not experimental, opera. Then there was the Walang Sugat zarzuela also at CCP. It wasn’t until I was a young voice student that I realized how disciplined, musically focused, and athletic one had to be to perform in an opera. I loved the theater craft.”
Irene lauds how opera stirs our deepest fascination. “There is the collaboration of myriad artists. You also have the combination of the music, the fabulous singing, scenography and stagecraft, creating a spectacle that can be breathtaking. One readily suspends disbelief and allows for dramatic license.”
We ask her what it is in opera that ordinary Filipinos will absolutely love—if given the chance to experience it and made more accessible to the public. She answers, “Filipinos love good music, melodrama, intrigue, romance, tragedy, gossip, comedy and spectacle. Teleseryes and sitcoms are a testament to that. And we have a very long history as an opera-loving country. We have created productions in various opera forms including the zarzuela, operetta and musicals. We Filipinos even constantly break into song in normal conversation. I think everyone ready to get past the old labels—elitista, burgis, high art—could enjoy the experience.”
Kaye Tinga, Cultural Center of the Philippines (CCP) president, amplifies, “The themes of opera are universal and has a way of uplifting its viewers. And we Filipinos love drama, we love music, and we love everything that is grand-scale. We just need to be exposed more to opera. That’s why it’s important that we really support this project.”
Opera has often been seen as a lofty art form—grand, powerful and distant, especially for audiences who may not be familiar with its complex beauty. For many Filipinos, the art form might seem foreign or even intimidating. With its roots deeply embedded in European culture and history, opera has often been associated with exclusivity. But a project, where both Irene Marcos-Araneta and Kaye Tinga are heavily involved, aims to change that narrative by introducing the beauty of opera in a way that speaks to the Filipino experience.
Running from Oct. 1 to 4 at the Metropolitan Theater in Manila, Progetto Puccini brings together a stellar lineup of international opera professionals and promising Filipino singers. The four-day masterclass series will offer young Filipino talents an invaluable opportunity to learn from some of the best in the business, refining their skills in vocal technique, Italian diction, and stagecraft. But it’s not just for those on the stage—the project is designed to invite audiences into the world of opera, helping them appreciate its nuances and understand its emotional power.
Maestro Fabio Armiliato, a celebrated Italian tenor, is at the helm of this initiative. Known for his commanding performances at some of the world’s most prestigious opera houses, Armiliato is passionate about demystifying the art of opera. “Opera is an art form that transcends borders,” he says, “and it’s in moments of sharing that we truly discover its power.”
Opera for everyone
One of the unique aspects of Progetto Puccini is its focus on creating a cultural bridge between Italy and the Philippines. In a country where music is a deeply cherished form of expression, from folk songs to pop ballads, opera represents an opportunity to broaden the scope of local musical traditions. By introducing Filipino singers to the works of Giacomo Puccini—one of Italy’s most beloved composers—Progetto Puccini aims to nurture a new generation of opera enthusiasts in the Philippines.
As part of this cultural exchange, the masterclasses will culminate in a public recital on Oct. 5, where the Filipino participants will perform Puccini’s works, showcasing what they’ve learned. It’s not just a concert; it’s an invitation for audiences to experience how opera, an art form with centuries of history, can resonate with Filipino sensibilities.
According to Kaye, we need to provide a platform for Filipinos to appreciate the opera more. “We are proud to support this endeavor that brings together world-class maestros to nurture and develop our own talents.”
Irene, who is the executive producer of Progetto Puccini, explains, “Progetto Puccini 2024 represents more than a tribute to a legend’s genius. It is a bold celebration of the rich cultural synergy between the Philippines and Italy. It is affirmation of the country’s commitment to the Filipino Musicians.”
What makes Progetto Puccini especially exciting is precisely its focus on local talent. Young Filipino singers, some of whom are winners of prestigious competitions like the National Music Competitions for Young Artists (NAMCYA), are being given a once-in-a-lifetime opportunity to work with world-class mentors. Maestro Armiliato will be joined by other renowned figures in the opera world, including Mariano Panico, a musical director known for blending traditional and contemporary elements, and Lorna Zaccaria, a soprano with expertise in Italian diction.
For aspiring opera singers, opportunities like this are rare, and the chance to study under such esteemed mentors could be career-defining. It’s a vital part of developing the next generation of Filipino performers who can not only master the technical demands of opera but also bring their own unique voices to the global stage.
Maestro Armiliato says, “It is an honor to work with these gifted, young Filipino artists, and together we will breathe new life into Puccini’s music, inspiring both performers and audiences alike.”
Camille Lopez-Molina, Progetto Puccini artistic director, explains how opera has always been with us Filipinos. “We just lost our track, our pace a bit, and we it’s just a way of reconnecting the neurons—because the voices are there.” Both spirit and flesh are willing, she adds. “This is not a new thing. We had an operatic tradition. This is Filipino.”
Soprano Myramae Meneses points out—her voice cracking as she becomes teary-eyed—how Filipino opera singers want to tell the world that they are part of the operatic dialogue as well. “Because as young artists who are trying to swim in the Philippines, we want to keep swimming. I feel that this is our time to show the world that we’re still here. We are not drowning. We can be better. We can even be the best in the world.”
Meneses says that just like in the Olympics, where we earned our models, it’s time for Filipinos to showcase their talents in the arts. “We have a lot to bring to the world.”
All this is but overture
Progetto Puccini is not just about this one event. The project is set to continue in 2025, with performances of La Bohème at the Teatro Orfeo in Taranto, Italy from June 15 to 30. It’s part of a long-term vision to create stronger cultural ties between Italy and the Philippines through music, an art form that transcends language and borders.
Irene Marcos-Araneta used to think that the foreign languages used in western opera was a major hurdle in its appreciation here in the Philippines. “Clearly, I was wrong,” she says. “We have taken to reading subtitles and even learning Korean because of the Korean soaps. We love watching the very Asian behaviors on screen. But Pinoys have an East-meets-West aesthetic. And so we also love Broadway musicals. We also love Italy and our Italian friends. Opera is music, spectacle, drama, intrigue, gossip, tragedy, loss, romance and comedy. And we love all of that.”
