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Wednesday, September 25, 2024
Ticket prices, seat plan for 2NE1’s Manila concert released
The ticket prices and seat plan for K-pop group 2NE1’s concert in Manila have been released.
2NE1, composed of Sandara Park, CL, Minzy and Park Bom, will be holding their “2NE1 Asia Tour: Welcome Back” in Manila concert on Nov. 16, Saturday, 7 p.m., at the SM Mall of Asia Arena.
Live Nation Philippines released the details of the concert and announced that the presale will be on Oct. 10 while the general ticket selling will start on Oct. 11.
2NE1 (Instagram)
“The wait is over, Blackjacks! Are you ready to see CL, BOM, DARA, and MINZY back on the big stage?” Live Nation Philippines posted on X.
The ticket prices range from P3,000 for General Admission to P16,500 for VIP, which includes send-off and soundcheck.
Here are the details:
Tuesday, September 24, 2024
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Monday, September 23, 2024
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A symphony of friendship
Thailand and Philippines celebrate 75 years of diplomatic relations through music.
The harmonious celebration of 75 years of diplomatic relations between Thailand and the Philippines recently unfolded in Manila, marked by two spectacular concerts that highlighted the rich cultural heritage of both nations. Thailand’s leading youth orchestra, the Siam Sinfonietta, performed for the first time in the Philippines, mesmerizing audiences and fostering deeper ties through music.
Hosted by the Embassy of Thailand in the Philippines, led by Ambassador Tull Traisorat, the event was held Sept. 16 at the Metropolitan Theater and Sept. 17 at the historic Manila Cathedral. The concerts featured the artistry of young Thai musicians under the direction of internationally renowned conductor Somtow Sucharitkul. A Thai National Artist and true polymath — conductor, composer, author, and filmmaker — Somtow is the first Asian to receive the European Cultural Achievement Award. He is the artistic director of Opera Siam and the author of more than 100 books. His work was first heard in the Philippines in the 1970s.
The concerts celebrated not only musical mastery but also the enduring friendship between the two nations. The Siam Sinfonietta, composed of young, dynamic musicians, performed a diverse program that included classical pieces by Puccini, Mozart, and Strauss, alongside Stravinsky’s rousing “Petrushka,” which provided a powerful conclusion to both evenings. The orchestra's performance was a testament to the power of youth in shaping the future of cultural exchange.
A highlight of the concert series was the inclusion of a Filipino composition by National Artist Ramon Pagayon Santos, bringing a local touch to the international event. This addition emphasized the deep cultural connections between the two nations, further solidifying the symbolic nature of the occasion. Adding to the magic of the evening was 15-year-old Thai piano prodigy Chayapon Chanporn, whose virtuosity captivated the audience, along with soprano Barbara Zion, whose recent performance with the Siam Sinfonietta at Carnegie Hall earned her international acclaim.
The Manila concerts underscored the role of music in diplomacy. By blending works from European composers with Southeast Asian compositions, the event not only showcased musical excellence but also symbolized the cultural synergy that has defined Philippines-Thailand relations over the past seven decades. Each performance offered a unique experience, yet both concerts shared the same spirit of unity, hope, and artistic collaboration.
As the final note of Stravinsky’s “Petrushka” echoed through the halls of the Metropolitan Theater and Manila Cathedral, the concerts came to a triumphant close, celebrating 75 years of diplomatic ties and the promise of many more years of friendship, collaboration, and shared cultural journeys between Thailand and the Philippines. The successful event, free to the public, was met with enthusiastic applause and admiration, leaving the audience inspired and deeply moved. This historic milestone of diplomatic relations will be remembered as a high note in the cultural exchange between the two nations.
K-pop girl group ILLIT to return with new album in October
K-pop girl group ILLIT of HYBE Labels will be making their comeback to the music scene with a new album in October.
ILLIT will be releasing their second mini-album “I’ll Like You” on Oct. 21, or just in seven months after they came out with their first mini-album “Super Real Me” in March.
ILLIT (X)
ILLIT will release "I'll Like You" on Oct. 21 (Belift Lab)
While “Super Real Me” focused on capturing what they called “my true self,” “I’ll Like You” will tell the story of the “self” that becomes deeply immersed in the moment.
ILLIT will portray their candid charm in “I’ll Like You” as they encounter a “you” they wish to get closer to, navigate moments of doubt, and ultimately follow their heart to discover their own answers.
“Super Real Me” sold 380,056 copies in the first week of release, based on data from Korea’s Hanteo Chart.
The album entered the Billboard 200 chart, while the lead single “Magnetic” made history as the first-ever K-pop debut track to enter the Billboard Hot 100 and the UK Official Singles Top 100 charts.
Recently, “Magnetic” surpassed 400 million streams on Spotify, becoming the fastest K-pop debut track to reach the milestone.
Pre-orders for “I’ll Like You” started on Sept. 23 with the official release at 6 p.m. KST on Oct. 21.
ILLIT's members are Yunah, Minju, Moka, Wonhee and Iroha.
Sunday, September 22, 2024
IDUYAN MO (Ryan Cayabyab and Ateneo Chamber Singers)
Saturday, September 21, 2024
While My Guitar Gently Weeps (Taken from Concert For George)
The Hero in Women’s Clothes: Saint Saëns’ Le Rouet d’Omphale
by Maureen Buja, Interlude
Gustave Jacquet: Portrait of Camille Saint-Saëns, 1870
Omphale was the queen of Lydia, in the cross-Bosporus region of modern-day Turkey. After her husband’s death, she reigned as queen. She comes into our knowledge as the keeper of Hercules after his murder of Iphitos, a prince and one of Jason’s Argonauts.
After Hercules had completed his Twelve Labours, he came to Ochelaia to compete in an archery competition. The prize was King Eurytus’ daughter Iole’s hand in marriage. Despite winning the competition, Eurytus and his sons (except for Iphitos) refused to give Hercules the prize because he had killed his children by his earlier wife Megara. Megara had been given to Hercules by her father, the King of Thebes, and they had several sons together. Unfortunately, Megara hated her husband and so, in a fit of temporary madness, Hercules killed all their children and then his wife.
Iphitos, the sole supporter of Hercules, went to see Hercules after he was blamed for the loss of cattle stolen by Autolycus, a notorious thief. Iphitos told Hercules he would help him look for the stolen cattle but Hercules went mad again and threw Iphitos from walls of the city of Tiryns. Apollo then sentenced Hercules to serve Omphale for one year… dressed as a woman and doing women’s work.
Because of the story’s gender implications, it was a favourite of artists. Generally, the illustrations show Hercules using a distaff to spin wool.
Roman Mosaic from Spain: Hercules and Omphale, 3rd century
Bartholomaeus Spranger: Hercules and Omphale, ca. 1600 (Vienna: Kunsthistorisches Museum)
Luca Cranach the Elder: Hercules and Omphale’s maids, 1537 (Braunschweig: Herzog Anton Ulrich-Museum)
The music takes up the idea of spinning in its opening, but underneath are the groans of Hercules. The violins and woods take up the idea of Omphale mocking the fallen hero. Saint-Saëns said that he knew very well that there were no spinning wheels before the Middle Ages and explained at the beginning of the score that the wheel was ‘merely a pretext, chosen simply from the point of view of rhythm and general atmosphere of the piece’. His real subject was that of ‘feminine seduction, the triumphant struggle of weakness against strength’.
Philippe Gaubert, ca 1920
This recording was made in 1927 in Paris with Philippe Gaubert leading the Orchestre de la Société des Concerts du Conservatoire. Philippe Gaubert (1879—1941) began studying flute at the Paris Conservatoire at age 13 and rose to be one of the most important French musicians in the inter-war years. He was not only professor of flute at the Conservatoire (Marcel Moyse was one of his students), but principal conductor of both the Paris Opera and the orchestra on this recording.
The Orchestre de la Société des Concerts du Conservatoire was founded in 1828 and was made up of the Conservatoire faculty and students. Gaubert was their chief conductor from 1919–1938, succeeded by Charles Munch. The orchestra folded in 1967, and a new orchestra, the Orchestre de Paris, was formed, with Charles Munch returning as their music director for their first two years (1967–1968).
Performed by
Philippe Gaubert
Orchestre de la Société des Concerts du Conservatoire
Recorded in 1927