WESTERN VOCALISM IN 20

TH

CENTURY PHILIPPINE MUSICby

Eugene De Los Santos

A Dissertation Submitted and Accepted by the
Graduate School of Elisabeth University of Music
In order to obtain the degree of Doctor of Music

Elisabeth University of Music
February 2017

ACKNOWLEDGEMENTS
The writing of this dissertation would not have been possible without the help of
the following persons:First to my adviser/s;+ Rev. Fr. Lawrence McGarell, S.J.,+ Rev. Fr. Joaquim Benitez, S.J.,
Rev. Fr. Luciano Bertagnolio, S.J.
Prof. Antonio C. Hila, Ph.D.
Prof. Raul M. Sunico, Ph.D.
For their invaluable guidance, insight, corrections, and suggestion to make thisdissertation into this form:
Assoc. Prof. Masako Katsura
Prof. Isao Katagiri
Assoc. Prof. Chieko Mibu, Ph.D.
Finally, to my family, the De Los Santos, Acupanda, and McGloin clans fortheir tireless support and inspiration.

TABLE OF CONTENTS

Chapter I

Prologue: Problem Setting

1

Chapter II

The Colonial Heritage: Spanish Period

7

Chapter III

Learning Western Vocalism from the Source

30

Chapter IV

Propagating Western Vocalism in the Country

51

Chapter V

The Universality of Vocalism

74

Chapter VI

Conclusion and Recommendations

81

References

87

Appendices: Music Scores

94

PAKIUSAP!
MADALING ARAW!!!
NASAAN KA IROG?

Francisco Santiago
Francisco Santiago
Nicanor Abelardo

94
96
99

CHAPTER IPROLOGUE: PROBLEM SETTING

Introduction
Music knows no boundaries; its influence crosses cultures, though factors suchas geographical distance and limited means of communication, as well as cultural andtraditional values which dictate the extent to which outside influence can enter into anation‘s musical identity.
Western music, in particular, has had a strong international influence notably
in the field of vocal music. From the time of Caccini in the 17th century until Pucciniin the late 19th

century, Italy was the forerunner in the cultivation of this field, andopera was its major vehicle. The characteristic way of producing the vocal sound andsinging the musical line or phrase has given the Italian tradition a position of unique
importance. First adhered to by singers and singing teachers all over Europe, theItalian tradition eventually became the foundation of the different ‗national schools‘
known to the world today. Factors such as language, racial characteristics, ethnic
traditions, ways of thinking about human experience, and expressing emotion resulted
in this development of thought and diversification of methods of singing.
The colossal geographic distance from the European continent was not ahindrance for the Italian singing tradition to influence the Philippines. In particular,awareness of Italian opera during the latter part of the nineteenth century marked theadvent of western classical vocalism to the country.

1This study will deal primarily with the historical development andcontemporary practice of western vocalism in the Philippines. Within the context of
this study ‗western vocalism‘ will be understood to mean the style of singing and the
tradition of vocal music that developed in Europe on the foundation of Italian
vocalism after the 17th century. The main points of discussion will include thebeginnings, development, and perpetuation of the art of singing as well as the vocal
genres acquired from the west, characteristically Filipino elements introduced into the
tradition, and the modern practice of vocal pedagogy in the Philippines. In presenting
the tradition and analyzing how it has been perpetuated, discussion will center on
tertiary level education where it is possible to identify influences from particular‗national schools‘ of thought among present-day singers and singing teachers.

Statement of the Problem
Given a generalized historical relationship between Philippine musical culture
and that of the West, this study will tackle the main problem: ‖How did western
vocalism become a Philippine ‗school‘ or tradition of singing?‖
In answering this main problem the following sub-problems are raised:
1. How did Spanish colonialism bring the western vocalism to the Philippines?

2. How has Western vocal technique influenced the vocal technique in thePhilippines? In what aspects can this influence be recognized? How pervasive is thisinfluence?

2

3. How did Western vocal technique become part of Philippine vocal
pedagogy? Who were the leading figures in the introduction and perpetuation ofWestern vocal technique in Philippine vocal pedagogy?
4. How was Western Vocalism acquired and disseminated in the Philippines
following the universality of music?

Purpose and Significance of the Study
The significance of the study lies in the fact that the researcher attempts to givean account of the history and current state of the Western vocal tradition in thePhilippines.
This study aims to determine, distinguish, and evaluate the influences of thewestern vocal tradition on Filipino singers and singing teachers; to ascertain the originof these influences; and to analyze whether these influences have been incorporated
purely and entirely, or whether certain modifications have been made to suit Filipino
singers.

Research Method and Technique
The historical method using descriptive, analytic, and narrative as its researchtechniques were employed in this study. The data gathered were analyzed to affirm
their validity, accuracy, and relevance to the subject matter at hand, in this way,
presented in the narration are accurate and properly interpreted and contextualized
data. Thus, narration and description centered on the discussion of events and people3and were done critically. Written sources are gathered from books, theses, newspaper
articles, and the like. Oral history was also employed to supplement the written
sources. For this reason, conversations with vocal pedagogues and singers were done
and are all listed in the references.

Theoretical Framework―Mimicry‖ as used by Homi Bhabha will be used in this study. Philippine
vocalism may be labeled, in the words of Bhabha, as a reformed, recognizable other(Bhabha, 1994, 80), as it is a colonial cultural product that is almost the same but notquite.
Of course, it was diffusion, flamed by the power of colonialism that broughtwestern vocalism in the Philippines. It is a recognized fact that the Spaniards broughtwestern music in the Philippines and introduced the western scale. This particular
music prevailed in the colonized areas, and consequently western vocalism was also
implanted.
The Americans on the other hand initiated the academization of local arts,
through education. Public schools were brought up in all levels, from the primary to
the collegiate levels. The University of the Philippines College of Music was set up in
1916 that further specialized in Western music, including Western vocalism.
Probably the most common and effective device used by singers and teachersof singing in the country since the western art of singing was introduced to students ofsinging is ‗mimicry‘. As defined by Webster‘s New World College Dictionary as ―a4

close resemblance, in color or behavior of one organism to another in a given
environment,‖ it is so far the best and most personal way of transmitting this art ofproducing the voice to an eager learner. It is by mimicry that students learn the art ofsinging from their mentors. Considering the various classification of voices oflearners, the basics on how a sound is produced is taught through mimicry, wherein
the teacher demonstrates first and then the pupils follow breath per breath, sound persound, phrase per phrase, line by line. As mentioned in numerous books about bel
canto singing, the voice training mainly focuses on producing faultlessly with ease thefive vowels of the alphabet. Singing or vocalizing through these vowels with ease andagility is the primary thrust of the aforesaid method and style. It is through these where
beauty and expression of tone are evidently heard and felt by the listener.
In the Philippines, this tradition of mimicry dates back when singing was firstheard from the missionary friars who along with Portuguese explorer of the 16th
century, Ferdinand Magellan, reached the islands, which eventually became a Spanish
colony in 1575. These missionaries stayed in the country to primarily spread
Christianity bringing along with them their talent for music which they havegenerously passed on to the Filipinos through the scholae cantorae which the different
religious orders created in their respective churches throughout Luzon and the
Visayas.

5

Definition of Terms
Terms used in this paper are defined as the text unfolds or goes on. Rather thanthe usual practice of listing down the terms with their corresponding definitions, theiroperational definition is at once disclosed in the texts. This provides thus the reader
continuity of thought as the definitions are integrated in narrative.

Review of Related LiteratureThis paper is a pioneering study. There is no available literature that is similar
to it. From the scanty and sporadic published sources, the researcher had determined
the structure of the paper. These readings are all listed in the references at the end of
the study. From this set of literature, context of the paper was provided. The logic of
the paper‘s structuring likewise was determined, which are spelled by Chapters II, III,and IV. It is precisely the scantiness of the published sources that this paper likewise
had relied on oral history, or interviews regarding the practice of Western vocalism inthe country, and the circumstances that surround it. Vocal scores, had to be likewise
included as they become important in illustrating a point or an argument.
It is on this point that the importance of this paper is considered. For veritably,
it becomes a seminal work on the matter, that hopefully would inspire similar studies
to be taken in the future.

6

CHAPTER II
THE COLONIAL HERITAGE: SPANISH PERIOD

It has been averred that music is the most universal among the arts in its appeal
and acceptance. Music serves as a universal language that it is used as a tool,
regardless of nationality, to express deepest sentiments and ideals, raise awareness ofwhatsoever, describe, depict – and critique – socio-political landscapes. Music is
immensely functional that it has accompanied mankind in his endeavors since time
immemorial. As to its appreciation, music is also encompassing in such a way that one
appreciates, and even loves what he hears regardless of the composer or the milieu in
which the piece was composed – this is proof that music, just like all the arts, istranscendental. This is to say that it can be taken with or without its creator, givingmusic a subjective appreciation despite all academic standards. But of course thisprinciple has to be dealt with on a delicate manner lest misconceptions arise.
However, while music is universal, it is at the same time bestowed withindividuality – uniqueness, that is – one that is different from nation to nation,
generation to generation, and milieu to milieu. For this reason music can be said to bea collective expression of the musical genius of a particular people (Hila, 2004, 1)
such that it represents their collective identity, mentality, and plight. As such, music
can define a nation, and a nation can define its own music.
On understanding Philippine culture, Florentino Hornedo (2013) had this tosay:
7Philippine culture is not lineal. It is sapin-sapin. And
when you deal with people, Filipinos, it depends on how
deeply you go into the sapin-sapin—you‘ll be encountering
the aboriginal, the Hispanic, the American, and the1postmodern all in one.

Philippine music certainly depicts this experience, itself being a facet ofculture. The different periods of Philippine history are also characterized by certain
musical traditions that have been implanted in the innately musical soul of theFilipino, creating a unique blend of the great musical traditions of both the East andthe West.
That music is highly functional is evident in the musical traditions of thecountry‘s forefathers before the advent of colonization in the islands. So innately
musical was the native soul that music was unified with their daily occupations andpreoccupations. Raymundo Bañas articulated how different ethnic tribes appropriatedmusic in their social environment. For instance, the Negritos sing the du-nu-ra as alove song and the tal-bun on festive occasions, while they dance to the pina camote
and the pina pa-ni-lan whenever harvesting camotes and honey respectively. Some of
their dances portray the capture of an enemy or a mere battle scene. The Igorots sing
the pagpag while pounding rice during wedding ceremonies, the milling ayoweng
while milling sugarcane, and the annaoy while building rice terraces. They have themang-ay-tu-weng as a laborer‘s song and the nan-a-an-to-ay as their funeral song.
(Bañas, 1969: 17-25)

1

Sapin-sapin is a glutinous rice delicacy in the Philippines. It is multi-layered and multi-

colored.

8

The early Spanish missionaries had attested to the innate musicality of theFilipino people. Largely oral, the early Filipinos utilized music, as averred previously,
in practically all occasions, capped by the chanting of their epics from North to2

South . In this light, it can be inferred that E. Arsenio Manuel was prudent enough insaying that ―Philippinesians were a singing people, singing their triumphs and woes,
joys and beliefs from birth to death‖ (Manuel, 1980, 328).
The arrival of Spanish conquistadores brought about a monumental change inthe socio-political and cultural landscape of the natives. What once was an Easternoriented lifestyle now had a mix-up with the West.
The Spaniard frowned upon the native for he did not have as high a lifestyle as
the latter. The Filipino was wearing bahag and shows off a good portion of his skin,which came to be a bit vulgar to the Spaniard. He worshipped Bathala, praised themountains, the trees, and everything the nature had to offer – to the Filipino nature hada spirit in herself, a fact that did not reconcile with Spanish religiosity. The Filipino
chanted his epics, which was to the Spaniard a work of the devil. In other words, theFilipino way of life was, in many ways, unpleasant to the Spanish who judged thenatives from his own perspective. Despite this, the Spanish applauded, as emphasizedearlier, the innate musicality of the Filipino so much that it became an avenue throughwhich the Spanish marked themselves in the native soul.

2

Florentino Hornedo has published a number of works that proved the innate musicality of the
pre-colonial Filipino. A number of Spanish chroniclers who attested to this innate musicality arearticulated in his Laji: An Ivatan Folk Lyric Tradition. Also, Hornedo was able to collate sung epics
from Northern Philippines published in the book Ballads and Tales of the Kankanaey of the BakunAmburayan River Valleys.

9Reduccion was an effective response to what John Leddy Phelan coined as―geographical particularism‖ (1959, 9) as being the major challenge to the Spanish
missionaries. With the church at the center, the previously scattered native settlements
were gathered together and centralized within the range of the sounds of the church
bells – bajo la campana.
The church at the center of the settlement also meant that the lives of thetownsfolk revolved around it. This is elaborated by Juan de Plasencia who was thebrains behind the reduccion, which served the purpose of:…persuading the natives to settle down in asuitable place near the church and under the protection of
the missionary who would teach them how to build andfurnish simple human habitations as well as agriculture andother elements of progress. (Pastrana, 1965, 88)This is to say that the Spanish missionaries took the burden of educating thenatives in their own means. Clearly, this became a big step in fulfilling the aims of the
Spanish religious to ―create a Catholic community consciousness in which the teachings
and the spirit of the Church would penetrate into the daily lives of the converts‖ (Phelan,
1959, 72)
This change in geographical setting brought about significant changes in the social
landscape of Hispanized Philippines. At the inner core of the settlement was the cabecera,
while lying outside were the visitas. And in the movement of people from the cabecera to
the visitas and vice-versa, one has to consider the seasons and celebrations that the church
observes.
The usual movement was from the visitas to the cabecera. This is observed
especially, in times of the feast day of the church‘s patron saint, in other words the fiestas,

10

Corpus Christi celebration, and most especially, the observance of the semana santawhere the church sees herself the busiest. Phelan emphasized that:
The fiesta system and the founding of sodalities, on theother hand, reached out to embrace the whole scattered populationof the parish. Although the majority of Filipinos preferred to live
near the rice fields, they could be lured periodically into thecabecera village. The enticement was the fiesta. There were three
fiestas of consequence to the Filipinos, namely, Holy Week, Corpus
Christi, and the feast in honor of the patron of the locality. The
parishioners flocked to the cabecera villages for these occasions.
Not only did the fiestas provide a splendid opportunity to
indoctrinate the Filipinos by the performance of religious rituals,
but they also afforded the participants a welcome holiday from thedrudgery of toil. The religious processions, dances, music, andtheatrical presentations of the fiestas gave the Filipinos a needed
outlet for their natural gregariousness. Sacred and profane blended
together. (1959, 73).

Marcelo de Ribadeneira gives a vivid example of how the semana santa (Holy
Week) is celebrated:
Most edifying was the manner in which the people ofCamarines observed Holy Week.
Perhaps detailed accounts of the various modes of selfdenial on the part of the native converts make up the ultimate proofof the complete change in their lives. Occasions for mortification
are indeed few, but it is specifically during Holy Week that these
newly-converted Christians literally turn their province into one
huge religious community.
From dawn, starting with early Mass and Communion, theroutine of these fervent natives is one continuous cycle ofabstinence, prayer, and rigorous bodily discipline. All Christianhouses observe a strict observance of the Lenten season. Abstinence
consists of giving up meats, and seasoning of foods to remove
flavors; depriving themselves of their daily baths, in order to endure
the heat better; spending long hours, meditating and praying on
their knees, with their arms outstretched and unsupported, like
Christ‘s extended arms, on the cross. All idle talking, feasting andcomfortable habits if eating and sleeping were temporarily given up.
(1970, 348-349)

11

A contemporary Catholic would find this attestation rigorous in many degrees,
conservative, even! But this is among the many proofs that the bajo la campana
scheme of settlement was effective in penetrating the lives of the natives so much sothat Spanish traditions have been implanted in the native soul only to be perpetuatedcenturies hence. In other words, the traditions such as this that the contemporary
Catholic still observes, no matter how loose, can be seen not only through religious
bases, but also through a historical grounding. That the country‘s forefathers also
observed these practices – and observed them more rigorously – and that thesepractices are still evident presently are proofs of how successful the Spanish were in
their attempt to the enculturation of the Filipinos.
But credits were not at all exclusive to the friars, or the reduccion itself. In fact,
Phelan would attribute half of this success to the voluntary response of the Filipinos tothe societal changes that the Spanish had brought about. In Phelan‘s own words:

Given the disadvantages under which the Spanish clergy
had to operate, their efforts would have proved abortive if theFilipinos had not voluntarily responded to some features ofChristianity. As it happened, the Filipinos endowed certain aspectsof the new religion with a ceremonial and emotional content, a
special Filipino flavor which made Catholicism in the archipelago
in some respects a unique expression of that religion. In this processof ―Philippinizing‖ Catholicism the major role belonged to theFiliipinos. They showed themselves remarkably selective instressing and de-emphasizing certain features of Spanish
Catholicism. (1959, 72)

This Spanish enculturation of the Filipinos commenced at the religious level,
the church being at the center of community life, and eventually branched out to theFilipinos‘ para-liturgical endeavors, and later on to their secular affairs. The
12

development of Philippine music proves to be the archetype of this Spanish sphere of
influence.
Almost everything in the early Spanish regime in the Philippines was largely
done in the church, and through the church. Since the Spaniards in the Philippines
were clearly dominated by the natives in numbers, to take control by means of arms
would be unwise, and so there was no better way to Hispanize the country than
through the church. As such, it was in the church where Western music was largely
introduced. Maintaining its functionality, Western music was liturgical in contrast to
native music‘s occupational nature. Admittedly, the Spanish missionaries proved to be
adept in steering the innate musicality of the Filipinos to their own causes, mainly ofevangelization.
All of the religious orders were preoccupied with teaching music to the natives,
liturgical music that is. This was of course in accord with their aim to penetrate thedaily lives of the parishioners to which the success of the colonization was anchored.
According to Ribadeneira:
The friars taught the children how to read and write, how
to sing simple songs a capella, or to the accompaniment of theorgan. The friars themselves had to learn to tune and play the fluteand ―chirimias‖. Some of the native boys were precocious, and theyread aloud in Latin and Spanish, clearly and fluently as if they were
Spaniards. They are also adept in writing, and original in drawing;
many sketches are interesting. They sing in perfectly sweet andsmooth tunes and are by natures, lovers of music. (1970, 349-350)

The innate musicality of Filipinos served to the avail of the missionaries as it
saved them arduous time in teaching music. Credits to the teaching of music by the13religious orders the natives grew more profoundly in music so much so that Murillo
Velarde attests that in all towns:
There is a musical group with their instruments andsingers, with which, at least during feast days, the solemn rites andthe divine office are observed. And in certain places, there areexcellent instruments and singers. All of these singers know how toread notes, something unequalled in the Christian world. (Velarde,
1749, 348 as quoted in Fernandez, 1979, 410)

With this, it can be inferred that there is a certain truth about what Phelan
asserted earlier that there is a special Filipino flavor that made Catholicism in thearchipelago a unique expression of the religion and that in ―Filipinizing‖ Catholicism
Filipinos played the biggest role. Indeed, the elaborate musicality of Filipinos gavesuch a distinct characteristic to Catholicism in the archipelago.
Among the religious orders, it was the Franciscans who were applauded themost for their musical skills and long history of musicianship (Hallazgo, 1986, 591),
which they generously shared to the places they administered.
In 1597, it was usual to find a parochial school beside all Franciscan churches.
It was here where the Franciscans taught to sing plain chants and songs with organ
accompaniment. Flageolets, flutes, and violins were also taught in primary school(Pastrana, 1965, 96). It would be logical to consider that the missionaries gave priority
in teaching children so that their talents may be honed as early as childhood, and ofcourse there is always the underlying aim of indoctrination. The Franciscans were so
inclined and active in the musical paradigm so much so that in 1606 Fr. Juan de Santa
Marta was sent by his superior Fray Pedro Bautista to Laguna to establish the first everboys‘ choir, also known as the tiples. 400 boys received musical instruction from Fr.
14

Santa Marta who were later on employed as school music teachers in their own
communities. Fr. Valentin Martin y Morales, OP attested to this musical development
under Fr. Santa Marta:
The Province (that of the Franciscans called San
Gregorio) had the greatest desire that the natives be wellinstructed in music. As he was considered to be a great masterin the subject (Fray Juan de Santa Marta) the obedienceassigned to him to Lumbang with the mission of instructing
the natives in singing and in manufacturing of musicalinstruments. For the purpose, the Franciscan Superior (Fray
Pedro Bautista) ordered that three children from every town
administered by Franciscans be sent to Lumbang to be under
the direction of Fray Juan de Santa Marta. In consequence of
this order of their provincial, the Franciscans arrived atgathering in that town four hundred boys whom the venerable
Fray Juan instructed perfectly, not only in singing, but alsotaught many of them the art of making musical instruments
and playing them to perfection, especially the organ which isof such an importance to a church. He composed some scoredof church music and popular songs, and taught them to his
pupils so that they be inspired by them and continue todevelop the musical training they have received. Once thosefour hundred young men had been trained they were
distributed by the respective hometowns with the mission oftraining similarly other children. Such is the true origin of thegreat enthusiasm and quick spread that music has in these
Islands nowadays. (Martin, 1901, 350-351 quoted in Ruano,
1982, 30).

The 1663 Constitution of the Province of San Gregorio made musicalinstruction compulsory. The curricular offerings included plain song, organ music, andability to play the flute, violin, and other musical instruments (Bañas, 1969, 29). Thiscertainly was a milestone in the musical development of the province of San Gregorio,
and consequently in the Philippines, for it gave an avenue for almost all children inschools to learn music and play musical instruments.

15

Certain notable Franciscan missionaries were able to contribute to liturgicalmusic with their own share of compositions and published works. Fr. Francisco Feirade la Concepcion composed an album for four voices: Motetes for the Via Crucis. Fr.
Jose de la Virgen, who stayed in the Philippines from 1717 to 1767, wrote his Arte delCanto Gregorio in the Bicol dialect, which was printed in Manila on 1727. Fr. Pedro
Parra wrote manuals, one for the religious women of Monasterio de Sta. Clara and theother a collection of cantorales. Fr. Cipriano Gonzales, on the other hand, wrote
various religious compositions one of which was a collection of letanias that was
intended for a full orchestra.
True enough, Franciscans immersed themselves in bringing the Westernmusical tradition in the Philippines. But it is tactless to cite Franciscan success withregard to Hispanizing Philippine music without crediting other religious orders who
put as much work in teaching Western academic music to the natives.
Dubbed as lovers of music, fine arts, and poetry, the Augustinians set foot on
the Philippine islands on 1565 under the supervision of Fr. Andres de Urdaneta. The
Augustinians still ring a bell to the Filipinos in the 21st century that is testament totheir significant contributions to Philippine culture and history, all of which are still
evident in their longstanding bastion – San Agustin Church in Intramuros, Manila.
Their love for fine arts is easily seen at a glance inside San Agustin. Just before
entering the church one sees an iconic door so baroque that it represents the sakop-

16

3

mentality of the Filipinos and gives a hint of foreign culture, other than that of the
Spanish, integrated in the native character, particularly that of the Chinese. When one
looks up he sees the magnificent sculpture-looking trompe l‘oeil painting
encompassing the church‘s ceiling. When one looks around he sees the disparity
between qualities of sculpture being popular and colonial. Saints that are not threedimensional and at times frightening – this is popular sculpture. But when saints arerefined, made of ivory and almost glorious to look at then it is categorized to thecolonial sculpture.
As for their love of music, the Augustinians made a vast contribution toliturgical music, many of which are still very much used today. Fr. Lorezo Castelo, theOrfeo Augustiniano (Bañas, 1969, 27), composed the Art of Plain Song and the Art of
the Organ Song, which were among his many compositions ranging from religious
works, choir books, masses, and Christmas carols. He was able to use his expertise inteaching by also training pupils in Manila, the Northern provinces paticularly Ilocos,
and in Panay. Fr. Ignacio de Jesus did the same upon coming to the Philippine islands
in 1737 authoring choir books for the San Agustin convent in Manila. Fr. Juan
Jadraque and Fr. Nicolas Medina were also able to mark their names in theAugustinians‘ musical contribution with their Arte de Canto Llano and Arte de Canto
Organo. Fr. Eustaquio Uriarte also made a name in liturgical music with his works: La
Musica Segun San Agustin and La Espresion de la Musica.
3

Its English translation means ―inclusive.‖ As Filipinos are much oriental-minded people, they
are holistic, integrative, subjective, intuitive and deductive. In Philippine society, stress is given tocommunal relationships rather than individualism. This is thus reflected in his activities and evenartistic endeavors. Fr. Leonardo Mercado, SVD calls this as sakop orientation. (Hila, 1990: 74)

17

Among these Augustinian musical prodigies, Fr. Manuel Arostegui outstoodand perhaps made the most significant contribution to liturgical music. Philippines
benefitted from his prominence as a conductor and composer in Spain. Among his
contributions was a grand mass in full orchestra made with piano or organ
accompaniment for four to eight voices. Some of his most notable compositions were
Organizations Salutaris Hostia (1885) and Motete al Sissmo (1885), both to be sungby a solo baritone accompanied by violin and harmonium. He wrote the Salve also in1885 and the Flores de Maria in 1886, both composed for three voices, the former
with organ or piano accompaniment, while the latter with organ or harmonium
accompaniment. In 1886 he composed his Ave Maria for a solo tenor accompanied bypiano or harmonium. So many and vital was his role in propagating Spanish religious
music in the islands so much so that he became known as the ―Augusto Filipino‖(Bañas, 1969, 28)
The case of the Society of Jesus – Jesuits – is a delicate matter to tackle
especially when their expulsion in the latter years of the 18th century is considered.
This may well be the reason as to why, in the parlance with regard to Spanish
influence in liturgical music in the Philippines, Jesuits would seem a bit quiet. But thisdoes not discredit the fact that they had their own share of musical contribution.
In founding the Colegio de San Jose in 1601, the Jesuits saw this as an avenue to, likeall religious orders, share their knowledge to the natives. Through Colegio de San
Jose, the Jesuits were able to expose students to the literary-musical field. This wasdone through staging original and classical plays. However, the Jesuit control of the18

Colegio fell short due to their expulsion and was transferred to the hands of the
Dominican fathers.
The Jesuit expulsion was lifted in the first half of the 19th century where theJesuits henceforth spread yet again to propagate Christianity with a hint of their own
ideologies. It was around this time that they founded the Ateneo Municipal, now the
Ateneo de Manila, in the Philippines. Teaching music to their students, Ateneo hired
men from outside the order to teach piano and violin, two of which were Blas
Echegoyen and Simplicio Solis.
The Order of Preachers (Dominicans) instituted the oldest existing university
in Asia –the Pontifical and Royal University of Santo Tomas. Although this may havewell been done by other religious orders, the Domincans were able to establish
primary parochial schools in their respective parishes during the term of Fr. Domingo
Salazar as Bishop in 1581. Fr. Manuel Rios stated that:
The king, our sovereign, orders that there be schools in all thevillages of the Indians in order to teach them reading, writing, andthe doctrine. The ministers of God must work zealously andearnestly in these schools. Their efforts will enhance the educationand spiritual gain of their soul. (Manuel del Rios quoted in Zaide,
1948, 83-84 quoted in Bañas, 1969, 30-31)

This meant that the Dominicans were not only focusing on teaching music, butwere rather bold in teaching the natives in the basic tenets of the Catholic faith and thethree Rs—reading, writing, and, arithmetic.
What the Recollects are perpetually remembered for is the innovative bambooorgan that Fr. Diego Cera finished to construct in 1822. Undergoing a series of
unfortunate calamities damaged the bamboo organ – damaged by an earthquake in
191862, the bamboo became inoperable until 1872 where some of its parts were replaced
only to be damaged again in 1882 by a typhoon, undergoing another general repair, theorgan was finally installed in Las Piñas in 1932. One might say that the bamboo organ
is resilient still coming out as a jewel despite all the damages, much like the Filipino
soul. Bañas eloquently describes the bamboo:
The bamboo organ is only one of its kind in theworld. It is an art jewel. Its outer structure is simple, but its
delicate inside parts are so marvelously adjusted that when adexterous organist plays it, the air is filled with celestial
harmony that enchants mortals. (1969, 32)

Antonio Molina, National Artist for Music, was right in saying that the firstmusicians trained in Western music were developed in the 17th century (Molina, 1967,6-7) for it was in this time that the Spanish missionaries were at the height of theirestablishment in the islands. Jose Maceda, a prominent musicologist, agreed to what
Molina has averred and added that the formation of folk music was made possible
through the thousands of boys trained by the fathers (Maceda, 1972, 221).
Among the thousands of young men under this tradition of vast musicaltraining, Marcelo Adonay perhaps stood out as the best product of the musical factorythat the missionaries had started. Hailing from Pakil, Laguna near Lumbang where theFranciscans taught the first hundreds of children, Adonay‘s emergence as a prominent
musical figure was, to Jose Maceda, of no coincidence. Serving as a church boy in San
Agustin Church, Adonay later joined the Colegio de Ninos Tiples at the age of eight
where he was exposed to western musical tradition well enough to traverse the path ofmusic in his later years. He was the composer of many religious scores that were proof

20

that spirituality works in ways beyond the seeing, at times it also expressed by way ofthe ear. To wit some significant works of Adonay: Misa Solemne, Te Deum, andDespedida a la Virgen. For excelling in the composition of religious music in thewestern idiom, Marcelo Adonay was dubbed as the ―Palestrina of the Philippines.‖
Although life in the Spanish regime revolved around the church, it was not
only confined in the church, for indeed life goes beyond just religion. But so much is
the influence of this religion to the character of the native that he appropriates thisinfluence even to this authentic native mentality. With this, he blends the ethnic andthe foreign in his daily affairs. This meant that the religious music that was
tremendously given focus on by Spanish missionaries went outside the church. Alas,
now the missionaries went beyond successful in institutionalizing the church tocapture the native soul! And as for the musical development in the islands, this marked
the emergence of para-liturgical music, and consequently, folk music.
This branching-out of music that was originally liturgically focused brought
about a new form of music that is called para-liturgical. Although this para-liturgicalmusic is mostly appropriated in activities associated with Christianity outside thechurch such as the celebration of fiestas, processions, the pasyon, senakulo, Flores deMayo, salubong, santacruzan, osana, postores, panunuluyan, etc., it could still beconsidered secular in nature as it reflects the native ethos and is the principal folk
expression of native religiosity (Hila, 1989, 4). The pasyon is single-handedlyinteresting for it is sung in different styles depending on from where or what region
the cantor/s is/are while retelling Jesus Christ‘s birth, ministry, passion, death, and21

resurrection. This instance is another attestation to the innate musical genius andcreativity of the Filipino varying from region to region.
It would be surprising to realize from a contemporary perspective that thesecular realm in the Spanish era still had a hint of Christianity. This is so because
religion has played so big, if not the biggest a role in Hispanizing the natives. This
Hispanization was centered in the church and administered by religious missionaries –the missionaries taught the natives not just Christianity, but also the different ways oflife appropriate in the West – which explains why the native character was so
influenced by the Spanish that he brings this influence even outside the church.
Because of the innate musicality of the natives the enculturation of Westernmusic – largely liturgical – became a smooth sailing affair. And indeed the natives
responded with the warmest of hearts to this musical tradition that has endured for agood amount of time such that they were able to see an evolution from religious music
to secular music, and consequently to folk music. Being a ―non-literate‖ music (Hila,
2004, 5), folk music is created by people who do not necessarily have formal training
in music, very much unlike the liturgical music, which requires a certain level ofmusical training to compose and perform, making it essentially ―folk‖ – accessible to
the greater masses of people‖, as (Pfeifer,1975, 249-250) avers: ―it is known
traditionally among folk of many walks of life.‖ Ocampo delves in this matter withmore depth:
This name is given to certain songs peculiar to eachcountry of unknown author, and which are memorized andtransmitted from fathers to sons since remote times and carry theseal of that which is most intimate, most characteristic, andindividualistic of each region. We must seek and go to them in22search of memories, of bygone times, the most profound sentiments,
the bud of rising civilizations. Folk songs, also called songs,
canticles, ballads, and rhymes, reflect the peculiarities of eachcountry, not only by words, but also by the music, as one and theother have preserved their primitive simplicity and gracefulness ortheir original rigor. Warlike some, others merry, ironical, mournful,
animated, tender, loving or voluptuous, according to the characterof the different races or according to the epochs during which they
were invented by the people, that untutored, but very inspired greatpoet and musician.
The name folk songs ought to be reserved to those works
born from the very people and preserved by traditions. It is also
necessary not to confuse the folk song with patriotic songs orhymns; the folk songs form in literature and music a special genus;
their distinctive character is that their authors are always unknown,
whilst the patriotic songs or hymns are relatively modern and havebeen composed by a known author, in epochs of great political
upheavals, to excite, now the patriotic sentiment, now the warlike
ardor, the love for liberty or the hatred for tyranny. (1939, 53-54
quoted in Hila 2004, 5)

The habanera, danza, polka, marcha were just some of the new secular forms
that emerged at the advent of folk music.
Often syncopated and performed in a slow, voluptuous movement (Bañas
1969, 91), the habanera, which developed out of the contradanza, originated from
Havana, Cuba, hence its name. The English contradance form was brought to Spainand became the contradanza, which was consequently brought to Cuba in around 1825
where it was combined with Afro-Cuban rhythms becoming the habanera (Malabuyoc
1994, 91). It is set in a duple meter and is believed to be the mother of a moredeveloped danza. As an emerging musical form especially in the 19th century, various
Filipino composers wrote in the habanera form. One of which was Julio Nakpil withhis Recuerdos de Capiz (1891) (Alzona 1964, 80-83). A certain Andres Dancel also
composed musical scores using this form. Ernesto Vallejo‘s ―Habanera No. 2 for
Violin and Piano‖ is believed to have been inspired by Dancel (Hila 2004, 6).

23

As emphasized earlier, the danza developed from the habanera form. Bañas
explains that the danza is written in minor key and slow tempo (1969, 91). It isromantic and is common to the Tagalogs and Visayans. The danza also goes by the
many names, to wit: danza Filipina (De Leon 1978, 9), danza habanera, danza menor,
habanera Filipina, pananapatan or pangharana (Hila 2004, 6). Although there are
discrepancies as to the similarity of the danza with the kundiman and at the same timewith the harana, which are two different musical forms though they share the samecharacteristics, they still share the same romantic and at times melancholic taste.
Courtship tradition in the pre-colonial setting is, more often than not, a matterof showcasing physical and economic ability – a man hunts game, logs wood, goes tothe family of the woman to help with their household chores, and pays the bride price,
all for his beloved. But as Philippines became captive – colonially and culturally to
Spanish aims, new traditions evolved and new societal norms emerged. And withmusic as among the main tools of this enculturation, the innately musical natives
found it easy to adopt. The Filipinos moved from a courtship that caught the maiden‘sattention through the ―flex of the muscle‖ to a courtship that utilized sweet andserenading music heard from the durungawan that softened her heart and bent her will
to finally fall victim to the man‘s arms – this is the harana. Traditionally, the harana
is sung below the window of the maiden‘s house under the romantic, and seemingly
intimate ambience drawn by the moon and the night. The singer (the lover, of course)
is accompanied by his friends (who are also his instant teasers) playing either the24guitar, the violin, or the flute, though at times these tree are played together. Dolores
Paterno‘s ―Sampaguita‖ captures the harana at its finest (quoted in Hila 2004, 6):
Mabangong bulaklak ng lahi
Sampaguitang sakdal ng yumi
Kung ikaw‘y kuwintas nang yari,
Nagniningning ka sa uri.
Sa liig ng isang dalaga,
Hiyas kang sadyang pinipita,
Ganda mo‘y may dulot na ligaya
Mapalad ka, pagkat sa hardin ng puso
Ikaw ay bulaklak ng pinipintuho
At sa Bayan,
Diwa kang pumapatnubay;
Kaya‘y habang buhay ka,
Ang Baya‘y di mamamatay.
O Sampaguita! Tanging
bulaklak ng mga pagibig
Dinggin mo ang awit ng puso
Sama tayo hanggang langit

On the other hand, Jose Estrella was able to adopt harana into an orchestralcomposition ―El Cancionero‖ with the subtitle ―Los Jaranistas.‖ Here Estrella wasable to portray the steps of the typical harana from the start of the serenade, thejourney to the maiden‘s house, the declaration of love beneath the window, and thejourney back home (Agramon 1964, 34-44 quoted in Hila 2004, 7). The harana has
become so popular a style that many Filipinos until now associate romance andcourtship with the idea of a man serenading a maiden to make her fall in love with him
under the romantic moonlight and the intimate midnight.
25

Similar to the harana, the kundiman expresses the lofty sentiment of love, andeven heroism, in a melancholy mood (Hila 2004, 7). The difference between harana
and kundiman, besides the scale (kundiman being written in a triple time) of course, isthat the former is widely sung for courtship purposes, while the latter, though alsosung by a man to the accompaniment of a guitar when serenading his sweetheart atnight and is a passionate lyrical song with a theme professing true (often desperate)
love (Bañas 1969, 82) became an important tool in continuously stirring up patriotism
and nationalism amongst the revolutionaries who constantly struggled forindependence from Spanish chains during the Philippine Revolution. Christi-Anne
Castro eloquently shares the same thoughts on kundiman as a nationalistic music:
Popularly described from a metaphysical perspective, thesentiments of the kundiman are felt to have generated from the soulof the Filipino nation and have as much to do with suffering as withhope. The kundiman is a song of passionate longing and profoundlove that translates effectively into patriotic and nationalistic music,
an analogy made doubly potent when one compares unrequited lovewith the yearning for independence against tremendous odds (2011,
181).

The kundiman form developed from the earlier kumintang, which was
originally a war song adopted into a love song, and later into a song of repose(Bañas1969, 81). Perhaps it is from this origin that the kundiman‘s nationalistic aroma
is explained. Musically and textually, the kundiman represents some of the moresignificant facts of the Filipinos‘ psyche brought about by history and culture –sentimentality, sense of submissiveness, self-pity, yearning for freedom from want anddeprivation, and the aspiration for a better future (Hila and Santos, 1994, 94). Amongthe many kundiman songs written especially in the 19th century, ―Jocelynang

26

Baliwag‖ stood out as the most popular. Originally dedicated to a certain Jocelyna(Pepita) Tiongson of Baliuag, Bulacan (Hila and Santos, 1994, 95), ―Jocelynang
Baliwag‖ helped keep the revolutionaries inspired and motivated in their pursuit ofindependence, earning for it another title: ―Kundiman ng Himagsikan.‖
Veering away from the sentimental and melancholic harana and kundiman, thebalitaw brings its listeners, and dancers, into a lighter and more energetic disposition
very much like the Spanish jota. The balitaw is classified as a love ditty like thekundiman of the Tagalog whose rhythm resembles that of the Spanish bolero (Bañas
1969, 83). The balitaw is dissected into two different forms – balitaw mayor andbalitaw menor, the former being popular in the Katagalugan (Tagalog region) and thelatter in the Kabisayaan (Visayan region). The difference is that the menor is sung as alove song and is considered to be more native compared to the mayor, which is more
Western influenced (Bañas, 1969, 83). This is empirically explained in the light of thegeographical extent of the Spanish regime in the country. The seat of the Spanish
crown is centered in the Katagalugan, specifically in Manila. This explains why there
is heavy Western influence in the balitaw mayor.
Among the most popular folk songs known to Filipinos up to date such as the―Leron-Leron Sinta‖, ―Pamulinawen‖, ―Sitsiritsit‖, ―Magtanim Ay Di Biro‖ – some ofwhich like the ―Leron-Leron Sinta‖ and ―Sitsiritsit‖ are continuously rearranged bycontemporary composers as choral pieces and are popularly performed by various
local choirs including the world acclaimed Philippine Madrigal Singers – aredeveloped from the national dance of Czechoslovakia known as the polka. Written in27

duple time (Hila 2004, 9), the polka arouses a playful tune as if prompting one todance and hop about. Known as a Bohemian dance, it was popular in Europe and in
the Unites States in the 19th century, and though it had faded from the ballroom scene(as it was a favorite in Philippine soirees and balls) (Dioquino, 1994, 113), remnantsof polka still exist in the abovementioned folk songs.
It was during the revolutionary period that Filipino composers emerged in themusic field who consciously sought to bring indigenous folk music into the genteel art
music of the period. Examples of this attempt to bring folk music to the high arts are
Julio Nakpil‘s ―Recuerdos de Capiz‖ and ―Marangal na Dalit ng Katagalugan‖, Diego
Perez‘ ―Recuerdos de Filipinas‖ and Jose Estella‘s ―La Tagala‖ (CCP Encyclopedia of
Philippine Art vol. 6: Philippine Music, 45). Ironically, however, a number of
revolutionary songs, especially that of the marches, were highly patterned from
Western musical forms. Julian Felipe‘s ―Marcha Nacional‖, which became thePhilippine national anthem later on, is an archetype of this fusion of nationalistic
character embedded in Western forms of music.
Admittedly, the music of the Philippine national anthem was inspired by the
National Royal March of Spain (Hila, 2004, 9). But to say that it was the only hymnthat inspired the national anthem would discredit other inspirations from which it was
patterned. Divided into three, the first part of the anthem resembles that of the
National Royal March of Spain, as averred previously. The second part, however, is areminiscence of Giuseppe Verdi‘s ―Aida‖ (Triumphal March) and the latter partpatterned from the French national anthem ―La Marsellaise‖ (Songs of the Revolution,
28

n.d.). Be that as it may, the Philippine national anthem is still indeed Filipino andnationalistic in the light of the message and story that it brings – the collective
experience of the becoming of the Filipino.
The Philippine music experience – from pre-colonial to the colonial era –affirms the maxim ―Today‘s natives are yesterday‘s visitors‖ propounded by Frank
Lynch, S.J., and religiously propagated by cultural historians such as Florentino
Hornedo. For indeed, western music came to the Philippine shores as a foreign culture– much like their propagators with enough investment of the missionaries in teachingmusic, accompanied by the hailed innate musicality of the natives. Western musicalinfluence worked like a well-oiled machine in the Filipino soul. And this learning has
been passed on to countless of generations so much that this Western taste was nolonger alien to the mentality of the Filipinos, in fact, it has become native itself. But
this does not mean that ethnic music have been dissolved in the winds at the arrivaland enculturation of Western tradition, some retained while some evolved and adopted
Western forms. This creative adoption of the ―visitor‖ in order to make it a native is anassertion of creative freedom. It is an affirmation of both interdependence andindependence of spirit (Hornedo, 1997b, 114). The Filipinos‘ ability to adopt andadapt to different cultures only prove their sakop mentality (inclusive), while also
demonstrating their individuality despite the many cultures that have melted andblended into its pot.

29

CHAPTER III
LEARNING WESTERN VOCALISM FROM THE SOURCE

By the second half of the nineteenth century, the Philippines saw the increaseof visiting foreign musical groups and improved Western musical instruments.
Filipino musicians were able to adapt new techniques and methods in the field ofmusical arts through this exposure to foreign musicians. This was spurred by the
opening of Suez Canal. Europe is only two months‘ of travel time away. As Europe
progresses, so is its colony. The nineteenth century saw the influx of new ideas from
Spain to the country.
As nationalism turned from merely a sentiment to power, it ousted the colonial
rule of the Spaniards. This independence was rather short-lived. As the flags wereraised and the closing strains of Julian Felipe‘s ―Marcha Nacional‖ was still echoing,a new colonial master took place in lieu of the Spaniards. A mere flick of the pen witha measly amount of twenty million dollars, the United States had now became acolonial master. President McKinley‘s Benevolent Assimilation became the theme of
the American colonial rule. This placed emphasis especially on education and theimparting of American traditions and way of life to the people. The Americans
established an educational system that is widely accessible. For higher studies, theUniversity of the Philippines was institutionalized. Also, new forms of music andmusical groups were introduced and the former ones were improved. The Philippine
Constabulary Band was established to accompany the functions of the Philippine30

Constabulary. The band was conducted by Major Walter Loving, a Black-American.
The band was able to play concerts at the Plaza San Lorenzo Ruiz in Binondo andsubsequently at the Rizal Park which is known popularly as ―Luneta‖.
Etymologically, the word ―opera‖ in Italian means ―work‖ while in Latin, itmeans ―works‖. An opera is an elaborate art form and its creation demands manyskills. Such skills require the combined skills of a composer—for the musicalaccompaniment, a poet—for the libretto or text of the opera, and finally achoreographer—for the staging and blocking of the characters who will star in an
opera. Moreover, its presentation is often a gargantuan task. The logistics involved inits production is usually huge with several teams working together. As such, an opera:
is the grandest and most expensive of musicalentertainments, and in its fullest forms has almost invariably
required some kind of subsidy to survive, whether royal, national,
local, corporate, or philanthropic. (Arnold et al, 1954)

As a large production, an operatic production is a logistical nightmare ofsoloists, instrumentalists, stage designers, chorus, a stage director and, a conductor.
Commonly, an opera starts with an overture. An overture is an instrumental
introduction to an opera (Blom, 1954) and a substantial piece of orchestra music
designed to precede a full-length dramatic work. (Temperley et al, 1954) An overtureis also played in order to familiarize the audience with the main themes of an opera.
An opera is usually divided into several acts. An act is further subdivided into several
scenes. Soloists sing arias and recitatives. Arias are elaborate songs expressing acharacter‘s reaction to the emotional situation at hand, while recitatives are parts that are
half-spoken and half-sung with natural inflections of speech aimed at carrying the action31

to the next aria. For contrast and effect, the main characters may sing solo, duos, trios, andeven quartet. In addition and even the intention to highlight parts of the opera, it becomes
an imperative to include additional numbers which can be either choral, dance, or even
instrumental numbers in an opera. This further intensifies the fusion of several art forms inan opera which includes drama, theater and music.
Opera was introduced during the latter years of the Spanish colonial rule. As earlyas the second half of the nineteenth century, noted opera companies, soloists and virtuosi
were able to visit the country. By the Early twentieth century, there were many theatres in
Manila showing operas. Public reception towards the opera was high, often attracting
many watchers and listeners. A foreign author by the name of Arthur Hall in his book The
Philippines published in 1898, aptly describes the situation and thus averred that:
The theaters are always crowded, particularly on Sundaynights. The old theater holds about fifteen hundred people, and isforced to pay the Spanish government a revenue of five thousand
dollars a year. Operas are very popular, and plays with plenty ofvillains or a vein of immortality will run for weeks. During the
progress of the play, boys go about selling cigars and sweet meats.
Smoking is permitted, and clouds of smoke, towards the close of theevening, often obscure a view of the stage. The audiences, whileanything critical, are exceedingly enthusiastic, entering with heartand soul into the plot of the play. Firemen, with hose in hand, arestationed throughout the theaters in order to give confidence, for thebuildings are ramshackle affairs, and the oil lamps on their slenderbrackets are apt to fill timid with alarm. Then there is always thepossibility of a tornado or an earthquake.
As is the case in Spain and all her colonies, everybody whochooses to do so, is permitted to go behind the scenes…Frequently
the opera lasts until two o‘clock in the morning, an opportunity
being given to the audience to obtain refreshment between the acts
at the numerous restaurants in the neighborhood.
Besides operas and plays, at the lesser theaters are given
variety performances, and occasionally a circus turns out from
Hong Kong or Australia.

32Instrumental accompaniment to the operas and plays are provided by anorchestra and customarily, Filipino musicians were hired for the job. It is usually led
by a European and sometimes, a Filipino conductor.
In April 13, 1908, the newspaper El Renacimiento listed some sixty-six operasthat were presented by different opera companies from Europe. Operas such as ―La
Traviata‖, ―Lucia di Lammermoor‖, ―Aida‖, ―Rigoletto‖, ―Faust‖, ―La Boheme‖,―La Sonnambula‖, ―La Gioconda‖, ―Favorita‖, and ―Fedora‖--all conducted by Jose
Estrella.
The popularity of operatic production in Manila during the late nineteenth
century and early twentieth century was due to the fact that operatic airs were grist forthe mill of the humblest street worker and the ilustrado alike. (De Leon, 1978: 2340)
In 1887, the first Filipino opera company was founded by Ladislao Bonus. This has
further contributed to the repertory by presenting operas such as ―Fra Diavolo‖,―Lucrezia Borgia‖, ―Linda di Chamounix‖, ―Lucia di Lammermoor‖, and ―La
Traviata.‖
It was not long before the Filipino composers began to compose their own
opera. The constant exposure to different operas became a catalyst that led to theattempt of Filipino composers expressing their talents in making an opera. The first
Filipino Opera was ―Sandugong Panaginip‖ (La Allanza Soñada or Dream Alliance).
The opera‘s librettist was Pedro A. Paterno and its music was composed by Ladislao
Bonus. Bonus was a native of Pandacan, a place known to be the ―Little Italy of the
Orient‖ due to numerous talented musicians from the area. The opera was premiered33

in Zorilla Theater (now Isetann Department Store at the corner of Quezon Boulevardand Recto Avenue in Manila) and was attended by none other than the Civil Governorof the Philippine Islands, William H. Taft. It was so successful that it has been shownfor more than a week. Largely symbolic in character, the opera:…related the exploits of a certain king named Lapu, whoarranged a blood compact among his followers to form a unitedcompact agaiunst the invading Muslims. One night, while
pondering on his strategies, Lapu fell asleep in the cave of Dona
Geronima. He dreamed of having seen a rainbow with rays leading
to paradise and illumined by a constellation of American stars. Lapu
saw an American-Filipino alliance, which under Bathala‘s guidance
could bring prosperity and happiness to his people. (De Leon, 1978:
2342)

Also during this period, the Philippine Constabulary Band provides free
concert in Luneta Park. Audiences are allowed to request pieces that will be played by
the band. The popularity of the opera ―Sandugong Panaginip‖ (La Allanza Soñada orDream Alliance) has led to numerous requests to play its overture. Maestro Loving of

the PC Band had even translated the libretto of the opera, from Spanish to English but
all efforts were futile because the piece was incomplete. Several parts were missing
and therefore a musical arrangement for a band cannot be made. (Hila, 2004: 76)
Operas also would not have flourish if not due to the availability of theaters
where it has to be staged. It was evident that Manila has more than twenty-seven major
theaters (as listed in Cristina Laconico-Buenaventura‘s The Theater in Manila: 18461946). Some of the prominent theaters in Manila were the Zorrilla Theater, Teatro de
Bilibid, Teatro de Binondo, Teatro Tagalo de Tondo and the Manila Grand Opera
House. Theaters can be grand edifices of architectural wonders, built from stone but
also can be temporary, made for town fiestas and therefore made up of light34

materials. These theaters have been existing as early as the second decade of thenineteenth century but these are informal and temporary. It was only in 1846 that aformal theater in Manila was built. Teatro de Binondo was built under the
management of two men filled with a passion for the theater—businessman-engineer
Jose Bosch and a lawyer, Manuel Ponce (Retana, 1909: 70 as cited in Buenaventura,
1994: 5) The theater featured an impressive façade of graceful arches and columns.
Theater-goers were brought by their carriages right to the main entrance leading to awide lobby (Buenaventura, 1994: 5). Teatro de Binondo was distinguished from othertheaters by its shows because primarily, the theater shows Spanish plays. After a mere
twenty years of existence, Teatro de Binondo lost its magnificence. It fell into disuse
and after an earthquake, it was reduced to a dwelling for slums which were rented to
the Chinese and became a place for prostitution.
Theaters during the second half of the nineteenth century were already in a badstate--Teatro de Binondo is already decaying, Teatro Filipino was architecturally not
fit as a theater and the Teatro Principe was unimpressive. It was the Teatro Circo deZorilla that was able to stand out—architecturally because of its magnificent
proportions and attention to detail, and finally a large sitting capacity of 1352. The
building was owned by D. Ramon Santos, D. Valeriano Santos, D. Andres Frois, and
D. Federico Fernandez Ortiz. The theater was inaugurated August 17, 1893 and on
October 25 of the same year, El Diablo, a zarzuela written by Emilio and Rafael delVal, and musical accompaniment by Jose Estella was premiered. It is worthy to takenote that the Zarzuela was written and music composed by Filipinos. Teatro Zorilla35

was undoubtedly reserved to the affluent, powerful few and the elite. Because of this,the theater was designed to the taste of its patrons and theater-goers. The interiors arerichly decorated. Furthermore, the theater became a meeting place for the government
functions. It has also become a place where issues of national concern are discussed.
The theater also has been partly renovated to show films and other cinematic
productions. Teatro Zorilla has endured some forty-three years and just before theSecond World War, the theater was relegated to written records. It has been an
important place of convergence of the cultural personages and the elite during the latenineteenth century and up to the third decade of American rule.
As the power shifted, from that of the Spanish to the Americans, so is thecultural scene. Gone are the days of the Teatro Espanol because the new audiences are
the Americans. Furthermore, the theaters offered shows that catered the taste of the
new patrons. One of the new theater that was established was the Teatro Nacional,
later known as the Manila Grand Opera House and is a favorite among visiting opera
companies from the United States. The theater later became a favorite place for opera,
national events and assemblies, and Rizal Day celebrations. It was renamed such in1902. The theater was located along Calle Cervantes (known today as Avenida Rizal
or Rizal Avenue in Sta. Cruz Manila) The building served various important functions
for the government to function. It is where the First Philippine Assembly convened forthe first time on 16 October 1907. Moreover, it became a cultural center—foreign andlocal artists, musicians, opera companies and even groups have performed at the
Manila Grand Opera House. World famous opera star Amelia Galli-Curci and Jascha
36

Heifetz, a virtuoso violinist have performed there. Also, foreign opera companies suchas the Compania de Opera Rusa, Compania de Opera Italiana, and Carpi‘s ItalianGrand Opera Company performed here. As such these opera companies consider the
Manila Grand Opera House as their home whenever they are in the islands.
(Buenaventura, 1994: 79) The works and ideas of Rizal have also contributed to theenrichment of the arts and culture during the early years of the American period.
Rizal‘s novels—the Noli me Tangere and the El Filibusterismo became a source ofinspiration for composers, librettists and artists. Also, the commemoration of Rizal day
during the date of his martyrdom has inspired a line of shows and celebrations, thus
leading to more operatic productions and furthermore its popularity. As such, theManila Grand Opera House and the Teatro Zorilla became popular performancevenue. Operas such as the ―Cavalleria Rusticana‖ and ―Aida‖ were performed andwere accompanied by an orchestra conducted by Jose Estrella.
Theaters would cease to exist if there are no performers, theatrical and musicalsocieties. Actors, musicians and even ‗cultured‘ people formed the membership ofthese societies. The first theatrical society in Manila was the La Sociedad de Recreo(Retana,1909: 64-69 as quoted in Buenaventura, 1994, 28). The society wasinaugurated by non other than the Governor-General of the Islands, Narciso Claveria
on the 31st of October 1844 and presented its first show mid-November. Anotherartistic group that promoted the arts and literature was the Liceo Artistico-Literario deManila. The societies‘ members included Julia Moratinos, Anacleto del Rosario y
Sales, Juan de Aguirre, Evaristo de Aguirre, Mariano Romasanta, Nazareno Puzo, Jose37

Juan de Icasa and even the Philippines‘ National Hero, José Rizal. This artistic society
has even awarded Rizal during his stay at the Ateneo when he staged the ―Junto al
Pasig‖. The society furthermore has also promoted literature through contests andpresentations. Other groups such as the La Euterpe-Sociedad Musical Recreativa,
Union Artistica-Musical were formed for the membership of orchestra musicians. The
latter had the idea of forming a large orchestra, welfare and protection of music
professors, and the cultivation of music as an art. Notable personalities in the Union
include Pedro Gruet, Ramon Valdes, Eulogio Revilla and others. Aiming for the
betterment of musical arts in the islands, the society implemented strict and rigorous
standards among its members. Not long after, the Union flourished and its membership
included noted musicians and musical directors in Manila during the latter period of
the nineteenth century.
Long before Lea Salonga‘s Broadway performances awed the world with hervoice, Filipinas have already done that almost a century before. During the earlytwentieth century, three Filipinas namely--Luisa, ―Isang‖ Tapales, Jovita Fuentes andMercedes Matias-Santiago had shown the world the innate musicality of the Filipinos.
These three have performed in the concert halls of Europe--birthplace of Westernmusical tradition. They have conquered the hearts and minds of its audiences bybringing them to tears at the end of every performance. The three also laid thefoundations of Western Vocalism and specifically raised its standards in the country.
In 1924, Luisa ―Isang‖ Tapales‘ voice reverberated throughout the Teatro Donizetti in
Italy. Having the title role in Madama Butterfly of Giacomo Puccini, she became one38

of Italy‘s favourite Puccini heroines. Actually, this performance was rather crucial.
Tapales was a foreigner and her security of tenure was marked by only a night ofperformance as stipulated in the contract. Her superb performance of the title role
gained her respect in Italy, the cradle of opera. Isang Tapales‘ achievements in thefield of operatic singing were unparalleled. She sang with the leading opera singers in
Italy—the first Filipina to do so. The list of opera singers whom Tapales had sung withincludes Giacomo Lauri-Volpi, and Beniamino Gigli, both world-famous tenors.
Each and every performance of Isang Tapales as Cio Cio San brings almost
everyone to tears. Tapales conquered famous concert halls in Europe. Tapales wasborn on 21 June 1901 to parents Silvestre Tapales and Isabel Canals. It was his father,a music teacher and composer which became her first teacher in singing. At a youngage, Isang was already singing for movie houses and earned modest income every
night. It supplemented their modest family income. Isang was fourteen when she wasdiscovered by Frank Carpenter, the governor of Mindoro who was an American, andUniversity of the Philippines‘ president Jaime C. de Veyra. When Carpenter and de
Veyra left Mindoro, they had with them Tapales because Carpenter was offered ascholarship. Isang Tapales became a student of Jovita Fuentes. Fuentes trained Tapales
to be a dramatic soprano. Furthermore, an offer for her to study abroad was turned
down by her father because he thought Isang was too young to go abroad.
By the second decade of the twentieth century, operas are a popular form ofentertainment. Many operas were presented by foreign and local artists in theaters andopera houses in the islands. Isang Tapales is contented with the money she is earning
39

from teaching and performing. The idea of leaving the country to study further abroadcame to her surprisingly. She was in the house of the Tambunting one evening for a
performance. With her are a number of foreign and local opera stars. An Italiansoprano by the name of Madame Impalonieri and a baritone named Giovanni
approached and convinced her to go to Italy and study voice there. The two wereamazed by Tapales‘ voice and told her that she would be an amazing Madame
Butterfly. Hurriedly after the performance, she delivered it to her father who was still
hesitant to the plan. Full of ambition, Isang and her father sought the help of a family
friend, Justice Norberto Romualdez. Romualdez supported Isang‘s endeavor to havefundraising concerts. Nonetheless, Isang‘s fundraising concerts were able to raise hermoney needed for the sojourn to Italy.
Isang was accompanied by her brother Ramon to Italy. When they arrived in
Italy, the two have no background on the Italian language which delayed further thestudies of Isang. Referred by another student, they were able to find Maestro Ernesto
Carrona. Carrona was a baritone and a popular voice pedagogue. The maestro, uponhearing Isang sing, told her to come back so the maestro‘s friends could hear her. (Itwas unknown to Isang that the maestro‘s friends are singers from La Scala.) After her
performance, Maestro Carrona accepted Isang as his student and be a lyric soprano.
The maestro even offered lodging to Isang but the latter would decline.
A mere eleven months and Isang had no money left in the bank. That day,there was an impresario looking for an American who was willing to pay a hugeamount. The contract was not closed. The impresario was ready to leave Maestro
40

Carrona when he saw Isang standing by the corridor. It proved a eureka moment
because the impresario suddenly became interested in producing Puccini‘s ―Madame
Butterfly.‖Isang Tapales was launched not as a Filipina soprano but rather a Japaneseartist. She was paid six hundred liras, a measly sum during those days. Contracts andoffers came in pouring. She was also invited to perform in Rio de Janeiro in Brazil.
Reviews of her performances in different newspapers were full of praises andadmiration to the diva. Even the opera composer Mascagni, composer of La
Cavalleria Rusticana had praises for the diva. The two had met when Mascagni
conducted a performance in Alexandria, Egypt. The composer said ―My tiny Isang
Tapales is a great Iris‖ (quoted in Cleto, 1982)
It was in Rio de Janeiro where she reached phenomenal success. This is where
people knew and love opera well. She was booked for four months but performed forsix months. After this, she returned to Milan. She had enough money to buy a modest
apartment. She continued singing, performing from one city to another in first rate
theaters such as Paris‘ Grand Opera Comique, up to Brussels‘ Royal Theater, La
Monaiye.
The Second World War is now ravaging Europe. Isang Tapales was advised togo home. During the Japanese Occupation, Isang Tapales have opened up theaters forthe entertainment of Filipinos and even Japanese soldiers. After the war, she dedicated
all her time in teaching voice. Her brother Ramon Tapales, then dean of the Universityof the Philippines‘ College of Music offered her a professorial position at the41university. She would decline but instead offer the position to her former mentor,
Jovita Fuentes. She taught at the University of the East School of Music and theCentro Escolar University Department of Music. Her brood of students include Noel
Velasco, Gamaliel Viray, Enrico Saboren, Norberto Carating, Rhoda Isidro Pepito,
and others have made their own name in the field of operatic singing.
Following Tapales was another Filipina by the name of Mercedes MatiasSantiago. Again, Mercedes Matias-Santiago‘s voice reverberated through in Teatro
Communale in Turin, Italy. Mercedes Matias-Santiago was born to Juan Matias andRosario Regalado on 4 March 1910. Mercedes Matias-Santiago saw her first opera
when she was fifteen. It was her exposure to opera and other theatrical presentationthat Mercedes developed an interest. Wishing she could sing like the opera diva, shelater pursued and studied voice lessons from Galia Arellano and Victorino Carrion.
With the suggestion of an Italian prima donna, Mercedes came to Milan in 1928 tofurther hone her voice. During this time, two other Filipinas have already etched theirnames in the hearts and minds of Italians—Isang Tapales and Jovita Fuentes. It was inthis regard that Mercedes decided to go to Italy. She was accompanied by her mother.
When they arrived, Mercedes Matias-Santiago and her mother were met by the Italianprima donna who encouraged her to go to Milan and further study voice. This Italianprima donna was Thea Carugati. Carugati had conquered Manila through her
performance, with her role with different operas such as ―Lucia di Lammermoor,‖ ―Il
Barbiere di Seviglia,‖ and ―Rigoletto‖. Mercedes studied French, Italian andGerman—languages where most operas from the West are written. She later dropped
42

studying German because it might affect her bel canto singing in Italian. Mercedes
stayed with Carugati for a year and had almost daily lessons. She also studied under
Aristide Ancheschi, Rossina Storchio, and Ugo Bienvenuti. Ugo Bienvenuti was thetheater director of the famous La Scala in Milan. With Bienvenuti, Mercedes had abetter technique and a better grasp of her voice without forcing much her throat. It was
Bienvenuti who trained her the role of Gilda in Verdi‘s ―Rigoletto‖, which she later
premiered with renowned baritone Giuseppi Basi at the Teatro de Communale in Turin
Italy. Furthermore, her performance had been well-enough for her to have anotherperformance. By this time, Mercedes performed Rossini‘s ―Il Barbiere di Seviglia‖ at
Milan‘s Teatro Lirico and her dream role as Lucia in Donizetti‘s ―Lucia di
Lammermoor‖ at Milan‘s Teatro del Verme. After five years of singing in Milan, she
had to come home because her father was sick. This ended Mercedes MatiasSantiago‘s sojourn in Italy where she is fondly called ―Piccola Filipina.‖
It was not the end of the line for Mercedes Matias-Santiago when she camehome to Manila in 1933. She was welcomed in the country as a hero and had several
performances at the newly built Metropolitan Theater. Her performance in Manila
received positive reviews from critics and was warmly received by the audiences.
Mercedes Matias-Santiago‘s repertoire included her favorite roles and excerpts fromoperas. She was best known for her role as Lucia in the opera ―Lucia di Lammermoor‖
and was even branded by critics as the foremost Lucia in the country. In one of her
performance at the University of Santo Tomas Gymnasium, the Manila Times reported
that:
43

―With her performance of Donizetti‘s popular Lucia di
Lammermoor at the UST last night, Mercedes Matias-Santiago
established herself as the country‘s most appealing Lucia and gave
opera here another boasting.‖(quoted in Tariman, 1983b)

The Manila Chronicle also has echoed the same sentiment:―As in other cities abroad where the presentation of higher
types of music is part of community life, the cosmopolitan
population of Manila jammed the UST gym to listen, look andapplaud Mercedes Matias-Santiago as the country‘s one and only
Lucia di Lammermoor…The audience headed by Mrs. Manuel A.
Roxas, gave Mrs. Mercedes Matias-Santiago thunderous ovations
that implied their approval‖ (quoted in Tariman, 1983b)

After several more performance as Lucia, Mercedes decided to focus onteaching. This decision came to her after a concert and she could not register her
vocals while performing. She has then decided to concentrate more on teaching. Her
first teaching stint was during the Commonwealth Period. Mercedes was offered ateaching position at the University of the Philippines‘ Conservatory of Music.
Mercedes has trained many operatic singers in the country. Some of them are Conchita
Gaston, Catalina Zandueta, Dalisay Aldaba, Juanita Javier, Remedios Bosch Jimenez,
Aristeo Velasco, Consuelo Salazar Perez Lita Pimentel, Anthony Uy, Lulu Ampil,
Everlita Rivera, Rafael Cristobal, Alice Reyes Tan, Elisa Lammoglia, and even theFormer First Lady of the Philippines, Imelda Romualdez-Marcos. Her students haveeven made their own name in the field of singing.
Standing barely five feet tall, Jovita Fuentes was one of the giants in theoperatic scene in the country during the early twentieth century. Jovita was born to
Don Canuto and Dolores Fuentes on 15 February 1895. Though not a musicallyinclined family, Don Canuto felt that it was necessary for his children to learn music.
Even as a little girl, Jovita has shown keen interest to music. Sparing no time, her
44father got the services of the town‘s organist, Maestro Gorio. Jovita‘s childhood wasfilled with music-making and to further enhance this talent, Don Canuto decided that
Jovita be sent to Manila to be enrolled in formal study at the Santa Isabel College. It ishere that she made friends, some of her age. The young Jovita was captivated by thesoloists and the choir every time she attended masses at the chapel. Filled withcuriosity, she decided to join the choir. The young Jovita also joined school activities
and there, she would perform and have roles in the operettas and dramas. Alreadymaking progress as a future concert pianist, Jovita would later decide to focus insinging though this was met by a strong opposition from his father. Her first formal
teacher in voice was Salvina Fornari, an Italian living in Manila. She would later joinpublic contests and events. Her debut in 1910 at the Manila Grand Opera House wasable to captivate her audiences through her charming voice. On the first part of the
program, Jovita sang Ponchielli‘s Suicidio from ―La Gioconda‖ and at the second
part, she would appear as a pianist performing Strelekki‘s Grand Tarantella. Public
performances soon came thereafter. Fornari organized a benefit concert for the victimsof the eruption of the Taal Volcano. Jovita appeared both as a concert pianist
performing Franz Liszt‘s Rhapsody no II and singing the Aria de Nilo from ―Aida‖ ofGiuseppe Verdi. After this benefit concert, the newspaper La Vanguardia published areview on Jovita and identifying her as a future star. It added further that: ―Singing
Aida, that voice so fresh, of exuberant strength, vibrant with delicate nuances andvigor, captivated the public.‖ (quoted in Chung 1978: 22) A mere three months after
her graduation recital, Dona Ventura, her piano teacher died. In this regard, her first45

formal teacher in voice, Salvina Fornari was going back to Italy. Salvina Fornari wasconvincing the young star to go to Milan and study there owing to the lack of good
voice teachers in the islands during that time but also, she wanted Jovita to teachvoice. It was in this regard that Jovita had a brief teaching stint at the University of thePhilippines, from 1919 to 1924. Her relentless and ambitious youthful spirit desiredthat she go to Italy for further training. This was despite the contention of her uncle.
Jovita‘s decision ultimately prevailed. She left the country in 1924. Before leaving,
Jovita had a farewell concert. A modestly successful concert for every seat at the
Manila Grand Opera House was taken. Because of this, Jovita had the financial means
to travel to Italy. Jovita had the company of Monserrat Iglesias and Nenita Salgado.
The three left for Spain on 2 June 1924.
While in Milan, Jovita was eager to be guided by the best teachers around. She
was looking for a teacher that could introduce her the technique and nuances ofoperatic singing. Through referrals and recommendations, she found Maestro Arturo
Cadore. Moreover, eager to find friends in Milan, she was referred by the American
Consul to a Chicago Tribune music critic, Mrs. Anna Pratt Simpson and her daughter,
Fernanda Doria. They quickly became friends. It was Mrs. Simpson who convinced
Jovita to become an operatic singer. The role Mrs. Simpson had in mind for Jovita was
the title role of Cio Cio San in Puccini‘s Madame Butterfly. This was because Jovita
had the features of a Japanese, the ones needed for the title role. The half-convinced
future operatic singer was in doubt whether her family would accept the offer. Jovita

46

knew that this decision would elicit several letters and disagreements but she still sent
it to her mother. Though hesitant, her mother consented to the idea.
Jovita had the opportunity to study under Maestro Arturo Cadore. The maestro
listened to her and later has pointed out some flaws on areas she needed to improve themost. She then took daily lessons under Cadore. On the other hand, Jovita also took
lessons from another teacher. She approached Maestro Luigi Lucenti who wasrecommended to her by her language teacher. Immediately, she started training with
Lucenti. Her training with Lucenti was in the morning while Cadore in the afternoon.
Jovita was happy that she could now produce a better quality voice.
Jovita‘s debut on the opera stage was rather a surprise. She was practicing thenat Mrs. Simpson‘s apartment when she was heard by the tenant upstairs. The tenant
upstairs was a tenor by the name of Emilio Jani. Jani was in Milan looking for suitablesoprano for the opera Madame Butterfly. Immediately, Jani‘s impresario looked for
Maestro Cadore and told him that Jani was impressed and wants Jovita to be herpartner for the opera ―Madame Butterfly.‖ In the exacting standards of the Teatro
Municipale de Piacenza, Jovita rose up and even excelled the expectation. A contract
was drawn up and she was to be paid five hundred liras for each performance night. A
rather measly sum because other singers are paid double or triple that amount.
Nonetheless, Jovita is now making her debut at Italy as an operatic singer. The date ofher debut performance was set on 29 April 1925. It was a successful operatic debut.
People raved at Jovita‘s outstanding and marvelous performance. Definitely, it was anight to remember for Jovita who debuted her career in opera in Italy, the cradle of47

opera. The following years, Jovita had made a tour of Europe. Performing in different
theaters and presented to multitude of Europeans who loved opera. It was neverthelessa good time for Jovita. She was at the peak of her success and financially andartistically capable of being world renowned operatic singer. The Germans loved her.
The monarchs of Europe listened to Jovita as she sang arias and even Filipino songs in
the royal courts.
After more than six years in Europe, her impresario decided that Jovita should
go home. Jovita was honored with a hero‘s welcome—the Philippine ConstabularyBand and many other well-wishers welcomed her upon her disembarkation. She stayedfor quite some time in the country then proceeded to perform in Shanghai, China thenJapan. Afterwards, she came back to the United States and met there Mrs. Aurora
Quezon. Fuentes and Quezon became friends and later, Quezon even sent financial
and moral support. Without staying much further in the United States, she crossed theAtlantic to continue her operatic career.
It was a pleasant time for Jovita. She has performed and well-received by themost discriminating audiences in opera. Unknowingly while performing in Wiesbaden
Germany, she was watched and observed by the eminent late-Romantic period
composer, Richard Strauss. Strauss found her to be perfect for the role. As such:
With unfailing musical instinct, Strauss listened and knew that hehad found the Salome who had the vocal lyricism to sway an aging
king, the dramatic intensity that could bring to the fore theturbulence of a passionate love and incite a murder, and the face,
figure, and grace of a seemingly guileless Oriental princess.
(Chung, 1978: 90)

48

The opera Salome, since its premier in 1905 received mixed reactions fromcritics and audiences alike. It has been branded ―(as) an opera that destroys voices‖(Chung 1978: 91). The diva considered the proposal of Strauss. Within a year, Jovita
and Maestro Bienvenuti studied the score to make her perform the role withoutstraining much her voice. On the night of her performance debut of Salome, shewaited anxiously in her dressing room waiting for the cue for her to go up. Slated at
8:30, the opera should have started promptly. Anxiously, she wanted to go outside toknow what is happening but was not allowed by the stage hands. Several more
minutes later, she heard the opening chords from the orchestra which prompted her togo up. The opera was successful. Jovita had forty curtain calls. (Chung, 1978, 93) It
was unknown to her that earlier, some nationalists have tear gassed the theater. They
rallied against foreign performers in Germany.
After several more performances in Europe, she returned to the United States.
While in the United States, she realized that she needed money to oil the machinery
for her talent to be shown onstage. She then decided to go home and hone future divas
and singers. After the war, she was asked by the president of the University of thePhilippines to teach. She accepted a full professor position and headed the voice
department of the University of the Philippines‘ College of Music. Among her
students was Aurelio Estanislao. Also, her love for music and its propagation led herto the establishment of Asosacion Musical de Filipinas and the Bach Society of thePhilippines. Truly, Jovita Fuentes has etched her name in the concert halls and opera

49

house of Europe. She has also advanced and promoted Western vocalism in the
country. Jovita Fuentes was awarded National Artist for Music on 1976.
Luisa ―Isang‖ Tapales, Mercedes Matias-Santiago and Jovita Fuentes haveconquered not only the concert halls and opera houses of Europe but also the hearts
and minds of those who were able to watch and hear their performances. Despite thePhilippines was still a tierra incognito for talented artists during their time, they havecertainly proved that the Filipino have talent that is definitely worth-sharing to theworld. The three divas also laid the foundation in teaching Western Vocalism in the
country. They mentored and trained performers and opera singers that gained respect
and admiration, much like of their mentors here in the country and abroad.

50

CHAPTER IV
PROPAGATING WESTERN VOCALISM IN THE COUNTRY

It was during the American Period that Western vocalism secured its roots inthe country. However, it was the exposure of the Filipinos to the Western Musical Arts
during the previous colonial experience under Spanish colonialism that imbedded
Western music in the consciousness of the Filipino people.
A major contributory factor that helped espoused the firming up of Western
vocalism during the 20th century was education. Music schools, among which was the
UP Conservatory of Music that was set up in 1916, became the very venues for
exposure to Western music in general, and Western vocalism in particular. It was
through the music schools that academic art was given a strong impetus to prosper.
Exposed to Western musical forms, including vocal forms, Filipino composers
borrowed these forms but breathed in it their cultural fabric by infusing their identity
on their creations.
Music literacy, however, was also achieved through private tutorship outside
the confines of the classrooms. Ladislao Bonus for instance, did not go to a particular
music school, but got his musical education through tutorship. He had quite an
exposure in opera as he played the bass in opera productions staged by foreign companies.
Almost self-taught, he set up an opera company in his hometown Pandacan that wascomposed of Tagalog musicians and singers. Pandacan, in fact, was dubbed as the ―Little
Italy of the Orient.‖51

His productions were held in a cock-pit as there were no local theatres to speak of in thelocale. In 1902 he composed the music for what is believed to be the first Filipino opera,―Sandugong Panaginip‖ (La Allanza Soñada or Dream Alliance) on the libretto written
by Pedro Paterno, and was purportedly presented at Teatro Zorilla (now Isetann Mall on
Claro Recto corner Quezon Boulevard in Manila) in the same year. For this reason, Bonus
was hailed ―Father of Filipino Opera.‖ (See Santiago, 2010, 64-88)

The symphonic bands that proliferated during the American period became
also a veritable source for the appreciation of opera music, apart from the appreciationof Western music in general. The band transcriptions of various opera overtures, andsome operatic arias, graced the repertory of these bands. The outstanding band thatwas set-up in 1902 was the Philippine Constabulary Band under then the baton of theAmerican Walter H. Loving. Loving was known as a disciplinarian and took only thebest musicians to become members of the said band. He would go around provinces
and look for the best musicians among the different towns in the provinces around
Manila. In a 1903 performance at the Luneta, Loving got a request to perform theoverture to the said Bonus‘ opera but regrettably was not able to do it because themusic he got of the opera was incomplete. Another requested overture was Rossini‘s
popular ―Semiramide Overture‖ (Hila, 2004, 76).
In 1917, the Kundiman was transformed from folk song to an art song. The
Kundiman then undertook a process of transformation from folk to an academic art
piece such as an art song. Francisco Santiago, who was taken as piano instructor at the
newly established U.P. Conservatory of Music is considered the First Filipino who52made the Kundiman an art song. Santiago made a ternary form for the said Kundiman,
which ―prior to his time was just a simple unitary song form, either in minor or majorkey,‖ that bears the ¾ time signature. The song was titled ―Kundiman‖ with a sub-title―Cancion Filipina‖ (Filipino song) and is popularly known as ―Anak Dalita‖ (PoorChild), with Tagalog lyrics written by Deogracias A. Rosario and the Spanish text by
Jesus Balmori.
Hila said: ―written in A major, with a violin obbligato, the kundiman starts in
the related minor, F sharp and gradually develops to A major.‖ Noted for its
simplicity, the song is well liked for its soaring melody and its deep emotive content.
It is a song that ‗makes one recall the dark days that are gone and think of the rosydays that are to come.‘ (1995, 19)Upon its publication, it was hailed as the ‗formal transcription of the native
air.‘ Santiago‘s Kundiman inspired other composers to compose in the same genre
who ‗followed his trail and produced whatever they might to be of public interest‘(Hila, 1995,19). Another outstanding Filipino composer who wrote in the same style
was Nicanor Abelardo. The friendly competition that was attributed to the twocomposers produced a significant number of compositions in the Kundiman mold thatreached its height during the first three decades of the American period.
The Kundiman was believed to be comparable to the art song of the West, as
its ‗melody, text and harmony‘ are ‗unified to convey a maximum musical expression
for the Tagalog text.‘ (quoted in Hila, 2004, 51). Hila observed: ―While much of thefolk idiom was utilized, the kundiman does not literally reflect any folk melody. It53rather evokes a folk sensibility, a polished style, a subtle effect that exudes the folk
spirit, all expressed in a stylized manner.‖ (2004, 33).
It has to be noted here that with the opening of music schools, composers aswell as students had been exposed to the art songs written by composers of the Westsuch as Schubert, Schumann, and many others had. The singers‘ repertoire therefore
would be made up of these art songs, the kundiman, operatic arias as well as oratorio
arias, and the like.
When singers trained abroad, particularly in Italy, came home, the singing of
the Kundiman was done in the Italian manner. Oral accounts would have it that the
Italian way of singing was popularly adapted. The said performance practice wascarried through in the contemporary period after the Pacific War. It was in the 60s and70s that a correction was made by a known baritone, Aurelio Estanislao (1924-1978),who espoused the dropping of the ―Italianate‖ manner of singing the Kundiman,emphasizing that of the art song genre.
Estanislao was educated in the Conservatoire National de Musique de Paris
where he obtained Premiere Prix de Chant in 1953. He was reputed to be the first
Filipino to earn the highest degree given yearly by the Conservatoire after a 10-monthstay. He won Second Prize in the International Music Competition in Geneva,
Switzerland in 1954; another Second Prize in the International Music Competition in
Bosch, Holland in 1958. He served as the Chair of the Voice Department of the
University of the Philippines College of Music from 1962 until he died in 1978
(Aurelio Estanislao Papers, U.P Archives, N.D; N. P.).
54

In Manila he learned singing from the diva Jovita Fuentes who was his mentor.
Even if he learned the Italian way of singing, he advocated strict stylistic nuance insinging songs. He therefore was an advocate of an intelligent singing that considers,among others the differences of stylistic nuance of singing songs. He argued, that thepoetic content of the song be the guiding principle, including the correct prosody andnuance of the Tagalog language, like for instance the singing of the lieder and thechanson of which he was a leading exponent.
He argued that in the case of the kundiman, the music was composed first andthe lyrics came later. Therefore bad prosody, or incorrect inflection would often result
to mispronunciation of the words while singing the kundiman. He would tell his
students that art songs should show a unity between the text and the music so as toproperly convey the tight intertwining of poetry and the melody. So was the practiceof putting ―rubatos‖ and ―portamentos‖ in the kundiman where they are not warranted.
(interview with Antonio Hila, 2015).
Estanislao espoused the belief that since the kundiman was an art song the
canonic style of the art song‘s rendition should be kept. This is vividly exemplified in
the singing of the kundiman ―Madaling Araw‖, a composition of Francisco Santiago.
The employment of the portamento makes its rendition ―Italianate.‖ Of course thescore does not indicate such a portamento, but the pervasive influence of the Italianschool was too strong to resist. This is seen in the rendition of the phrase ―Kaawaan
mo Ako (Have pity on Me.)‖ of some singers. In the said phrase, when the second to
the last note leaps to a perfect sixth, and comes an octave down, singers employ
55

portamento (in the vernacular, it is called ―hagod‖) that makes the rendition operatic
rather than an art song. In fact this phenomenon is also discerned among pianists who
would put so many rubatos in playing the piano pieces of Chopin against the latter‘sadmonition not to do it. Intelligent pianists, however, would only choose a particularhigh point where the rubato is employed for heightened effect.
Among the students that Estanislao produced were soprano Evelyn Mandac,
the first and only Filipino soprano who portrayed Lauretta in Puccini‘s Gianni Schichi
at New York‘s Metropolitan Theatre in December, 1975, and essayed lead roles in somany opera productions the world over. The other outstanding student that Prof.
Estanislao produced was Noel Velasco as a baritone. Later, Maestra Isang Tapales
produced him as a tenor. He won the Pavarotti International Voice Competition andthe Liederkranz Foundation Wagnerian Competition both in 1981. He was the resident
tenor of the Opera Company of Boston from 1980-1984. He essayed the lead roles inoperatic productions abroad and in Manila
Andrea O. Veneracion was a colleague of Aurelio Estanislao. She was taught
by both Mercedes Matias-Santiago and Jovita Fuentes, and succeeded Prof. Estanislao
in 1978 as chair of the voice department until the late 80s. She earned a master ofmusic degree major in vocal pedagogy, minor in opera from the Indiana University,and took courses at the Aspen School of Music. The vocalism she imparted followed
the bel canto tradition but she was more concentrated in choral directorship. She
founded the U.P. Madrigal Singers in 1963 (that was renamed Philippine Madrigal
Singers due to its becoming a resident company of the Cultural Center of the56

Philippines) that is known worldwide due to its winning of the European Grand Prix in
1997, reputedly the first Asian choir that bagged the award, among many other firstprizes that made it the ―winningest‖ choir in the country. In 2007, the PMS again
bagged the European Grand Prix.
It has to be noted once more that exposure to Italian style of singing was
obtained in the last half of the 19th century. It is said that an Italian, a certain Goremounted opera productions in some theatres in Tondo, Manila in 1882. Donizetti‘s―Lucia di Lammermoor‖ was supposed to have been mounted in the same place in1886 with a repeat two years after in 1888. It is also reported that Ladislao Bonus whoplayed in the productions of opera companies mounted opera productions such as―Lucrezia Borgia;‖ ―Linda di Chiamounix;‖ ―La Traviata,‖ and ―Lucia di
Lammermoor,‖ at the Zorilla Theatre.
Verdi‘s ―Aida‖ was premiered in Manila in 1888 with a certain Luigi Casati as
orchestra conductor. It was presented for the second time at the Manila Grand Opera
House on February 2, 1933 with an all-Filipino cast. Angela de Gonzaga sang the title
role; Manuel Galicano essayed the role of the King of Egypt; Carmen Bernabe wasAmneris, and Jose Barredo, Radames. (Tariman, 2002 November 11: E-2)
It must be recalled in mind too that the three divas, the ―triumvirate‖ Luisa―Isang‖ Tapales, Jovita Fuentes, and Mercedes Matias-Santiago learned the art of bel
canto singing in Italy, where they performed and in the case of the first two divas,
sang in some parts of the World. Mossesgeld Santiago, a baritone, was the first
Filipino to have sung in La Scala in Milan, Italy essaying the role of Sparafucile in57

Verdi‘s ―Rigoletto.‖ Among the three divas, Jovita Fuentes was awarded the National
Artist Award in 1976, the highest recognition that the Philippine Government bestows
to its citizens in recognition of their artistic achievement at its highest level.
Mercedes Matias-Santiago began her voice lessons in Manila with Galia
Arellano in 1925 and later on with Victorino Carrion. In 1928 she went to Italy forfurther vocal training with renowned vocal pedagogues such as Ernesto Caronna, thementor of Luisa ―Isang‖ Tapales and Hugo Benvenutti whom Jovita Fuentes
recommended to her, and the famous Rosina Storchio.
She had her operatic debut in Verdi‘s ―Rigoletto‖ in 1931 at the Teatro Lyrico
in Milan. She also sang the lead roles in Rossini‘s ―Il Barbiere di Seviglia‖, Verdi‘s―La Traviata‖ and it was in Donizetti‘s ―Lucia di Lammermoor,‖ which she
performed 29 times between 1935 and 1959 that she became known, and was tagged
the foremost ―Lucia‖ of the country. Upon her return to the Philippines in 1934,
Mercedes Matias-Santiago held a series of concerts at the Manila Grand Opera Houseand the Metropolitan Theatre and gave recitals to the provinces with Regalado Jose as
her collaborative pianist. She premiered Rodolfo Cornejo‘s ―The seasons‖, a song
cycle for soprano and string orchestra in Manila on 15 September 1935. Together with
Isang Tapales and Jovita Fuentes, they were referred to as the country‘s ―triumvirate‖of operatic stars. She recorded songs for Parlophone company, among them
―Sampaguita,‖ ―Dalagang Bukid (Philippine Maiden)‖, ―Huling Awit (Last Song)‖,and ―Takipsilim (Dusk).‖58

Upon the invitation of then University of the Philippines‘ president Rafael
Palma who heard her perform at the Metropolitan Theatre, she became the Chair of the
University‘s Voice Department. After the War, she went to the University of Santo
Tomas‘ Conservatory of Music, upon the invitation of pianist Julio Esteban Anguita
and became Chair of the Conservatory‘s Voice Department. She taught at Santa Isabel
College, St. Scholastica‘s College, St. Paul College and Centro Escolar University.
Both she and Anguita were faculty members of the U.P. Conservatory of Music.
Together with some other faculty members from the said conservatory, theytransferred to the UST Conservatory due to some ―misunderstanding‖ with someofficials of the UP Conservatory of Music (Conversation with Maestra Santiago andYñiguez 1995).
Among the students Maestra Santiago taught who became known in theinternational operatic stage were Maria Nina Zandueta, a Wagnerian soprano;
Conchita Gaston, a mezzo soprano; Dalisay Aldaba, a lyric soprano who founded the
Opera Guild of the Philippines in 1969; and Eleanor Calbes, a coloratura soprano.
Another student, tenor Aristeo Velasco made a name in the local operatic scene.
After her professorial stint at the University of Santo Tomas‘ Conservatory ofMusic, Maestra Santiago put up a private studio on 1081 Maceda St. in Sampaloc,
Manila in the 60s where she stayed until she died in 2003. It became the Mecca ofseveral voice students who studied privately under her. Among the pianists who
collaborated with students in her studio were Nelly Arriola, Cleofe Batallones,
Purificacion Cavan, Ruben Federizon, Lourdes Gregorio, George Hernandez, Ruben
59

Hilario, and Antonio Ubaldo. Since the 1970s she mounted an annual voice recitalfeaturing her students at the Philam Life Auditorium that sang mainly operatic arias
and duets. Pianist Regalado Jose, her long time collaborative artist that dated backbefore the war, was the featured pianist who assisted her students.
All three of them actively engaged in teaching. At the time that the other two,
Tapales and Fuentes were still actively singing abroad before the outbreak of the
Pacific War, the former was already settled in Manila and was already teaching at the
University of the Philippines no less than as Chair of the Voice Department. Isang
Tapales coupled her teaching as an impresario, and Jovita Fuentes as a culturaladministrator, serving as Chairperson of the defunct Music Promotion Foundation of
the Philippines. From a series of conversations with Maestra Santiago at her studio, it
is known that her studio opens as early as 8:00 o‘clock in the morning and closes at
7:00 o‘clock in the evening. Truly a noted pedagogue, the vocalism that she imparted
among her students was the Italian bel canto, or beautiful singing, that she learned
from Italy. However she was well read. Apart from the scores of so many operas, andsongs, her library carried books on the history of opera, memoirs of singers, and thelike. She particularly treasured Viktor Fuchs, The Art of Singing and Voice Technique.
(London House and Maxwell: New York, 1964.)
She emphasized correct posture following the Alexander technique that allows
the body freedom of movement. The feet, she said should be apart with the right foot a
bit on the fore front to allow a 180 degrees movement. Next came the breathing,diaphragmatic breathing to be precise. She emphasizes that the air should be taken in60through the nose. This avoids the inhalation of cold air inside air conditioned halls thatwould affect the throat. No actual vocalizes are taught, which comes only after
teaching the student what diaphragmatic breathing is. She emphasizes coastal, notbreathing from the chest, following the dictum breathing is done from the lungs, andnot with the lungs (Lamperti, 1905, 7). For the beginner, she said it would take somethree months before breathing is learned.
Upon learning the basics of breathing she would teach vocalizes to thestudents. First and foremost was the warm up which was done through humming. Thiswas done through the lowering of the jaw, and flattening the tongue as if a ball wasplaced on it. This she called vocalizing vocca chiusa or closed mouth. Through this thesensation of the tone is felt, and the voice is properly warmed up.
After this, open vowels vocalizes are done. Here she would emphasize theclarity of the vowels that are associated with the rendition of Italian opera. She would
urge students to sing on the vowels, not the consonants. Her dictum was: vowels
change, but not the tones. She starts with a note where the student sings all the fivevowels, a, e, i, o, u. Then she proceeds to two notes, three, five etc., as the student
progresses. The vocalizations are done for about half an hour until the voice has been
shaped up. Only then would she allow the students to sing, not just any song but songs
from Anthology of Italian Songs, where the students are told to apply what theylearned from their vocalizes.
Legato singing is next emphasized. The student is taught the ability to connect
the notes in a legate manner, stressing on the formation of vowels without distorting61

the natural position of the mouth. Of course she would start with asking the student tosay or enunciate the vowel first before the note is intoned. Singing, she said should bedone as natural as possible. There should be no hindering pressure to allow the innate
beauty of the voice to come out. Neither should the teeth show up as in talking where
the teeth are not shown. Showing the teeth is no aesthetics at all.
The vocalises are done gradually. She would be patient to find out the lift orwhat she called the ―cambiata.‖ High notes, she said are the last to be developed, Theconcentration, she said was the development of the lower and the middle registers
which have to be shaped evenly. Students who are gifted, would have ease to hit thehigh notes in due time. When these are achieved, she would start classifying the singer
whether she is a dramatic, lyric, light lyric, coloratura, mezzo, etc. Then proper pieces
that fit the voice are recommended to the student. She would always remind students
not to do ala ―Callas,‖ or sing songs that do not fit their vocal timbre.
Other refinements for singing, such as phrasing, diction, and projection
follows. Projection was slowly being developed with the prolongation of the last noteof each vocalizes. She would ask students to stress, project, and prolong the last noteof the group of notes of each of the vocalizes. Placement was also emphasized. The
voice is kept on the passage, and once the voice is developed, the resonance is kept on
the mask, and with the high notes in the head. Intonation she said is important because
the singer does not use amplification and sings with the orchestra in opera productions.
The voice, she said, must be heard as far as the last row of seats in the62theatre. Interpretation is left to the students after proper guidance is given. Emphasizedis the dictum: technique is the servant of interpretation.
Vocalizes for the coloratura varies from that of the lyric soprano. While thelyric voice is taught to have agility likewise, the coloratura voice is given more agility
through the runs, trill exercises, staccati and leaps.
She emphasized a point that vocal production is not born overnight. Both thestudent and the teacher had to be patient. She demanded at the beginning that thestudent should completely surrender herself to the teacher. She disapproves of overpadding the voice to make it stronger. The bigness of the voice, she says is
proportional to the development of the breathing technique the student has masteredand developed. She also cautioned her students not to confuse tremolo, which should
be avoided, than the vibrato, which a good breathing technique would eventually
produce. Echoing Fuchs, she emphasized the importance of line versus volume.
The bel canto vocalism that she espoused therefore followed the long tradition
that is observed all over. It is as Maria Callas would say is a method of singing. One
thus learns ―how to approach a note, how to attack, how to form a legato, how tocreate a mood, how to breathe so that there is only a feeling of a beginning and ending.
In between, it must be seen as if you have taken only one big breath, though in
actuality there will; be many phrases with many little breaths. In short bel canto is an―expression.‖ (Ardoin: 1987, 3)
Arrigo Pola the teacher of Luciano Pavarotti who came to Manila and sang,and did some teaching or master class on the side, affirmed the beauty of the bel canto.
63

In the midst of the plurality of vocal teaching that abounds worldwide, he said that theright method is one that ―adapts to the student . . . One should arrive at a way ofsinging similar to the way of speaking. When Luciano speaks, you understand every
word. He enunciates with great clarity and this is very important to the public.‖ Oncethe right technique is developed, added Pola, it ―becomes an automatic reflex‘ and thevoice will be ―preserved much longer. (Pavarotti & Wright, 1981, 58) When the late
Maestra Mercedes Matias-Santiago spoke, one noticed that her voice was well placed.
The placement was similar to when she sang. At age 60, she was still active in singing
at parties.
In the post war period, musical production continued to proliferate including
vocal recitals and opera productions. Because of the absence of a national theatre
where performances could be held, musical productions were confined to therespective auditoriums of each school of music. The University of Santo Tomas
Gymnasium, for instance, became a favorite venue for concerts, including opera
productions. At the University of the Philippines, the U.P. Theatre was built and in the
60s, the newly erected U.P. Abelardo Hall became a favorite performance venue.
In the 50s, the Far Eastern University‘s Auditorium practically served as thecountry‘s first Cultural Center, that catered to concerts, opera, ballet and theatre
productions, apart from being a recital hall.
In 1962 the Philam Life Theatre, which has been closed some years back and isdue for demolition, was built. Built following international standards, its acoustics
were similar to the famous Sydney Opera House in Australia. It became the favorite
64

venue for all sorts of productions from music, theatre, dance and even to conventions.
Many local as well as foreign vocal artists were heard in this theatre.
With the establishment of the Cultural Center of the Philippines (CCP), a
veritable infrastructure was laid down to house the performing arts in the country. The
performing arts in music became very active as it found support from the governmentof then President Ferdinand Marcos and wife, the First Lady Imelda Romualdez
Marcos who championed the cause of the Arts. Part of the program that graced its
opening in 1969 was the production of the opera,
The government then believed that cultural development could not be achieved
without the needed infrastructure. Amidst a political campaign in Cebu City, Mrs,
Marcos publicly disclosed her intention to construct a national theatre, in articulationof the constitutional provision that the State should promote the development of artsand culture (See Hila, 2007, 32-38).
Since then, opera productions, recitals and the like were actively staged at the
CCP, The 70s and 80s witnessed the height of these presentations. Sadly, thepropagation of culture and the arts practically declined after President Marcos‘ years,
as the succeeding leadership practically neglected it.
Philippine opera likewise got a boost during the Marcos years. Among theseare Lucino Sacramento‘s ―Florante at Laura,‖ 1973; Eliseo Pajaro‘s ―Balagtas at
Selya,‖ 1978; Alfredo Buenavetura‘s ―Hinilawod‖, 1973,‖ and Francisco Feliciano‘s―La Loba Negra‖, 1984.

65

Needless to say the cast of these productions were voice students who had theirtraining from the leading schools of music in Manila, if not coached in private studios.
The CCP became an active venue for foreign as well as local vocal productions.
Among the memorable many foreign artists who graced the stage of the CCP
was Wilma Vernocchi who gave a recital in 1973. The following year, this remarkableprima donna of La Scala di Milan, essayed the lead role opposite Granco Gorichi.
Erlinda Dacanay, Emmanuel Gregorio, and Gamaliel Viray, all Filipino singers, did
the secondary roles (La Scala soprano…, May 22, 1973, p.5). Gregorio studied with
Jovita Fuentes, and Viray, apart from Fuentes, had Isang Tapales and Aurelio
Estanislao as his teachers.
In the same year, Renata Tebaldi and Franco Corelli performed operatic arias
and duets to the audience delight (Renata Tebaldi…, Oct. 20, 1973, 15). So wasimpressive the Russian coloratura Bela Rudenko who also sang in the said theatre(Russian singer…, Feb. 4, 1974, p.26). Another Russian who sang in the theatre wasElvira Uzunyan (USSR artists…, Oct. 6, 1975, 16).
In 1975, the celebrated tenor, Harry Theyard essayed two lead roles from La
Boheme and Tosca. He sang opposite Irma Ponce-Enrile Potenciano, a Filipina, in thefirst and Rosie Farol in the latter. Irma Ponce-Enrile Potenciano led the Voice
Department of the University of Santo Tomas Conservatory of Music and was trained
by Jovita Fuentes in opera and Aurelio Estanislao in lieder. Again, Gamaliel Viray
essayed the secondary role, that of Scarrione (Foremost Metropolitan Opera…, Apr.
22, 1975, 5). In the same year, Eliseo Pajaro produced ―La Traviata‖ with Remedios
66Bosch Jimenez, essaying the lead role opposite the German tenor, Hans Wegmann.
Jimenez trained under Mercedes Matias Santiago and did some master class with
Arrigo Pola whom she starred with in La Traviata (German lyric tenor is ‗Alfredo‘ inopera, Aug. 12, 1975, p.27). The following year, Harry The yard came back and sangin twin bill production of I Pagliacci and Cavalleria Rusticana, The cast was apowerhouse that included Maria Nina Zandueta, Manny Gregorio, Erlinda Azcuna,
Elmo Makil, Irma Potenciano, Noel Velasco and Gamaliel Viray (Manila SymphonySociety to stage…, Feb. 23, 1976, 16).
Vocal luminaries from Japan were featured in an operatic concert sponsored by
the Japanese Embassy. The singers included Toshikata Mori, tenor; Yonako Nagano,mezzo soprano Yoshinobu Kuribayashi, baritone and Kyoto Ito, Soprano, with Ikuma
Dan as conductor.
In the same year, 1976, Monserrat Caballe, the celebrated Spanish sopranomesmerized Manila‘s music lovers with her electrifying rendition of arias from of
operatic arias from Gianni Schicchi, Turandot and Tosca. (Soprano Montserrat
Caballe…, Sept. 6, 1976, 25)
In 1977 it was the turn of Germans Austrian singers who mounted Die
Fledermaus. The cast was composed of Elizabeth Lachmann, Eva Temper, Frits Uhl,
Robert Ganzer, Gerog Koss, Eva Wehle, Peter Winter, Walter Koller, Ursulla Engelke
and Wolfgang Mika (‗Die Fledermaus‘…, Jul. 13, 1977, 21).
In 1978, Joan Sutherland rendered a solo performance with her husband,
Richard Bonyne as her collaborative pianist (Joan Sutherland…, May 22, 1978, 21).
67

Mezzo soprano Joan Grillo likewise sang in the same year (Grillo: untemperamental
diva, Aug. 7, 1978, 21). Japanese soprano Mitsuko Seno likewise rendered a recitalwith Lourdes Gregorio as her collaborating pianist (Japanese soprano…, Sept. 27,
1978, 21).
In December 1979, the San Francisco Opera staged Tosca. The vocal
luminaries included Placido Domingo, Eva Morton, Justino Diaz, Guiseppe
Giacomini, with Kurt Adler as conductor (Tosca with top singers…, Nov. 2, 1979, 1).
Bela Siki, a Bulgarian dramatic soprano gave a solo concert.
In 1982 the Los Angeles Metropolitan Opera came to Manila and stage
Puccini‘s Madama Butterfly, with soprano Yasuko Hayashi; tenor Vicenzo Manno,
Joan Grillo, Louis Nabors, Kuniaki Hata, Emannuel Gregorio and Roy Tolentino (LAMetropolitan Opera…, Dec. 17, 1981, 9). In the same year, the Bulgarian mezzo
soprano Mihaela Agachi, was presented by the Philippine Philharmonic Society with
its founding chair, Prof. Redentor Romero conducting the CCP Philharmonic
Orchestra (Rumanian soprano…, Feb. 4, 1982, 9).
The following year was a milestone year for the Philippine opera: the opera
Company of the Philippines was born under the supervision of Sarah Caldwell, headof the Opera Company of Boston. Mozart‘s Magic Flute was presented and counted ofa powerful Filipino cast: Noel Velasco; Lilia Reyes, Lani Misenas, and Ida Ong. The
following year, Raquel Adonaylo, a voice instructor from the Opera Company of
Boston, conducted a six-week opera workshop (Auditions…, Jun. 28, 1982, 14).

68

In between the years of the 70s and the 80s, many performances by Filipino
vocal artists were mounted such as recitals, opera excerpts, and even opera
productions. Before the EDSA Revolution happened in 1986, the Filipino opera, La
Loba Negra, penned by Francisco Feliciano was staged that saw Eleanor Calbes in thelead role, and other Filipino singers namely, Elmo Makil, Gamaliel Viray, Amy
Bonnevie; Edgardo Crisol, Nomer Son, Nolyn Cabahug and Jimmy Melendres (LaLoba Negra…, Jul. 31, 1984, 10).
Local vocal productions were actively staged at the CCP. That indeed, became
the venue for the country‘s singers to display the training they had acquired from thecountry‘s leading exponents of the bel canto both from the private studios andconservatories of music. Apart from the collaborative efforts the Filipino singers did
with their foreign singers, many had managed to stage their own productions thatsolely featured Filipino singers covering the same period, of the 70s and the 80s.
―Gems of Opera‖ was presented in 1973 that presented highlights form
Madame Butterfly, Faust, and Rigoletto. In performance were some of the vocal gemsof the coutry, namely: Jose Salazar, Constantino Bernardez, Emmanuel Gregorio,
Erlinda-Dacanay Azcuna and Gloria Coronel. Guiseppe de Rigeriis was the guest
director of the ensemble found Filipino singers as ―gregarious and extroverts‖ whom
he said were qualities needed in opera, and the sterling ability of the Filipinos to put
their spirit in song and drama despite the fact that they were performing in a foreign
language. American conductor Robert Feist conducted the orchestra (A ‗gem‘ of theopera, Sept. 16, 1973, 48).
69

In the same year, the music-theatre, Zarzuela, a form that was popular during
the American Period as it became the vehicle for political propaganda was restaged
featuring soprano Conching Rosal, who was a product of the University of Santo
Tomas Conservatory of Music. The Zarzuela was ―Ang Kiri (The Flirt)‖ composed byLeon Ignacio with the libretto written by Servando de los Angeles (Conching Rosal…,
Jan. 23, 1974, 21).
A year after, Filipino singers sparkled anew in an operatic program withcollaborated by the Manila Symphony Orchestra conducted by Regalado Jose. The
featured singers were Ruby Salazar who sang arias from ‖La Boheme‖ including
Musetta‘s poignant song; Irma Potenciano who rendered arias from ―La Traviata‖.
Along with them were tenor Francisco Aseniero and Aurelio Estanislao (MSS ispresenting…, Feb. 20, 1975, 25). Soprano Juliana Benedicto, a graduate of the UST,
rendered a recital presented by the Jovita Fuentes Multicultural Society on August 31,
1975 (Benedicto song recital…, Aug. 21, 1975, 28). Two days after, Aurelio
Estanislao rendered an art song recital consisting of German and French songs
composd by Duparc, Faure and Strauss translated into Filipino (Estanislao to sing…,
Sept. 1, 1975, 25).
In January 1976, ‖Lucia di Lammermoor‖ translated into Filipino waspresented with the returning soprano Editha Hernandez. Conducting the CCP
Philharmonic Orchestra was Prof. Alfredo Buenaventura (Lucia di Lammermoor…,
Jan. 18, 1976, 15).

70

On August 19, 1976, Irma Ponce Enrile Potenciano gave an invitational song
recital sponsored by the Philippine Theatre of Performing Arts with pianist Lourdes deLeon collaborating on the piano (Irma at the CCP, Aug. 13, 1976, 27). Philippine art
song such as Felipe Padilla de Leon‘s, celebrated works. ―Awit ng Buhay‖ (Song ofLife) and ―Banyuhay‖ (metamorphosis) got a boost when they were rendered in asymphonic concert staged in 1977 with the soprano Ruby Salazar and baritone
Magdangal de Leon (Two soloists…, Jan. 28, 1977, 16). Previously, in 1975 another
De Leon masterpiece, ―Sarung Banggui‖ and Lucio San Pedro‘s (National Artist forMusic, 1991) ―Sa Umaga‖ was rendered by soprano Florencia Nepomuceno who
studied under Maestra Mercedes Matias-Santiago, in a concert presented by the United
Nations Association of the Philippines (Fule and Nepomuceno…, Sept. 20, 1975, 19).
Popular love songs written by the prolific song writer Alice Doria Gamilia
were rendered by soprano Ruby Salazar and baritone Gamaliel Viray in ‗Handibig‘ acontraction of the Filipino words, ―Handog (gift)‖ and ―Pagibig (love)‖ (Salazar,
Viray in ‗Handibig‘, Jan. 18, 1977, 14).
Memorable scenes from Felipe de Leon‘s opera ―Noli Me Tangere‖ (Touch Me
Not, 1957) was presented during the Philippine Day Celebration in 1982, featuring
Fides Cuyugan Asensio of the University of the Philippines (Fides Asensio‘s Sisa…,
Jun. 18, 1982, 13).
Other venues such as the Concert at the Park, Puerta Real Gardens and Paco
Cemetery also became veritable venues for vocal performances. The Philam Life
Theatre too was still patronized, and veritably was still a favorite venue for vocal
71performances. All told, Western vocalism becomes firmly rooted in the country. The
post war period, from 1946 to the end of the 20th century saw the proliferation of
vocal performances. The local stage was not only limited to local performances but
continued to feature foreign singers. Veritably foreign singers became a model for
excellence that gave impetus for the local singers to achieve more, and be globallycompetitive.
In the quest for excellence Filipino vocal artists had look beyond the country‘s
shores for training abroad. The example shown by the country‘s top singers who went
abroad for vocal training became a shining example and inspiration. Through cultural
exchanges, schools of music pursue and help their students to pursue vocal training. If
in the past, the direction pointed exclusively to the West, meaning Europe and the
U.S., today, the horizon has expanded to include the Asian countries, particularly
Japan, a first world Asian country whose vocal artists had gone abroad to gain further
training.
A new set of singers at present therefore, in consideration of the tremendous
opportunity they could derive from training abroad had sought further schooling inneighboring countries like Japan, not only in vocal training but also in their musicalendeavors. This is particularly true in the case of the University of Santo Tomas‘
Conservatory of Music that had sent its faculty and students to the Elisabeth
University of Music in Hiroshima, Japan.
Music, indeed, is a great equalizer, as musical talent is a universal
phenomenon. It is this universality of music that allows bridging and understanding of72

countries. While Western vocalism had been embraced, the cultivation of a country‘snative forms had been likewise pursued. This had been amply shown in the discussion
above, in the case of the Philippine kundiman that was evolved in the Western mouldof an art song that still exudes, Filipino sensibility.
Truly global integration becomes a reality, Music knows no boundary, and it
has remained through time a vehicle for international integration.

73

CHAPTER V
THE UNIVERSALITY OF VOCALISM

While the universality of vocalism has been affirmed through its adoption andintegration in the country‘s musical life, it has likewise served as a bridge forunderstanding and fruitful collaboration not only among leading classical singers in
the country, but more so leading schools of music. The case of the U.P College ofMusic and the UST Conservatory of Music is up for consideration.
It is but natural that competition among schools exists. But they exist not on
the petty, nor do they eschew chauvinism or plain bigotry. Music has always been
regarded as a great equalizer that levels up selfish ends and animosities. The
University of the Philippines College of Music and the University of Santo Tomas‘
Conservatory of Music have remained to maintain a professional relationship that isgeared towards the blossoming of the musical arts. Recently for instance, a joint
symphony orchestral concerts were held each in the main campus of both universities,
that had been hailed by a local critic as ―Collaboration, not competition.‖
The concert was seen as a ―continuing partnership,‖ that started some years
back with the staging of the opera ―Rusalka‖ at the University of the Philippines,
directed by Prof. Alegria Ferrer, former chair of the college‘s Voice department, andsaw the participation of the University of Santo Tomas voice students. Even its twooutstanding choral groups, the UST Singers, conducted by Prof. Fidel Calalang, which74

bagged the Choir of the World‘s Award twice, in 1995 and 2010, and the Philippine
Madrigal Singers, had also been sharing the same concert stage. (Hila, 2015: D20).
Vocal pedagogues from both universities would often meet in adjudication
tasks sponsored for instance by the National Music Competition for Young Artists(NAMCYA).
The mutual understanding and professional camaraderie that is observed
between vocal pedagogues and students of the said university are positive signs offostering the growth and development of vocal music in the country. Admittedly an art
form that is not popular among the people, especially in the remote past, the study invoice has slowly been pursued with quite a passion and enthusiasm among the many
vocal talents of the country. Today, there are more enrollees in both universities invocal studies, and their teachers, had also sought further training abroad in vocal
pedagogy, among others.
Looking back, it is worthy to note that the Filipino, as a race is a singing
people. They are quite musical, and music was part of their daily lives. Music became
an integral part of personal as well as national life, and had been part of any
celebration. It was this innate musicality that had facilitated the adoption andabsorption that the Spanish colonizers had introduced. The introduction, of course,
was done through the church, as music was part of the liturgy. The friars put up manyboys‘ choirs that assisted in the liturgy. The boys were not only taught how to sing but
were also given musical lessons such as sight reading and ear training.

75

From the church, music went outside through the many para-liturgicalactivities and practices such as processions, fluvial parade, Christmas tableaux, andmany more. From here, music was secularized, until folk songs evolved, and in thelatter part of the 18th century, songs were composed. The musical experience of thepeople was enhanced, and vocal music was appreciated in the many opera productions
staged by foreign opera companies were held. Filipino musicians played instrumentsin the said production, and extra talented Filipinos like Ladislao Bonus, would later onmount opera productions, held in cockpit arena as there was no theatre at the time in
the town of the said composers. However, there were many theatres that were built
during the colonial period that became the venue for musical productions, including
the opera. The cast was made up of local singers and musicians. Soon Ladislao Bonus
would compose a Filipino opera that was staged, and became a toast for national pride.
The American colonial period saw the transformation of the folk kundiman
into an art song, comparable to Western art songs such as the lieder. Many Filipinos
who had talents in music saw the opening of the music schools under the period in
review as a boon, for they were exposed to the Western works. As expected, Filipinos
borrowed musical forms obtained during the colonial periods in review, andappropriated it as another layer of their musical-cultural life.
The American period also saw some Filipinos going abroad for vocal tutelage.
Travel was conducive during the period, as democracy became the norm of national
life. Three outstanding Filipina sopranos, locally known as the ―vocal triumvirate,‖
Luisa ―Isang‖ Tapales, Jovita Fuentes, and Mercedes Matias Santiago, went to Italy76

to study voice. Soon they became the toast of the opera world abroad. When theycame home, they engaged in teaching that benefitted both the conservatories of the
University of the Philippines and the University of Santo Tomas, and likewise
indulged in vocal presentations. Isang Tapales doubled as an impresario; while Jovita
Fuentes as a cultural administrator, as she headed the Music Promotion Foundation of
the Philippines, while Mercedes Matias Santiago concentrated in teaching. Of thethree, Jovita Fuentes was named National Artist in Music in the early 70s.
Of the three, the author of this paper had the chance to have many
conversations with Maestra Mercedes Santiago in her private studio in the 90s. Her
manner of teaching was observed. And her philosophy on the bel canto technique she
generously shared with this author. Undoubtedly the same technique was imparted byher other two colleagues. It must be recalled that while studying in Italy, it was
Maestra Jovita Fuentes who recommended her a good teacher.
This particular vocal technique was so necessary in singing opera of which thethree were versatile interpreters. For them the highest achievement in vocal pedagogy
is the singing of the opera. Maestra Santiago postulated the belief that one who cansing opera can sing the art songs as well, and the reverse may not be true. For them,
the bel canto relies on a solid technique that is rooted on the proper expansion andcompression of the diaphragm. The air that is released aerates the vocal tones to
produce brilliant and dynamic sound. A correct posture, legate singing, brilliant
projection and articulate phrasing are associated with the technique.

77

This particular technique is indeed discerned among the students of these three
divas some of whom had acquired teaching position in both the University of Santo
Tomas‘ Conservatory of Music and the University of the Philippines College ofMusic. In fact the new generation of singers now had also been recipients of this kindof singing. Be that as it may, however, there is no single, general formula that can be
adopted and imparted uniformly. For all of these pedagogues emphasize theindividuality of the singers, and therefore, they have to be dealt with individually. This
calls for the individualization of technique that appropriately suits the singer.
One of the products of Maestra Fuentes was baritone Aurelio Estanislao. He
went to the Paris Conservatory in Sorbonne, France and taught and chaired the Voice
Department of the University of the Philippines College of Music for a long time. He
became the country‘s exponent of art song singing, especially the lieder and chanson,
and argued that the kundiman be sung in such a fashion rather than rendering it in an
Italianate manner. This is a singular contribution he made as singers now, would makea proper distinction of stylistic idiom in rendering songs whether they be operatic or
oratorio arias, kundiman, Broadway and popular classic.
Arts and culture did not get state support until the advent of the Marcos
government in 1965 to 1986, when the state gave full support to the development ofarts and culture. A National Theatre was erected, the Cultural Center of the Philippines
in 1969, upon the behest of then First Lady Imelda R. Marcos, who became an active
patron of the arts. Prior to its erection, the various small auditoriums or evengymnasium among schools, literally became theatres where musical presentations
78

were held. The Far Eastern University that was constructed in the 50s became afavorite venue, and the Philam Life Theatre, built in the early 60s, decongested thepresentations staged in the former.
With the active patronage of the First Lady Imelda Marcos, foreign singers,
and opera companies, came to the shore. This was not only true in the vocal arts, butalso music in general as several instrumentalists, symphony orchestras, conductors,
dance companies, choreographers and many other performing artists graced the
Cultural Center of the Philippines concert stage. The local artists, on the other hand,notably local singers, who were honed in the bel canto style of singing, would sharethe stage as they mounted productions at the Cultural Center of the Philippines, andeven at the Philam Life Theatre. Local singers were paired with foreign singers inopera productions, both in the lead and secondary roles.
Students from various schools of music, indeed, had a heyday for musicalappreciation. The productions they witnessed became a learning experience. If thiswas so for the students, it was also true to their teachers, and everyone, including theaesthetes.
The vocal teachers in the country‘s schools of music had continued to keep the
vocal tradition that they imbibed from their teachers alive. It is not static or stereotypeof learning but a dynamic one. It has grown and developed showing the best featuresof vocalism absorbed the world over. Friendly competitions among these music
schools are kept. But in the main, collaboration becomes the rule, rather than79

destructive rivalries. At once, the nobility of music is upheld that is built on the virtueof understanding.
Along this line, the case of the University of the Philippines College of Musicand the University of Santo Tomas is cited. The said universities had been performingside by side, and camaraderie is fostered among their students and faculty members.
Mutuality of respect is held, and collaboration in musical productions is conducted.
The fact that Western vocalism is still widely practiced in the country today
indeed attests to the universality of music. Culture, indeed, is dynamic. The existing
vocal tradition that obtained in the country before the advent of colonialism, hadabsorbed another layer, that of the West. Undeniably this new layering had given a
new sheen to the vocal-musical tradition of the country. Mimicry as Homi Bhabha had
asserted has indeed allowed the evolution of the ―other,‖ as the Filipinos had
appropriated such a borrowing to be a part of his vocal, musical culture, a culture thatis continually honed and attuned to global standard.

80

CHAPTER VI
CONCLUSION AND RECOMMENDATIONS
Conclusion
Western vocalism, therefore, has become a strong component of the Philippine
vocal-cultural life. Initially introduced through successive waves of colonial conquests
by Spain and the United States of America respectively, it has become a strong pillarof the country‘s vocal tradition that has remained vibrant until today.
Music, both instrumental and vocal became a tool of pacification. The friars of
the religious orders during the Spanish colonial period relied on the innate musicalityof the natives who became their allies to spread the Catholic faith through theirththvigorous assistance from the 16 to the close of the 19 century. The ‗academization‘
of the vocal arts during the American period reinforced and polished the musicalcapabilities of the Filipinos. Exposure to the Western culture became a rigorous
experience and an opportunity for a more specialized training ensured the dynamismof the said tradition.
In the second chapter, I discussed that since the introduction of the Western
tradition of music in the islands, it has been constantly dynamic. Music, being acollective expression of the musical genius of a particular people as averred by music
historians, is definitely a reflection of a society, particularly a musical one. Evidenced
through the folk songs the country has, Filipinos are innately musical. Daily
occupations and preoccupations were filled with music. Different tribes haveappropriated music in different parts of their lives. Music was practically used in every
occasion. This innate musicality is shown in their easy absorption of the Western81

musical traditions as attested by missionaries who used music as a tool for
pacification. During the arrival of Western colonizers in the islands, a new kind ofmusic was introduced. Western music was first introduced through the Catholic
Church. Through the Catholic Church‘s liturgical and para-liturgical activities, music
was introduced for it was an intrinsic part of the Catholic rites. This leads to the idea
that: ―Philippine music experience = Today‘s natives are yesterday‘s visitors‖. Coined
by Frank Lynch, this idea was propounded by cultural historians such as Florentino
Hornedo in explaining different cultural phenomena. Because of this, Western music
is not anymore foreign to the Filipinos. Furthermore, Western music has influenced
even the folk tradition of the country. This sums up to the general idea that Filipinos
have fostered a folk tradition that is rooted in Western form and sensibility.
In the third chapter, I discussed that historical developments in the worldthduring the 19 century had a wide-ranging effect on different aspects of Philippine
life. As early as the 19th

century, foreign and local opera companies have staged

performances of foreign operas in the islands. Operatic productions are often quite alogistical nightmare for it involves many different departments to present one. To
accommodate operatic productions, theaters and opera houses were built to give a‗home‘ and a ‗stage‘ for the different opera companies to stage their performances.
These were either temporarily made for special occasions or the ones built in stone andare architectural edifices. Visiting opera companies needed many people to stage an
operatic production. Being musically-inclined, they have hired Filipinos to take part indifferent aspects of a production. Filipinos became exposed to the different aspects82

of opera production and learned its rudiments who are used to this particular genre.
This was precisely because the Filipinos ―mimicked‖ what they saw and appropriatedit as their own.
This innate musicality of the Filipinos found expression in both local as well asinternational settings. The experiences the Filipinos underwent reaffirmed theuniversality of music.
In the fourth chapter, I discussed that as the colonial yoke was passed on fromthe Spaniards to that of the Americans, different schools of music and conservatories
were put up in the country. Music schools were instrumental in the spread of Western
vocal technique to be a part of Philippine vocal pedagogy; early schooling fromteachers made a giant leap towards the development of the vocal technique. Musicalschooling that once has been handled by different religious orders to accompany
liturgical activities had transferred to the academe. Music became ―academized‖
during the American colonial era. This will be reinforced by the liberal atmosphereprovided by the American colonial regime in the arts. Artists were able to go abroadand study there. Artists such as Luisa ―Isang‖ Tapales, Jovita Fuentes, and Mercedes
Matias were trained in Italy. Although trained in foreign shores, Filipino singers neverabandoned their roots. They also cultivated the country‘s very own native forms.
These singers have trained many others to even establish a ‗Philippine school‘ ofsinging and so did with the Filipino composers. In fact the first attempt to write aFilipino opera was done by Ladislao Bonus and titled ―Sandugong Panaginip‖(Dreamed Alliance) that was staged in Zorilla Theater. The same composer was83known for the cultivation of opera production in his hometown in Pandacan. In theabsence of a theater, operas were staged in a cockpit or other makeshift stages. Also,
the appreciation of the people with opera is bolstered by the symphonic bands
proliferated during the American period, and thus Symphonic bands also became averitable source for the appreciation of opera music. Furthermore, with the liberal
atmosphere provided by the Americans, local as well as foreign production companies
have staged their performances in one of the many great opera halls around.
In the fifth chapter, I discussed that the leading music schools in the country
such as the University of Santo Tomas‘ Conservatory of Music and University of thePhilippines‘ College of Music serves as a bridge towards understanding and fruitfulcollaboration among leading classical singers and performers, and students alike.
Universities such as the University of the Philippines and the University of Santo
Tomas became fertile ground for the training of vocal artists. Until today these
universities are the bastion of musical training that includes vocal arts. Teachers of
singing in these two universities almost singlehandedly learned from the triumvirate ofoperatic divas—Luisa ―Isang‖ Tapales, Jovita Fuentes, and Mercedes Matias-Santiago
and learned the intricacies of Western vocalism from the source, in Italy. The bel cantotradition has been rigorously kept, enriched by new techniques. This process ofgaining new vocal ideas was continuous to be enriched through exchange programs
and scholarship grants in the arts.
From this triumvirate emerged several generations of vocal pedagogues andteachers. In fact the list is just too long to mention. As the forerunners retired, they84

were replaced by the newly-trained but equally competent students. Vocal teachersand singers kept the Western vocal traditions they imbibed from their teachers; but
also grown and developed by absorbing the best features of vocalism in other parts of
the world. It is thus not static but a dynamic one.
The postwar period (1946 onwards) all the more saw the proliferation of the
vocal arts. Several operatic productions were staged that saw local vocal talents, manyof whom were schooled abroad, essaying the lead roles. Some productions saw
collaboration of foreign vocal artists, and opera production experts.
The sharing of knowledge in vocal arts is facilitated, made more meaningful by
the experiences local singers are getting through their exposure with the vocalism ofother countries. Such experience is not only confined and limited to the West but more
so in the neighboring countries such as Japan. For example, the University of Santo
Tomas has a strong academic tie-up with Elisabeth University of Music, where
exchange in vocal arts are dynamically done.
This becomes a window for an important update on how the Philippines andher neighboring Asian countries adopted and appropriated Western vocalism in theircountries.
Indeed, the tradition has been kept, and more than just enriched. Western
Vocalism as shown in the experience of the Philippines has undergone enrichment that
fused the innate musicality of the Filipinos with the Western vocal intricacies that
resulted into a vibrant, alive and kicking vocalism in the country.

85

Recommendations

In consideration of the thrust this dissertation has undergone, thefollowing recommendations are proposed:
1. First and foremost, the exchange program between the country‘s universities,
notably the University of Santo Tomas and Asian universities and Elisabeth
University of Music should be continued and strengthened. This affords students
of both universities to get an update in the theory and application of Western
Vocalism on both countries, and how they conform to international standards,
notably that of the West.
2. In the case of the Philippine experience, it is recommended that the Philippines
should promote more the musical and vocal arts than the way it did during theadministration of Ferdinand Marcos (1965 – 1986) that saw the proliferation ofopera productions and recitals. This artistic / cultural aspect has been neglected infavor of sports notably basketball which is a losing proposition as it is a game ofheight and Filipinos are not that tall.
3. Finally it is recommended that the public should be provided the necessary support
by the government to the practice and appreciation of the vocal arts. All artistic
endeavors will hereby come to full fruition even without private patronage. The
public and private sectors should continuously work together for promoting the
vocal arts to the Filipino people, for them always to remain a gem, with a lusterthat will be treasured forever.

86REFERENCES
Books and Journals

Alzona, E, ed. (1964). Julio Nakpil and the Philippine revolution. Manila: Carmelo
and Bauermann, Inc.
Ardoin, J. (1987). Callas at Juilliard. New York: Alfred Knoff.
Bañas, R. (1969). Pilipino music and theatre. Quezon City: Manlapaz Publishing Co.
Bhabha, H. K. (1994). The location of culture. London: Routledge.
Buenaventura, C.L. (1994). The theater in Manila: 1846-1946. Manila: DLSU Press
Castro, C. (2011). Musical tendering of the Philippine nation. USA: Oxford
University Press.
Chung, Lilia Hernandez (1978). Jovita Fuentes: A lifetime of music. The Jovita
Fuentes Musicultural Society.
De Leon, F. P., Sr. (1969). ―Poetry Music and Social Consciousness.‖ Philippine
Studies, 17(2), 8-12.
Fernandez, P. (1979). History of the church in the Philippines, 1521-1898. Manila:
National
Bookstore.
Felipe, V. R. S. (1998). ―Prima diva.‖ In The National Artists of the Philippines Pasig
City : Anvil Publishing, 152-157.
Hall, A. D. (1898). The Philippines... Charleston, SC: Street & Smith.
Hallazgo, J.A. (1986) ―Interview with Fr. Jesus Merino, OP‖ In ―The
Rosary Musicians,‖ Unitas, 59(4), 590-598.
Hallazgo, J. A. (1986). ―The Rosary Musicians.‖ Unitas, 59(4), 590-598.
Hila, A. C. (1989). Musika: an essay on Philippine music. Manila: Cultural Centerof the Philippines.
Hila, A.C. (1995a). ―Reflections on Philippine Culture.‖ Annuario/Annales, 9, 66-81.

87

Hila, A.C. (1995b). ―Francisco Santiago: The Man, Musician and His
Philosophy,‖ Annuario/Annales, Xlll 1-23.
Hila, A. C. (2004). Music in history, history in music. Manila: University of Santo
Tomas Publishing House.
Hila, A. C. (2007). The musical arts in the new society. Manila: Marcos Presidential
Center.
Hornedo, F. (1997a). Laji: An Ivatan folk lyric tradition. Manila: University of Santo
Tomas Publishing House.
Hornedo, F. (1997b). Pagmamahal at pagmumura: Essays. Quezon City: Ateneode Manila University.
Hornedo, F. (2014). Ballads and tales of the kankanaey of the Bakun-Amburayan
river valleys. Manila: University of Santo Tomas Publishing House.
Lamperti, G.B. (1905). The technics of bel canto. New York: G. Schirmer
Maceda, J. M. (1972). ―Music in the 19th century in extra European cultures- Philippines.‖ In Musikkulturen Asiens und Africas im 19 Jahrundert.
Regensburg: Gustave Bosse.
Manuel, E.A.―The Epic in Philippine Literature,‖ XLIV (January-December 1980),
Martin, V. (1901) Ensayo de unua sinterio de los trabajos realizados por las
corporaciones Españoles de Filipinas Tomo II. Manila: n.p.
Molina, A. J. (1967). Music of the Philippines. Manila: National Museum.
Ocampo, J. (1939). Memorándum que por el demando Dr. Francisco Santiago
presenta su abogado. Manila: Imprenta de Manuel Zamora
Pastrana, A. OFM. (1965). ―The Franciscans and the Evangelization of thePhilippines,‖ Boletin Eclesiastico January – February
Pavarotti, L., & Wright, W. (1981). Pavarotti: my own story. London: Sidgwick &Jackson.
Pfeifer, W. (1975). Music in the Philippines: Indigenous, folk, modern – anintroductory survey. Dumaguete City: Siliman Music Foundation Inc.

88

Phelan, J. (1959). The Hispanization of the Philippines: Spanish aims and Filipino
responses, 1565-1700. Madison: University of Wisconsin Press.
Retana, W. E. (1909). Noticias historico-bibliografo de el teatro en Filipinas desde su
orígenes hasta 1898. Madrid: Liberia General de Victoriano Suarez.
Ribadeneira, M. D., & Fernandez, P. G. (1970). Historia del archipiélago y otros
reinos. Manila: Historical Conservation Society.
Ruano, P. (1982). San Pedro Bautista: A saint in the Philippines. Quezon City: n.p.
Santiago, F. A., Jr. (2010). ―Remembering Ladislao Bonus (1854-1908): The Father ofFilipino Opera.‖ MANILA: Selected Papers of the 18th Annual Manila Studies
Conference, 64-88.
Velarde, P.M. (1749). Historia de la provincia de la pompaña de Jesús. Manila: n.p,
vol 2.
Zaide, G. (1948). Philippine history for catholic schools. Manila: n.p.

Periodicals and Newspaper Articles―Auditions for opera company slated.‖ (1982, June 28). Times Journal,14.
Baterina, M. J. (1973, September 16). ―A ‗gem‘ of the opera.‖ Bulletin Today. 48.
―Benedicto song recital Aug. 31.‖ (1975, August 21). Bulletin Today 28.
―Conching Rosal to star in ‗Ang Kiri‘ in CCP‖. (1974, January 23)Bulletin Today. 21
Cleto, P.G. (1982). ―The Opera Odyssey of Isang Tapales.‖ Arts Monthly. II(2), 15-17
De Leon, A. L. S. (1982, June 18). ―Fides Asensio‘s Sisa still unmatched.‖ Times
Journal, 13.
―Die Fledermaus‘ (The Bat) soon at CCP.‖ (1977, July 13) Bulletin Today. 21.
―Estanislao to sing lieder in Filipino.‖ (1975, September 1) Bulletin Today. 25.
―Foremost metropolitan opera tenor…‖ (1975, April 22). Bulletin Today, 25.
89

―Fule and Nepomuceno at CCP.‖ (1975 September 20). Times Journal. 19..
―German lyric tenor is ‗Alfredo‘ in opera.‖ (1975, August 12). Bulletin Today. 27.
―Grillo: Untemperamental diva.‖ (1978, August 7) Bulletin Today: 21.
Hila, A.C. (1983). ―A Tribute to Maestra Isang Tapales.‖ Arts Monthly. III(12), 11-12

Hila, A. C. (2015, March 23). ―UST and UP Symphony Orchestras Hold
Joint Concert: ‗Collaboration, Not Competition‖ Lifestyle, Philippine
Daily Inquirer, D2―Irma at the CCP.‖ (1976, August 13). Bulletin Today. 27.
―Japanese soprano in CCP recital.‖ (1978, September 27). Bulletin Today. 21―Joan Sutherland in lone CCP concert.‖ (1978, May 22). Bulletin Today. 21.
―‘a Loba Negra‘ to be staged as opera.‖ (1984 July 31). Times Journal. 10.
―LA metropolitan opera performs Jan. 21 and 23.‖ (1981, December 17). Times
Journal. 9.
―La Scala soprano to give lone performance at Cultural Center.‖ (1973, May 22).
Bulletin Today. 5.
―Lucia di Lammermoor‖ opera in Pilipino…‖(1976, January 18). Times Journal. 15.
―MSS is presenting program of arias.‖(1975, February 20). Bulletin Today. 25.
―MSS to stage two operas.‖ (1976, February 23). Times Journal. 16.
―Operatic concert to feature Japan‘s top vocal luminaries.‖ (1975, October 22).
Bulletin Today. 25.
―Renata Tebaldi and Franco Corelli to give three performances here.‖ (1973,
October 20). Bulletin Today. 25.
―Rumanian soprano at CCP.‖ (1982, February 4). Times Journal. 9.
―Russian singer Bela Rudenko to be soloist in NPO concert.‖ (1974, February 4).
Bulletin Today. 26.
―Salazar, Viray in ‗Handibig‘.‖(1977, January 18). Times Journal. 14.
90

―Soprano Montserrat Caballe at MSS concert.‖ (1976, September 6). Bulletin Today.
25.
Tariman, P.A. (1983a). ―RP‘s Unbeatable Opera Superstars.‖ Arts Monthly. III(12),10-11.
Tariman, P.A. (1983b). ―The Opera Odyssey of Mercedes Matias Santiago‖.
Arts Monthly. III(5), 4-8
Tariman, P.A. (2002, November 11). ―The Philippine-Italian connection in music,‖
Philippine Daily Inquirer. E-2.
―Tosca with top singers.‖ (1979, November 2). Times Journal, 1.
―Two soloists in Feb. 1 show.‖ (1977, January 28). Times Journal. 16.
―USSR artists at CCP Oct. 26.‖ (1975, October 6). Times Journal, 16.

Encyclopedias and Dictionaries
Blom, E. (1954). ―Overture‖. In E. Blom (Ed.), Grove's Dictionary of Music andMusicians (5th ed.). London: Macmillan .
Cultural Center of the Philippines. (1994). CCP encyclopedia of the arts vol. 6:
Philippine music. Manila,
De Leon, F. P. (1978). ―Manila welcomes the opera‖. In Filipino heritage: the making
of a nation (Vol.9, pp. 2340-2346). Lahing Pilipino Publishing.
Dioquino, C. C. (1994). ―Polka‖. In N. G. Tiongson (Ed.), CCP Encyclopedia of
Philippine Art (Vol. VI: Philippine Music, pp. 113). Manila: Cultural Centerof the Philippines.
Hila, A. C. & Santos, R. P. (1994). ―Kundiman‖. In N. G. Tiongson (Ed.), CCP
Encyclopedia of Philippine Art (Vol. VI: Philippine Music, pp. 95). Manila:
Cultural Center of the Philippines.
Malabuyoc, J. B. (1994). ―Habanera/Danza‖. In N. G. Tiongson (Ed.), CCP
Encyclopedia of Philippine Art (Vol. VI: Philippine Music, pp. 91). Manila:
Cultural Center of the Philippines.
91Webster's new collegiate dictionary. (1981). Springfield, MA: Merriam

ThesesAgramon, J. (1964). The state of music during the times of Andres Dancel andLeon Ignacio. Centro Escolar University.
Hila, A. C. (1990). The contribution of Francisco Santiago to Philippine music(Master's thesis). University of Santo Tomas
Online sources―Songs of the revolution.‖ (n.d.). Retrieved from http://malacanang.gov.ph/75729songs-of-the-revolution/. Accessed June 18, 2016.
Arnold, D., et.al. (1954). ―Opera.‖ In The Oxford Companion to Music. Oxford Music
Online. Oxford: Oxford University Press. Retrieved May 26, 2016, fromhttp://www.oxfordmusiconline.com/subscriber/article/opr/t114/e4847
Temperley, N., et al. (1954). ―Overture.‖ In The Oxford Companion to Music. Oxford
Music Online. Oxford: Oxford University Press. Retrieved May 26, 2016, fromhttp://www.oxfordmusiconline.com/subscriber/article/opr/t114/e4847―Sangdugong Panaguinip: the First Tagalog Opera.‖ (n.d.). Retrieved June 09, 2016,
from http://himig.com.ph/features/33-sangdugong-panaguinip-the-firsttagalog-opera
Hornedo, F.H. (2013). ―Florentino Hornedo Gawad CCP para sa Sining (Cultural
Research),‖ YouTube video posted by ―culturalcenterphils,‖

92

Archival Collections.
Aurelio Estanislao Papers, U.P Archives, Diliman, Quezon City.

Interviews
Conversation with Maestra Santiago and Salvacion Oppus-Yñiguez 1995
Conversations with Maestra Mercedes Matias-Santiago. Maceda St., Manila. 19982002
Conversations with Salvacion Oppus-Yñiguez. 1995-2003
Conversations with Lilia Reyes-Amoroso. Rome, Italy. 1998
Conversations with Irma Potenciano, University of Santo Tomas. 2000-2016
Conversations with Andrea O. Veneracion, University of the Philippines. 2000-2011.
Conversations with Gloria Dizon-Coronel, University of Santo Tomas. 1999-2016.
Conversations with Antonio Hila, Matahimik St., Quezon City. 2000-2016.

93

APPENDICES
MUSIC SCORESPAKIUSAP!
Francisco Santiago

A

c:

B
C:

94

C

C:

Coda

95

MADALING ARAW
Francisco Santiago

\

f:
A

B

Ab:

96

f:

C

F:

97

Coda

98

NASAAN KA, IROG?
Nicanor Abelardo

Intro
f:

A

99

B Ab:

f:

C

F:

100

MADALING ARAW
Francisco Santiago

Coda101