Sunday, May 5, 2024

PI Jazz Fest returns with Singapore-Philippine collaboration

BY MANILA BULLETIN ENTERTAINMENT


AT A GLANCE

  • The festival’s revival was headlined by Singaporean jazz vocalist Michelle SgP, who performed alongside the Manila Philharmonic Orchestra, conducted by Maestro Rodel Colmenar.


jazz1.jpeg

After a hiatus since 2019, the Philippine International Jazz Festival (PI Jazz Fest ) made a vibrant comeback this year, symbolizing the resilient spirit of jazz and the enduring friendship between Singapore and the Philippines. The festival’s revival was headlined by Singaporean jazz vocalist Michelle SgP, who performed alongside the Manila Philharmonic Orchestra, conducted by Maestro Rodel Colmenar. 

Sandra Lim-Viray, founder of the Philippine International Jazz Festival, sought to resurrect the event after its last show in 2019, and the disruption of the COVID-19 pandemic. The festival’s return was fueled by the passion and support of Singapore’s Ambassador to the Philippines Constance See, who proposed a special concert to commemorate 55 years of diplomatic ties between Singapore and the Philippines. “Music transcends borders, and it’s the perfect way to mark this milestone in our bilateral relations,” she said. 

Held on May 3, 2024, at Sofitel Manila Garden, the headline event of PI Jazz Fest 2024 ‘Colors of Jazz’ captivated a packed crowd. The event attracted nearly 400 attendees, including former President Gloria Macapagal Arroyo, government officials, diplomats, and business leaders.

Michelle SgP enchanted the audience with her original compositions, such as “Shark Filled Oasis,” “I Just Want to Be Me,” and “Serenity,” along with a dynamic cover of “Route 66.” Her soulful and versatile performance was complemented by the exquisite sounds of the Manila Philharmonic Orchestra. Her narrative interludes, where she shared the inspirations behind her songs, made the evening all the more special. 

The festival also featured performances by notable Filipino jazz musicians, including the P.I Jazz All Stars (Richard Merk, Pat Castillo, Sandra Lim-Viray, Jeannie Tiongko, Emcy Corteza, Megan Herrera, Henry Katindig, Dix Lucero, Colby Dela Calzada, Mar Dizon, Ramon Guevara, Alvin Cornista and Johnny Alegre) and The Brass Munkeys. They highlighted the diverse and rich musical landscape of the Philippines. 

In her address to the audience, Sandra Lim-Viray emphasized the instrumental role the Singapore Embassy played in reviving the PI Jazz Fest, acknowledging their support in making this year’s event possible. he PI Jazz Fest 2024 exemplified the power of music to bridge cultures and celebrate the enduring bond between two nations. This year’s collaboration was a reminder of jazz’s universal language and its ability to foster friendships across borders.

Saturday, May 4, 2024

FIy Me To The Moon • Frank Sinatra (Squid Game OST)



2 ACCORDIONS Аккордеонистки России- дуэт "ЛюбАня" - КУМПАРСИТА

Best of Monteverdi (90+ Minutes of Music)


Claudio Giovanni Antonio Monteverdi (1567–1643) was an Italian composer, string player and choirmaster. A composer of both secular and sacred music, and a pioneer in the development of opera, he is considered a crucial transitional figure between the Renaissance and the Baroque periods of music history. Born in Cremona, where he undertook his first musical studies and compositions, Monteverdi developed his career first at the court of Mantua (c. 1590–1613) and then until his death in the Republic of Venice where he was maestro di capella at the basilica of San Marco. His surviving letters give insight into the life of a professional musician in Italy of the period, including problems of income, patronage and politics. Much of Monteverdi's output, including many stage works, has been lost. His surviving music includes nine books of madrigals, large-scale sacred works such as his Vespro della Beata Vergine (Vespers) of 1610, and three complete operas. His opera L'Orfeo (1607) is the earliest of the genre still widely performed; towards the end of his life he wrote works for the commercial theatre in Venice, including Il ritorno d'Ulisse in patria and L'incoronazione di Poppea. While he worked extensively in the tradition of earlier Renaissance polyphony, such as in his madrigals, he undertook great developments in form and melody, and began to employ the basso continuo technique, distinctive of the Baroque. No stranger to controversy, he defended his sometimes novel techniques as elements of a seconda pratica, contrasting with the more orthodox earlier style which he termed the prima pratica. Largely forgotten during the eighteenth and much of the nineteenth centuries, his works enjoyed a rediscovery around the beginning of the twentieth century. He is now established both as a significant influence in European musical history and as a composer whose works are regularly performed and recorded. 1. L'Orfeo - Toccata (0:00) 2. Il combattimento di Tancredi e Clorinda - Battle Music (1:29) 3. Lamento della Ninfa (3:52) 4. Cruda amarilli (9:50) 5. Cor mio mentre vi miro (12:21) 6. Non si levav'ancor (14:18) 7. Quel augelin che canta (18:28) 8. O primavera, gioventu dell anno (20:26) 9. Il ritorno d'Ulisse in patria - "Di misera regina" (23:28) 10. L'Orfeo - 'Signor, quel'infelice' (33:25) 11. Lamento d'Arianna (41:14) 12. L'Incoronazione di Poppea - "Pur ti miro" (55:44) 13. Tirsi E Clori I. Allegro [tutti] (1:00:15) II. Allegretto (1:07:01) III. Allegro gaio (1:13:31) 14. Vespro della Beata Vergine (1610) *excerpts 1. Deus in adiutorium (1:20:35) 2. Laudate pueri (1:22:52)

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