A Night of A Capella: Akapela Open 2015

Taken from the Akapela Open Twitter account

The Akapela Open is a contemporary a cappella singing competition, created by the Music School of Ryan Cayabyab (TMSRC.) It has clearly promoted a cappella music and performance since its inception, because the contestants at last night's finals were of a much higher caliber. Still held at the Meralco Theater on its third year (the event is sponsored by the One Meralco Foundation,) the house was teeming with a cappella lovers before the show started. 

The Part 4, a male quartet who were all scholars of the TMSRC, kicked off the evening with introductions and a medley of songs that, in retrospect, were some of the songs sung by the contestants that evening. It provided an overture for the rest of the night; and they sounded so good, they got me rightfully excited for the finalists' presentations.

Part 4: hosts, singers, comedians

I'm not sure if my memory serves me right, but I recognised 6 out of the 10 groups' names, meaning they had already participated in the previous years. I was disappointed that some groups were missing from the line-up (like my friends from 1415, who bagged the Best Vocal Arrangement and 2nd Runner-Up in 2013,) but I had some of my other favorites in the competition that I was still rooting for. 

Waiting for the show to begin

The finalists, in the order that they performed, were D' Mortal Instruments, 10,000, Mouthfools, Voices, Five Percent, Acapellago, Iskala, G Harmonic, Pinopela, and Dynamix. I commend all the groups who joined, because I know that a cappella isn't easy. It takes a lot of time to arrange a piece, learn an individual part, color it with different vocal productions, then try to make sense of it all when the group comes together. It sounds like a lot of work, and it is; but the pay-off is euphoric, at least for me. Maybe that's why I've joined choirs since I was a child, attempted to form singing groups with high school classmates, trained and toured with the University of the Philippines Concert Chorus for most of my college life, enjoyed singing stints with a handful of friends, and eventually ended up singing professionally with the Ryan Cayabayab Singers. It's no exaggeration when I say that I feel closer to God when I sing in beautiful harmony with other people. That's why I think everyone last night was already a winner even before the show began. They had already accomplished so much in preparing for that endeavour. 

Loved these girls in pink from Voices

That said, it was still a competition, and it was evident who were confident in their craft the moment the first notes were sung. Un/fortunately, every detail that they decided to showcase affected their entire package, from choice of songs, clarity, and costumes, to blocking and choreography; if those things complemented their talents, then this allowed the groups to shine. The downside is that those who sang arrangements that were too complex for their level, wore ill-fitting or uncomfortable clothing, or those that attempted choreography but were awkward in its execution could not be ignored either. 

This year, one requirement was to sing a song from the Philippine Popular Music Festival's (Philpop) repertoire. There were duplicates in their choices, with Joey Ayala's "Papel," Thyro and Yumi's "Triangulo," and Jungee Marcelo's "Salbabida" performed twice each. I loved the simplicity of Voices' "Pansamantagal," which suited their pretty-in-pink ladies so well. There were fun parts in G Harmonic's "Musikaw," especially the rap and the fade out before the final chorus. Pinopela's "Salbabida" with it's wide chords and long vowels was so broad, thick, and powerful; and Acapellago's "Triangulo" really knew how to build a climax with that no-beatbox break. I liked how Dynamix's arrangement of "Papel" was so fresh and inventive (though it reached a point when it deviated too much from the original for my taste.) These were the arrangements that stood out for me, for no reason other than it matched their capacity to execute; and I think this is something that future contenders should consider from the very start. 

Thyro & Yumi singing "Dati" for the intermission

I was betting on the same winners, though I wanted Pinopela to place first runner up. There was something about their classiness that just permeated throughout their music and movements. They stuck to blockography, ditching the fancy dance moves, but they walked with such confidence that every formation appeared grand. What I liked about Dynamix, whose style and fondness for the semi-chromatic harmonic runs (much like Pentatonix) was that they knew how to play with their voices to imitate instruments for the back-up parts. They also live up to their name, and manage their dynamics really well, swelling and hushing in perfect sync. 

Pinopela in clean pantsuits

The champs: Acapellago

But winners are winners for a reason. Acapellago had everything a contemporary a cappella group should have: excellent musicality, creativity in their arrangements, soloists with limitless vocal abilities, sensitivity to their group's balance, energy, flair, and character! The beatboxing gave just the right percussive depth to their songs, an amazingly accurate likeness to real drums. All the singers fit like pieces of a puzzle, properly indistinguishable as individual voices, until the need to provide an extra pop or element of surprise. Lastly, that tenor soloist. He was oozing with personality, from the tips of his curly hair right down to his fingertips. You know that saying, "Anything a man can do, a woman can do better?" Well, this guy makes me think, "Anything a woman can do, a fabulous gay guy can do better!" 

In the end, I only wish they'd figure out how to get the results out faster; because while the crowd enjoyed the antics of Part 4, there was a palpable drop in attention and excitement when it took more than 30 minutes to announce the winners. Despite that, I think the audience expected who would finish on the podium, and it was a joyful end for everyone on and off stage. As Acapellago reprised their performance, enjoining the contestants to snap and clap behind them, everybody sang along and just had fun -- which is what the Akapela Open is all about.

Reprise of "Burlesque," all the finalists snapping behind them

If you're interested in joining next year's Akapela Open, visit their website www.akapelaopen.com and "like" their Facebook page to be notified on the call for auditions. The grand prize this year was P300,000.00, and P150,000.00 and P100,000.00 for the 1st and 2nd runners up. P30,000.00 was awarded to all finalists, with special prizes from PLDT Telpad, and a People's Choice Award.

Art, Adventure, and Tapestry

The National Museum of the Philippines has many regional branches, but I've only been to the National Art Gallery in Manila. I first went when I was a freshman, though my memories  are now limited to the picture my block took on its front steps. Admission had been free until only recently, when they started charging entrance fees; and rightfully so, because the museum needs and deserves continuous funding for its maintenance and the restoration of the artwork it houses. October is Museums and Galleries month, so they decided to open their doors to the public for free again. I last went at the end of June, in the process of getting into character for Spoliarium, the opera by Ryan Cayabyab. Ryan and I decided to go yesterday because we had tickets for a show that night, at the same venue!

Almost sunset, our flag flapping in the wind 

First on the agenda was Juan Luna's Spoliarium, a 166 inches x 302.2 inches oil on canvas. No matter how I try to describe how large it is to first-timers, it never prepares them when they see it from across the room. I've seen this piece three times by now; and every time I saw it, I was at different points in my life, having a different perspective that helped me gain new appreciation of it. The first time I saw it, I was struck by how majestic it was, not merely because of its sheer size, but because of its dark, gruesome, ancient Roman theme. A couple of months ago, having studied the painter's tragic life, I considered what his art had meant in that tumultuous time of the Philippine revolution, with so many of his friends and compatriots dying; and then wondering how that had affected his personal life in the following years, when he was said to have lost his mind and killed his wife and mother-in-law. Yesterday, my mind was full of the text I'd been reading about drawing, and I was taking note of his use of lines, looking closely at his strokes, thinking about where and how he had started on that gigantic canvas. My mind can't comprehend that kind of genius just yet. 

In fact, going around the galleries yesterday, even with my short and shallow exposure to the techniques of drawing, it was like I was seeing the artwork with new eyes. The collections were so extensive, I couldn't linger on a single piece for very long; but there were some that made me stay a while longer. My favourites were Amorsolo's "Children Playing in the River" (for its nostalgia, softness, and movement and reflection of water,) Ben Cab's "Sabel" (for its boldness,) Joya's "Ethereal Aura" (for its luminescence and mystery,) Manansala's "Bayanihan" (for its texture,) one of Luna's less popular landscapes (because of its beautiful sky, that doesn't look as magical up close,) Ocampo's "Mission Accomplished" (for its storytelling,) works by Nena Saguil (for their distinct character,) and artefacts from the artists, like diaries, pens, and palettes. 

Children Playing in the River, Amorsolo

Sabel, Cabrera

Ethereal Aura, Joya

Bayanihan, Manansala

(landscape,) Luna

Mission Accomplished, Ocampo

Ben Cab's palette of shot glasses

E.A. Cruz's artefacts

A palette passed on from Francisco to several other artists, finally painted on by Galicano

On a side note, in a previous visit, my friends and I had noted from several paintings that Luna didn't do hands very well. When we saw this painting of a soldier, we couldn't help but laugh, because he seemed to have just given up on his right hand! It's somewhat comforting to know that even the best have their weaknesses.

Handless soldier! ;) 

We stayed until they had closed the gallery lights on us at 5:00 pm. The concert wasn't scheduled to start until 7:30 pm, so Ryan and I decided to grab a bite at a nearby mall. Everyone we asked had said it was a walkable distance from the museum, but no one told us that there weren't any crosswalks along the way. So, in true Manila spirit, we crossed a bridge with very low railing, jaywalked across a main road, where plenty of vehicles were speeding, followed an incorrect tip to go under a tunnel, passed many street vendors with stolen phones and accessories, but eventually arrived safely at our destination. 

At the mall, inspired and feeling ambitious, I stopped by a craft store and bought drawing/writing materials. After a quick snack and three very tall glasses of iced fruit juices (we were thirstier than we anticipated,) we planned on taking a trike back to the museum. Except, the trikes outside wanted to dupe us, asking me for P100 for a trip that was less than 500m away (note: Ryan did't even open his mouth, so he thought I wouldn't think this were extortion?!) More confident of the way this time, we walked back with no hitches.

The Philippine Madrigal Singers has been hosting the Madz Et Al. Choral Festival for the past weeks, and last night's show was titled, Tapestry: Philippine Folksongs in Focus. It was held at the Old Senate Session Hall, a beautiful, high ceilinged chamber on the third floor of the museum.

5 choirs with the Philippine Madrigal Singers, a ka Madz Et Al.

From my understanding, the Madz Et Al. is the fellowship of the different groups being handled by Madz alumni. The Madrigals have always been reputed to expect a high level of musicality from their members, so it's no surprise that each one has passed on his/her musical excellence to their respective choirs. Last night was food for the soul, the kind you can only get from hearing voices in harmony. I had only heard of one choir in the line up, but the others didn't disappoint. I was slightly confused by the repertoire, expecting purely folk songs; but unless I'm mistaken with the genres, each group sang a mixture of folk and spiritual songs.

Philippine Merchant Marine School Choir
Luninging San Jose (Conductor)

This group had clear tones, and showed lots of potential. They also had a soprano that sang her lines so effortlessly. There was a lack of confidence in their performance, which was evident in their indecisive entrances and ends of phrases. Some female voices in the middle could be more careful with their intonation (just upon observation, they can try opening their mouths a little more?) and in total, the group can improve on their English diction. The arrangement of Balot (by Bello) that they sang, while sung well, lost the playfulness that I love from the song. 

Magsaysay Chorale
Jose Emmanuel Aquino (Conductor)

The next choir had no problems with confidence, looking comfortable on stage. Even as the men were outnumbered 4 to 7, they were not overpowered by the women; but there was something off about the overall balance that I only figured out at the end. They sang an arrangement of Bridge Over Troubled Water that I was familiar with, and  realised I couldn't really hear their altos. The ladies could also have blended better if they had made their vocal productions more uniform. There were shaky moments in the harmony (and lyrics,) but they had moments of cohesion when they sounded their best: warm and seasoned. 

Scelto Voce Chorale
Christopher Borela (Conductor)

I didn't know what to expect when I saw they only had 5 ladies in the group, but all were very strong singers. They had a good balance of voices, despite their uneven ratio. I especially loved their rendition of Caritas et Amor, it was easy to ignore the depleted breath at the very last chord. More important than the near perfection of their performance was their giving the already beautiful arrangement justice by knowing when to be intensely still, to allow soaring in the parts where it was demanded. The very rhythmic Kruhay was done with precision, because when done wrong would have sounded chaotic, but done just right was powerful.

Technological Institute of the Philippines Choral Society
Jose Emmanuel Aquino (Conductor)

They opened their set with a strong Sanctus. Apart from their solid soprano section, I really liked how all the members sang with such enjoyment. They all wore pleasant smiles as soon as they stepped on stage. They also appeared to have a high regard for their conductor, following his instructions sensitively, effectively producing their delightful polyphony.

Ili-ili, one of my favourite and hauntingly beautiful folk songs, had an arrangement that was unexpected, but not entirely unwelcome; only slightly disorienting with its shifts to the major keys. 

Novo Concertante Manila
Arwin Tan (Conductor)

Last to perform was my friend's choir, evidently a favorite with the audience if based on applause alone. I've seen them many times, and they've gotten consistently better each year. Their best asset is their vocal control and adherence to their conductor's dynamics, which they all do with practiced synchrony. This was the first time I heard them sing Pagtulog Na Nene, and it was so soothing, ending with a broad climax. I'd always liked their version of Aud Lang Syne, and I imagine I'd bawl my eyes out if I heard this and I were away from my family on a cold, December evening. The soloist had a nice voice, but it unfortunately didn't travel all the way to the back. Unlike the two other choirs that night, they did not rely on the strength of a few soloists, but stood out as a well-rehearsed chorus.

They capped the evening by calling out some of the Madrigals to perform with all 5 choirs, led by Conductor Mark Carpio. Lovely, lovely evening. It made me miss my choir days so much, I'm thinking if I should join one again!

Reading Dangerously

That morning light and tree-cast shadows

It was a combination of I-Couldn't-Put-It-Down and The-Traffic-Is-Stressing-Me-Out that made me whip out the book I'd been reading. I had reached the plot twist, and it was making me antsy. At the climax of most books, I have this bad habit of glancing ahead, wanting to find a word or phrase to lessen the weight of not knowing what's about to happen... and then I feel guilty the moment I glean exactly that, regretting I did not wait for the proper build up. 

I finished it this afternoon. I really liked this book, "Mr. Penumbra's 24-Hour Bookstore" by Robin Sloan (you can find it on my Shelf in the sidebar,) maybe because it hit close to home, despite it bordering on fantasy. Those first couple of pages describing the protagonist, Clay, was painfully familiar, because I saw myself in his shallow day to day; and then his dull life transformed slowly, just when his life needed an upgrade. I'd like to think that sort of thing could happen to me, but then I don't think I have the curiosity and daring to get involved in an adventure like he did. 

Many parts were actually too predictable, too convenient for my taste, especially how each character was set up to respond to Clay's every obstacle, but it soothed me. The author blended books, languages, technology, a little bit of history (however fictional,) and even knitting (very briefly) -- all things I love -- so effortlessly and humorously, that I remained in that world for a little bit longer, even hours after putting it down. 

Now, all I can think about is immortality...