In commemoration of National Women’s Month and in celebration of its second year as a cultural venue, the Goldenberg Mansion hosted Ikalawang Taon: Mga Himig ng Mutya, an evening devoted to music for and by the female voice. The nostalgic and modern production expertly brought together musical pieces across genres and eras. Moreover, it remained with a single premise — how women, through music, proudly carry presence, emotion and memory.

Held at the stately manor itself, constructed in 1898, the occasion was even more special. Once a private residence and now a site for state and cultural events, it is a setting where the past and present seamlessly converge.

The stars of the night were sopranos Jade Riccio and Vidagrace Khalil Mirang.

Riccio, often fondly referred to as Asia’s Jewel, has a sterling reputation, which flows from classic repertoire to contemporary sensations. A Hall of Fame awardee of the “Aliw Awards” after consecutive wins in both classical and crossover categories, she heads Riccio Music & Artistry (RMA) Studio Academy, where she mentors students across different countries.

Mirang, with more than 20 years in blockbuster performances and hands-on teaching, has taken up pivotal roles in major operas such as La Traviata, Manon Lescaut and Fidelio. She remains active in choral and operatic circles and currently serves as vocal head coach at RMA.

They were ably joined by Michelle Ann Andra on violin, Claudia Armi Berenguer on viola, and Karla Maria Diño on piano — young musicians whose efforts span orchestral performances, studio recordings, and popular collaborations with both local and international artists.

Riccio opened with “Feeling Good,” a soulful piece, which immediately set the tone. Written in 1965, the entry speaks of renewal, but when sung, sounded more grounded. This was followed by Édith Piaf’s signature “La Vie en Rose,” delivered with restraint, allowing its warmth to radiate.

She then moved into Puccini’s “O Mio Babbino Caro.” The aria’s emotional plea remained direct and unadorned. In contrast, Ryan Cayabyab’s “Araw Gabi” felt familiar in a distinct way. Composed as a personal gesture, the love song held on to its promise of constancy.

Mirang’s set shifted the mood. Henry Mancini’s “Moon River,” from the hit film Breakfast at Tiffany’s, had its melody unfold at an unhurried pace. In “Mutya ng Pasig,” the sentiment was even more heartfelt. Nicanor Abelardo’s kundiman, with its image of a spirit rising from the fabled river, carried both longing and distance in a refined delivery.

The two sopranos came together for the “Duo des Fleurs” from Lakmé. The piece, light on the surface, relies on balance. The pair’s voices blended and complimented each other.

Between vocal sets, the instrumentalists took focus. “Beauty and the Beast” was rendered as it should be — simple, measured, and without excess. “Por Una Cabeza” followed, its rhythm more pronounced within bounds.

The final segment brought both singers back on stage for “For Good” from the beloved Wicked. The duet, centered on change and friendship, set a reflective note rather than a dramatic one.

Riccio’s closing number, “Never Enough,” avoided the usual excess associated with the opus. Instead of s spectacle, it allowed the underlying sense of longing to resurface.

By the end of the evening, Mga Himig ng Mutya did not attempt to impose womanhood in any particular way. It presented it in the form of a song — restrained and strong, controlled yet unbound, quiet yet powerful.

¡Enhorabuena, Jade Riccio and Vidagrace Khalil Mirang! Bravo, Michelle Ann Andra, Claudia Armi Berenguer and Karla Maria Diño!