Libera: Celestial, yes, but often mundane, too / Czech violinist performs

The choir from London, which performed at the nearly packed PICC Plenary Hall, had its 22 members looking like white-robed monks. The tiny seven-year olds were “cute” and cuddly monks.

The oldest at 16 were at the age when the male soprano voice would soon turn masculine — deep and full. With their ages ranging from seven to 16, some singers were quite small; others, quite tall. The imaginative grouping and re-grouping of the choir heightened interest in the program. So did the images of the singing boys on the giant screen as well as those of the constantly changing abstract designs and patterns.

The choir boys were thoroughly disciplined, their voices cohesive, their controlled dynamics creating widely diverse emotions which alternately moved or delighted the listeners.

Named “Libera Angel Voices”, the choir did evoke celestial apparitions. But it also conveyed mundane images. Whether it was one or the other entirely depended on what was being rendered. Ave Maria and the Japanese Sakura — which we heard during the Occupation — did sound angelic. In other sacred songs, there were visions of the heavens opening or of Judgement Day. By contrast, the contemporary numbers, e.g., “Secret” or “I Am the Day” were earthy and robust.

One remarkable wonder of the performance was that there was no shrillness in the high notes, a quality often acquired by soprano voices in the top register. With Libera, the collective timber remained full-bodied, sonorous and ineffably exquisite in all ranges, high or low.

The accompanying recorded music was enhanced by Fiona Pears as assisting violinist for most of the early songs. Robert Prizeman, music director-conductor, alternately assisted on the piano with Steven Geraghty for some of the later songs.

It was a fascinating evening throughout, the youngsters giving their all in full-throated ease. At regular intervals, one or the other of the singers, including the tiniest, would talk and further captivate the audience, spicing his remarks with amusing English humor.

The huge crowd grew ecstatic when Libera ended the concert with Bayan Ko which, if I recall correctly, is from Severino Reyes’ Zarzuela Walang Sugat. As the youngsters and a soloist sang sans score, their voices were repeatedly drowned by thunderous clamor and applause. Many in the audience remarked that the stirring, propulsive Bayan Ko was the number they liked most — understandably, because it was their own! Further, it deepened the meaning of Phil-UK Friendship Week which was being commemorated by the concert and which was to benefit the British Alumni Association Foundation projects for Disabled Children and the Children’s Hour. Dr. Roberto F. de Ocampo, who had invited the Libera to perform here, delivered welcome remarks. Howard Belton, president of the Phil-British Society, considerably helped in promoting the auspicious concert.

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The National Commission for Culture and the Arts and the Cultural Center of the Philippines have feverishly embarked on programs, the NCCA to alleviate poverty, the CCP to aid typhoon victims.

The CCP will continuously feature leading singers and instrumentalists in fund-raising concerts. These will be free to the public which, in turn, is expected to give donations in cash or in kind.

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The concert of Czech violinist Jaroslav Sveceny, which followed after the cocktails hosted by Chargé d’Affaires a.i. Jan Janda to mark Czech National Day, coincided with another concert. This featured Robert Aitken, Canada’s leading flutist, eminent pianist Cristine Coyiuto, her brilliant flutist-daughter Caitlin and other leading flutists.

Sveceny is reportedly one of the best contemporary violinists and a prominent personality on the Czech musical scene. He has crowned his studies with master’s courses under world virtuosos Nathan Milstein and Gidon Krener.