Despite its rich history, opera often faces misconceptions. Many perceive it as boring, largely due to the language barrier, as most operas are performed in Italian, German or French. The length of operas can also be daunting for audiences accustomed to bite-sized content
CCP and NCAA executives include Alex Cortez, Monino Duque, Junie Del Mundo, Camille Lopez, Margie Moran, Jonathan Velasco, Jaime Laya, Kaye Tinga, Oliver Salonga, Myramae Meneses, Irene Marcos-Araneta, Anna Migallos and Roby Malubay.
Anna Migallos, soprano.
Myramae Meneses, soprano.
Irene Marcos-Araneta
Roby Malubay, bass baritone.
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Opera often gets a bad rap as an outdated art form. Yet this 16th-century Italian invention — a fusion of theater and music — remains popular, with compositions frequently used in commercials (think Beyoncé’s 2009 Pepsi ad inspired by Georges Bizet’s Carmen) and Hollywood soundtracks.
Another notable example is “Flower Duet” from Léo Delibes’ Lakmé. This iconic piece has graced films, such as The Hunger Games: Catching Fire (2013), The Last of the Mohicans (1992) and the classic 1984 British Airways ad.
Let’s not forget Giacomo Puccini, the Italian maestro whose compositions have featured in acclaimed films like The Shawshank Redemption (1994) and The Godfather III (1990). Luxury brands also frequently turn to Puccini’s music in their ads for its elegance and sophistication.
Italian and Philippine collaboration
Now, enter Progetto Puccini (Project Puccini). Launched just last Wednesday at the National Museum of Fine Arts, this initiative aims to energize the local opera scene. From 1 to 5 October, the project will kick off a series of masterclasses designed to nurture Filipino opera talent, honor Puccini’s legacy and inspire a new wave of opera enthusiasts. The project will culminate in a free recital on 5 October at The Metropolitan Theater, making it an accessible event for all.
Puccini — a collaboration involving cultural institutions like the Cultural Center of the Philippines (CCP) and the National Commission for Culture and the Arts (NCCA), with executive production by Irene Marcos-Araneta — presents a unique opportunity for young Filipino opera singers. The objective is to refine their skills, focusing on Italian diction, stagecraft and interpretation under the guidance of acclaimed Italian maestros who will be flying into the country: Fabio Armiliato, Mariano Panico and Lorna Zaccaria, alongside Filipino tenor John Florenci.
Masterclass participants will include winners from the National Music Competitions for Young Artists (NAMCYA) and rising stars from Viva Voce’s production of La Bohème. Aspiring classical singers and music students are also invited to observe these sessions.
At the press conference, Kaye Tinga, president of the CCP, emphasized the importance of showcasing Filipino talent: “One of the mandates of the Cultural Center of the Philippines is to showcase the best Filipino performers in arts and culture. And (Puccini) is one way that we are doing it. By conducting workshops, we hope to develop their talent, which can be part of the greater performing community.”
Challenging opera stereotypes
Despite its rich history, opera often faces misconceptions. Many perceive it as boring, largely due to the language barrier, as most operas are performed in Italian, German or French. The length of operas can also be daunting for audiences accustomed to bite-sized content.
Its style, particularly its use of classical instruments and vocal techniques, contributes to the perception that it is inaccessible — and even intimidating. Also, opera is often associated with high culture and seen as reserved for the elite.
However, those willing to explore the depths of opera will discover emotional complexity, powerful melodies and riveting storytelling. Soaring arias (dramatic solo songs) express a wide range of human emotions, from love and joy to sorrow and despair, rewarding those who immerse themselves in this art form.
Critically acclaimed soprano Camille Lopez-Molina, a mentor to emerging talents, remarked on the transformative power of live opera performances during the media Q&A.
“And I’m sure, because now there’s YouTube and everything else on the internet, (young Filipino audiences) are already exposed to (opera) and can explore it on their own. But it’s different when it’s live,” she said.
“And when you open the minds of young people to (opera), then who knows where it may lead?” she added.
Puccini serves as a vital reminder of opera’s rich offerings. Even without understanding the foreign-language lyrics, audiences can still be swept away by the music, costumes and lighting.
“So we build our singers, we build our audiences and, eventually, hopefully, they will pursue the profession where singers can live doing what they love. And audiences will enjoy this music that is really universal, and that, I think, is relatable — if only we get to know it,” said Lopez-Molina.
It is a well-known fact that Filipino opera singers possess extraordinary talent, and they deserve recognition on the global stage. Puccini may well become the bridge that connects these artists to a broader audience.
At the press conference, Marcos-Araneta articulated the need for visibility: “Our talents are immense, but we have failed to give them an audience. I think it’s time to expose the general public to this artistry. We need to value our artists as they should be valued.”
