RIO ALMA’S ON FIRE (First of four parts) (March 04, 2013)

Rio Alma's latest book Ang Romansa ng Pagsagip ng Osong Marso to be launched on Mar.8, the day before his birthday, by the UST Publishing House at UP Vargas Museum

Rio Alma, the multi-genre literary artist, cultural manager, and teacher

Virgilio Senadren Almario’s nom de plume, is born during the Fire Prevention Month.

This explains why he is the most prolific figure in Philippine literature.

This guru’s on fire!

In fact, literally and literarily, the word “rest” is missing in his vocabulary.

Even after he was given the Orden ng Pambansang Alagad ng Sining 10 years ago, he continued to harvest for his hard work. Urban legend has it that he has this unbreakable daily habit of placing blank bondpaper on his typewriter to write whatever that comes into his mind!

Did this Rio Alma Ritual change when he began encoding on his first computer?

Nahhh…

Since 2001, he had been unstoppable, as in coming out with books, as author or editor or translator – annually, yes, annually -- for 11 years with more than 40 titles and counting: Mutyang Dilim (Talingdao Publishing, 2001); UP Diksiyonaryong Filipino (Anvil Publishing, 2001); Supot ni Hudas (University of Santo Tomas Publishing House, 2002); Florante at Laura (Institute for Public Policy, 2002); Bulacan: Bayan ng Bayani’t Bulaklak (Bulacan Heritage Foundation, 2002); JB, Filipino translation of Archibald McLeish’s JB (Dulaang UP, 2002); Barlaan at Josaphat (Ateneo de Manila University Press, 2003); Ikatlong Bagting (UST Press, 2003); Pacto de Sangre: Spanish Legacy in Filipinas (Philippine-Spanish Friendship Day Committee, 2003); Textanaga (National Commission for Culture and the Arts, 2003); Dalitext (NCCA, 2003); Dionatext (NCCA, 2004); Ang Hayop na Ito(Anvil Publishing, 2004); Sentimental (Anvil Publishing, 2004); Sari-Sari (Anvil Publishing, 2004); Estremelenggoles(Anvil Publishing, 2004); Pablo Neruda: Mga Piling Tula (University of the Philippines Press, 2004); Memo Mulang Gimokudan (UP Press, 2005); Dust Devils (Aklat Peskador, 2005); Sonetos Postumos, UP Press (2006);Sansiglong Mahigit ng Makabagong Tula sa Filipinas (Anvil Publishing, 2006); Pag-unawa sa Ating Pagtula(Anvil Publishing, 2006); Tatlong Pasyon sa Ating Panahon (UST Press, 2006); 101 Icons (Adarna House, 2007);Bakit Kailangan ang Himala (UP Press, 2007); Isang Sariling Panahon (NCCA, 2008); Likhaan 2: Journal of Philippine Contemporary Literature (UP Institute of Creative Writing, 2008); UP Centennial Edition of Balagtas’ Florante at Laura (Office of the Chancellor, UP Diliman, 2008); Romanza (Tahanan Books, 2008); Mga Biyahe, Mga Estasyon (Anvil Publishing Inc., 2008); Si Rizal: Nobelista (UP Press, 2008); Buwan, Buwan Bulawan (Adarna House, 2009); Pitik-Bulag (Government Service Insurance System, 2009); More 101 Icons (Adarna House, 2009);Huling Hudhud ng Sanlibong Paglimot at Pagbabalik sa Filipinas Kong Mahal (C&E Publishing, 2009); Unang Siglo ng Nobela sa Filipinas (Anvil Publishing, 2009); Filipino ng mga Filipino (Anvil Publishing, 2009); Pitong Bundok ng Haraya (UST Publishing, 2010); Panitikang Pambata sa Filipinas (Anvil Publishing, 2010); UP Diksiyonaryong Filipino (UP Sentro ng Wikang Filipino-Diliman/Anvil Publishing, 2010); Muling-Pagkatha sa Ating Bansa (UP Press, 2010); Rizal: Makata (Anvil Publishing, 2011); Jacintina, Hiyas ng Panulat ni Emilio Jacinto(Aklat Peskador, 2011); Ang Maikling Kuwento ng Filipinas: 1896-1949 (Anvil Publishing, 2012), Komedia de Baler (Sen. Edgardo Angara/National Historical Commission of the Philippines, 2012), and Ang Pag-ibig sa Bayan ni Andres Bonifacio (UST Publishing House, 2012).

On Friday, 8 March, the day before his birthday, he and the UST Publishing House will be launching at the UP Vargas Museum his latest book yet first of its kind. Entitled Ang Romansa ng Pagsagip sa Osong Marso, it is considered the only speculative poetry collection in the country, if not the world.

He is turning 69, which is why is hotter!

Hotter even when he became a National Artist in 2003?

Well, that very same year, he garnered Saiko Eiyosho, highest honorary award from Soka Gakkai University, and two Gawad Chanselor from UP Diliman: as Pinakamahusay na Mananaliksik and as Pinakamahusay na Nilathalang Pananaliksik. Since then, he had been been on a roll: from Best Book of Poetry from the National Book Development Board (2006) to U.P. Centennial Professorial Chair (2008) to University of the Philippines Centennial Award (2008) to U.P. Artist 3 (2010), and U.P. Professor Emeritus (2010).

Only belatedly, he received the highest honor for being an outstanding citizen: Manila’s Gawad Diwa ng Lahi(2010), Bulacan’s Tanging Dangal ng Lipi Award (2008), and Quezon City’s Most Outstanding Citizen (2009).

Last year, as the so-called “father of modern Philippine children’s literature,” he was recognized for being the moving spirit behind Adarna Books -- the first comprehensive series of educational books for Filipino children -- and the founder of Philippine Board on Board for Young People (PBBY). He went to the United States to accept the Distinguished Country Scholar Award 2012 from the International Children’s Literature Society during the 39thInternational Children’s Literature Conference on 14 June at Simmons College in Boston, Massachusetts.

Recently, a sudden turn of events in Rio Alma’s life seems like an answer to a lot of his unfinished businesses, in one way or another.

He is the new Komisyon ng Wikang Filipino’s Chair!

A natural born Bulakenyo from San Miguel, he is no Juan-come-lately, so to speak, in the field of language or lexicography. He has books about the national language issues namely Filipino ng mga Filipino in 1993 and 2009, Tradisyon at Wikang Filipino in 1998, and Patnubay sa Masinop na Pagsulat in 1981. He was the Director of U.P. Sentro ng Wikang Filipino from 1993 to 1996. Of course, aside from editing the UP Diksiyonaryong Filipinosince 2004, he is also at the helm, as chief editor and translator, of the Vocabulario de la Lengua Tagala by Juan de Noceda and Pedro Sanlucar since 2007.

Well, to all the lazybones at KWF, he means bad news!

Why? Because Rio Alma seems to be singing: “So many things to do, so little time...”

Vim Nadera: How was your first day of office as Komisyon ng Wikang Filipino Chair?

Virgilio Almario: Alam mo ba ang ginawa ko noong unang araw ko sa KWF? Sinabi ko sa kanilang lahat na 12 taong walang Diyos ang wikang Filipino.

VN: Why?

VA: Dahil wala silang ginawa. “Masakit mang sabihin,” wika ko, “hindi kayo nagsikap na bigyan ng payo ang inyong mga pinuno, ang mga nauna sa akin, para naman bigyan sila ng bisyon at misyon ng Komisyon ng Wikang Filipino.”

LIRIO SALVADOR’S SAVIOR (Last part) (February 25, 2013)

Mary Ann Jimenez (left) is her husband Lirio Salvador's savior

Vim Nadera: How is Lirio now?

MaryAnn Salvador: He is in the process of recuperating in our temporary home in Dasmariñas City. He is showing some improvements like scratching his face and head. He pinches us whenever his diaper is full. His facial expressions also tell us whenever he is in pain or in a relaxed mood. There were also attempts to raise his head while lying on his back.

VN: How great is the chance for his recovery?

MS: According to the doctor, everything that is happening to him is a miracle. We just take it one day at a time. We are not in a hurry. We are not expecting that he can go back to his normal life, just like what the doctor said. He is a fighter and so are we. We are happy to see him improve little by little everyday.

VN: How can we help?

MS: We need a lot of prayers. We also appreciate financial help because Lirio is undergoing regular physical therapy and soon he will be having speech therapy. He is also undergoing regular check-up with his neurologist, neuro-surgeon, internist, etc. There were times too when we brought him to the emergency room for some medical reason (ex. seizure). We also appreciate personal visit of his friends and relatives. Sharing and spending an hour or two with Lirio might help him regain his memory. For those who are interested to help, they may check our facebook account “Help Lirio Salvador” or they may get in touch with me.

VN: What do you miss most about him?

MS: I miss his enigmatic look and smile.

VN: By the way, how did you meet him?

MS: We met at the National Commission for Culture and the Arts where I worked as a librarian. He organized a group exhibition there in 1997 entitled Pangunahing Udyok (Primal Urge). Melanie Casul, my former officemate and our common friend introduced us.

VN: Could you tell us more about your love story?

MS: Lirio and I were brought and united together not just because of romantic love we have for each other but because of our creative endeavors. Our passion for the arts sustained our relationships for nine years until we finally decided to tie the knot in a unique veggie wedding experience we called Bigkis-Sining: Pag-iisa sa Buhay at Sining on 22 December 2007 at former Penguin Café in Malate, Manila. Bigkis means union of two souls who are both art lovers and practitioners. It turned out to be a celebration of love in art and life.

VN: How is he as a husband?

MS: He is a very cool husband, he never puts a hand on me. If we have a misunderstanding, he tries to settle it right then and there. Lirio is also a very spiritual person. He has introduced me to Lord Krishna, Bhagavad gita, and vegetarianism. We don’t have kids but he is a father to many young and emerging artists. He is a very generous, thoughtful, and kind person. He used to surprise us with ice cream and pizza.

VN: As an artist?

MS: He is an inventor, explorer, and most often relies on serendipity. He is a very spontaneous person which he applies in his music and art making. He loves watching foreign movies, surfing the net, and read books. He used to hangout before at the Thomas Jefferson Cultural Center and Goethe Institut to do research and get ideas. He is not stingy when it comes to sharing knowledge and art secret.

VN: What is his main contribution to Philippine art or music?

MS: He is one of the main proponents of sound art in the Philippines, along with Tad Ermitanyo, Jing Garcia, and Blums Borres of The Children of Cathode Ray. He is the only Filipino artist I know whose artwork could pass both as a musical instrument and as a museum piece. His artworks are interactive -- an amalgamation of different disciplines and an assemblage of ready-made objects.

VN: Among his works, what is your favorite? Why?

MS: Sandata ni Mary Ann, of course, because it was named after me. I also like the sculptural assemblage named Sandata of Something Wonderful. This sandata has multi-function and multi-sound. It has USB port, synthesizer, air synth, circuit bent, etc. Actually, he invested a lot of time in doing this instrument which is actually an art work in progress. He named and called his artworks sandata (or arm or weapon in Filipino) because he believes that the world we live in is a battlefield and his artworks are his weapons. For him, there are no other means of ending and winning this life struggle except through creativity and spirituality. 

VN: What is the price range of his musical instruments? What is the most expensive?

MS: Php 20k and up. His Sandata: Four Head Brahma Minus One was sold for 17,741 USD in 2009 Sotheby’s Auction.

VN: Who are his customers here and abroad?

MS: National Artist BenCab owned a Baby Sandata which you can find in his museum in Baguio. I also saw in a magazine that actress and TV host Iya Villania owns Lirio’s Sandata ni Juan while cyclist and art collector Raymond See wrote in his blog that he has Sandata 12 Liquid Angel dated 2005. Yoga guru Rina Ortiz also owned Lirio’s work which was featured in November 2010 issue of Rogue magazine. Since some of his artworks were sold in Christie’s and Sotheby’s Auction Houses as well as International Art Fairs definitely there were foreign collectors who also own his works but I cannot name them here.

VN: How would you like us to remember Lirio?

MS: If Lirio could speak, he wanted to be remembered not as a sound artist or sound assemblage creator but as who he is as a person – a passionate and creative soul. You know that and those who had a chance to talk and be with him. Moreover, this article of yours is now part of his life documentation which will remind us of who Lirio Salvador is. Thank you, sir Vim for being part of our creative life. Mabuhay!

LIRIO SALVADOR’S SAVIOR (First of two parts) (February 18, 2013)

Mary Ann Jimenez (left) is her husband Lirio Salvador's savior

Last Monday, 11 February, Lirio Salvador turned 45. 

We had second thoughts on greeting him “Happy Birthday.” 

Well, our favorite sound artist is not that well. 

Since 30 December 2011, he had been fighting for his life. 

On that fateful day, his wife, MaryAnn Jimenez recalled that he came from 

Manila to attend an exhibit opening at the Government Service Insurance System (GSIS) Museum and Art Association of the Philippines (AAP) Christmas Party at the Kanlungan ng Sining. He was about to go home in Dasmariñas, Cavite at around 1:00 in the morning when he met an accident. 

What was sad was that it just a few steps away from his space, Espasyo Siningdikato CreatiVEnue, an art gallery right across Gate 1 of De La Salle University Dasmariñas. The said gallery at Block 11 Lot 9 along Congressional Road was co-founded together with her and their artist friends who actually heard the collision. His best buddy and fellow musician Jonjie Ayson, who found Lirio lying on the street, was told that three unidentified persons on a motorcycle were the culprits. Right right after that hit and run, he was diagnosed with subdural hematoma at left frontotemporoparietal area and fractured left temporal bone. 

Mary Ann reported that he immediately underwent craniectomy and evacuation of subdural hematoma to allow a swelling brain room to expand without being squeezed, after which, he was given 72 hours grace period to live. The 72 hour-period extended to up 600 hours in Intensive Care Unit, 1,320 hours in a private room, and another 7,128 hours to date. Cranioplasty was performed after a month and a half in the hospital. To avoid pneumonia, he was also required to undergo tracheostomy which was removed after six months. 

We subconsciously avoid visiting Lirio. We really want to picture him in our mind, breaking borders with his music. We met him even during his Elemento days but what was most unforgettable was our gig with the Syjuco’s Attacked from Underground at Lumiere Gallery in Makati in 2006 when we, together with poet/sculptor Raul Funilas literally wreck havoc! Or, two years ago, when we planned to do a back-to-back tour while sat on the sofa with Renmin Nadela at the University of the Philippines Institute of Creative Writing, where we were supposed to buy one of his “sandatas” for our performances at the Nippon International Performance Art Festival in Japan. 

Last Saturday, we terribly missed Lirio during the pioneering collaboration of 11 Thomasian colleges, 14 partners, and 30 friendships entitled Making: Love in 14 Collaborative Acts at the University of Santo Tomas Main Building which poet/dancer Prof. Nerisa Guevara and her angels organized with the UST Center for Creative Writing and Literary Studies. Artists Rogger Basco, Thom Daquioag, Martin De Mesa, Raul Funilas, Sam Penaso, and Mannet Villariba traded audiovisual memories as we remembered him after our multimedia project called Kinetic Orchestra 2.

Lirio’s contribution to Philippine art is via his sculptural assemblages out of bicycle parts and other scrap metal which he used for his experimental and electronic music.

Last year, MaryAnn received the greatest gift for her birthday on 23 January --

Lirio was taken out of the Intensive Care Unit and was able to breathe without any machine’s help. Last Monday, when Lirio turned 45, they celebrated it peacefully since he always want a simple life. They immortalized the event at Bahay Makulay, their temporary home, via a vegetarian party with the usual suspects from Espasyo Siningdikato. Before 2013 ends, MaryAnn intends to stage a major sound art exhibition in honor of Lirio.

Vim Nadera: What exactly is Lirio’s state of health? 

MaryAnn Salvador: According to Dr. Victor Alvarez, his neurosurgeon, he is still in the vegetative stage. But thank God, his vital signs are normal. His lungs are clear. There are no other complications except for some stomach discomfort. 

VN: What are the changes in him? 

MS: He could no longer do the things he usually does like creating artworks and performances. Physically, he shrinks because he is confined to his bed and could only eat by means of nasogastric tube feeding. At present, he could not remember us yet, could not talk nor walk. 

VN: What are the changes in your life? 

MS: My life now revolves around the house, hospital, my workplace and Lirio. I have to learn the art of nursing care and caregiving. I have to read a lot on Traumatic Brain Injury and how to deal with it. I also learning how to manage finances specially the donations we are receiving and how to budget them for his medical supplies and other medical needs. As for our day-to-day needs and other bills, I allotted my salary to this. I also made sure that we update the donors of Lirio’s improvement and well-being through text and our facebook account. With regards to Lirio, we tried to give him lots of activities which could help him remember us and himself like watching his performances on YouTube and videos, listening to his favorite music and radio program, showing photographs and tell or read a story about his idol – Bob Dylan and other passions in life. As for me, I avoid nightlife but I see to it that I still have time for myself, my career, and my passion – art. 

VN: How did you take it? 

MS: I just take everything as a challenge. I know God gave this to us for a reason. I didn’t question him, instead I offer everything and everyday to God. Whatever happens, we are ready. Lirio is ready. But we have faith that we will win this fight. 

VN: What is your typical day these days? 

MS: I am a librarian in the morning and caregiver in the evening, week-ends and holidays. I usually start the day with a prayer, then introduce myself to Lirio and inform him about the date, month and year. Then I start preparing his food prescribed to us by our dietician then we bring Lirio outside the house for a morning sun before going to my work place. In the evening, I chant and chat with him. Feeding is done every four hours. 

ARTHUR ESPIRITU’S ARTISTIC SPIRIT (Last part) (February 11, 2013)

World-renowned tenor Arthur Espiritu (right) tied the knot with his Guinevere, singer-teacher Christina Bojocan, at the San Agustin Church last 21 December, supposedly the End of the World

Vim Nadera: What comes to mind you hear the following places?

Arther Espiritu: Milan? My debut at La Scala and the Caprese salad -- mozzarella cheese with tomatoes, basil, olive oil and vinegarette. Paris? Funny enough, the sushi and my trips in the subway or Metro and Champs Elysees. Hongkong? The beef noodles I used to eat at Causeway Bay. Tel Aviv? Hummus. Vienna? Prater Park where you can rent a bike or take a walk on the beautiful gardens, Wiener Schnitzel, Staatsoper. Pittsburg? My friends over at Pittsburgh Opera and my best friends Chuck Unice, Jason Karn, and Daniel Billings. Connecticut? Don Giovanni and an awesome soprano named Pamela Armstrong. Austin? These great mobile restaurants all over town serving all kinds of food from sushi to Mexican food to ice cream etc. I loved the food in Austin. Meeting new friends there and the time that I went on a quick trip to the Alamo. Santa Fe? Santa Fe is a great city and I love going there. Amazing people who are so friendly and most notably, hiking, and mountain climbing around there are awesome. The Gem Market and the food! Again, sorry, all food in my mind. 

VN: Could you compare or contrast your recent experience here when you did Verdi's La Traviata and Rossini's Il Barbiere di Seviglia?

AE: I really enjoyed doing La Traviata because it is more close to my own temperaments. Barber of Seville is a comedy and it has a lesson at the end. Vocally, Barber of Seville was more challenging since it is written in a style where the vocalist and his/her abilities are the main focus. The plot is given and you just have the most fun with it. Being able to play different characters in Barber of Seville was so much fun! La Traviata is more serious and deals with real human emotions and more dramatic than the light-hearted Barber of Seville. Musically, they are very different in all aspects. But in comparing the subject of love, jealousy, and the feeling of being abandoned, they are not too far from each other. Only difference is: one is a romantic comedy and the other is a romantic tragedy.

VN: Are Filipinos as members of the audience far different from foreigners?

AE: Hmmm, let me just say that audience participation is what inspires artists. It's the feeling of return and interaction. I have performed in European theaters and they do vary. In Italy, the audiences are very responsive and very loud. They clap and yell bravo if the performance is great... In Austria, the audiences are a bit more subdued. Also in Switzerland, and mainly German speaking countries. I'm not saying that they don't appreciate the art as much as the Italians but they look at live theater like watching a movie. You have to finish the entire show and then clap if you love it. They are subdued because they are more than likely very, very involved in the show. So, clapping after an aria is a given but most of them won't clap until after the show is done.

In Italy, Spain, and mainly France, people are very, very responsive. Except that, in France, you will hear boos if they don't like the show, even if it’s just about the staging, or the stage sets or even conductors. Now, I would compare the Filipino audience to the Italians. They clap and make plenty of noise if they really, really like the performance and maybe clap as well, if the performance is not that good because Pinoys are very compassionate. I had the privilege of singing at the Cultural Center of the Philippines twice now and so far, no boos. Fingers crossed? 

VN: Are the Filipinos ready for opera? Why?

AE: I strongly feel that Filipinos have been ready for opera. It's just that no one is performing opera here as much. It's all about the exposure and the continuity of support for this art. 

VN: You recently married Christina Bojocan. Is your choice to tie the knot with a Filipina deliberate?

AE: I'm so happy to be married to Christina. My choice to marry Christina was not deliberate at all. It was a whole series of circumstances that led us to each other and I'm so happy to have met her and now married to her. Someone that I can share my life with now and forever. 

VN: How would you see yourself 10 years or so from now?

AE: Well, Christina and I are definitely planning on having a family soon. I plan to audition for roles and gigs in the United States and Europe. Also in Asia. Teach private voice lessons? Wherever the Good Lord takes us... Perhaps live in the US in the next two years... 

VN: Do you intend to teach? 

AE: I have not really started teaching, but I am considering teaching somewhere in Manila.

VN: Or personally train classical singers?

AE: This would probably be my choice is to teach privately. So, anyone who is interested in having lessons privately, let me know. (Laughter.) Shameless plug.

VN: What lessons did you learn from The Poet Speaks last 6 February?

AE: It was my very, very first solo recital in the Philippines. It’s a different recital where it was geared more towards art songs and the mastery of the composer and mainly the poets who wrote them. Some would say that the music I performed was an acquired taste, but I felt that was not the case here. I learned so much from this concert in ways that I cannot just simply understand. That feeling of being able to affect so many people through music and lyrics. The type of emotions that I felt while interpreting the pieces and the feelings that the audience felt during performance. It's like while I was singing, I want to comfort them but, at the same time, I did realize that I'm actually singing. These poems are so strong and it carried with it strong emotions. Music is just simply the best way to express human emotions. It is why I am still singing in the first place.

ARTHUR ESPIRITU’S ARTISTIC SPIRIT (First of two parts) (February 04, 2013)

Arthur Espiritu's latest show -- The Poet Speaks -- on 6 February at the Ayala Museum

Arthur Espiritu’s world did end last 21 December.

In fact, it became more, shall we say, artistic and spiritual?

On that fateful day, Arthur walked down the aisle of San Agustin Church in Intramuros with his Guinevere, singer-teacher Christine Bojocan, the pride of the Philippine High School for the Arts and the University of Santo Tomas.

We got the chance to witness it, up close and personal, being one of their principal sponsors, fortunately together withMrs. Irma Ponce-Enrile Potenciano, Ms. Marivi Santos, Mrs. Maria Jeng, Mr. Ray Sison, and Vice- Mayor Nathaniel Hugo.

A year and four months, they met when he was doing a masterclass at the University of Santo Tomas. What caught Christine’s attention since August of 2010 was was Arthur’s transparent self, honest and trustworthy, inside and out. And though when he says yes, and she says no, they still can manage to talk about the differences.

Christine adores Arthur like a huge fan, not just because of his greatness but also of his generosity: “He wants to help other people, especially young artists through teaching and music. He gives his 100% to his music and that's what I like about him as an artist.”

His dad Felino seconded the motion. An Amado Goyena deadringer, he revealed some of Arthur’s secrets while we were seated next to him at Barbara’s. We learned that as a kid, Arthur idolized Michael Jackson and Gary Valenciano so much. True enough, during the programme, Arthur showed his guests, especially his mom Fe and his in-laws, Rosita and Guerrero Syta, that still he has Da Moves!

But why did he end up as a classical singer? “I honestly don't know.” Arthur admitted, “I just fell in love with the style and the way music is interpreted. Being able to hear the complexities of each piece of music challenges me. The idea of making music within what has been written by these amazing composers and the honor of being able to interpret their music is a joy.”

Originally, he had so many dreams. He wanted to become a dentist and a physical therapist and a pilot. But it was his teacher who sort of discovered him upon hearing him, being a popular tenor in his high school choir and the lead vocalist of his band. So, Mr. William Thomas advanced him to join the Gifted and Talented Class where he was exposed to classical, jazz, pop, rhythm and blues.

However, he gives credit to another Significant Other, actually his second mother -- Dr. Raquel Cortina. He considers her his Musical Mom, someone who really pushes him to go ahead with music. Even before, she felt very strongly about his talent.

The late Mr. Buddy Carruth, on the other hand, was his sponsor ever since he started his Master of Music degree.

All of them contributed a lot to Arthur’s decision to go for it without looking back.

He studied at the Oberlin College Conservatory of Music in Ohio, getting an Artist Diploma with the late Professor Richard Miller who wrote several books on Vocal Pedagogy and voice training such as The Art of Singing. Mr. Miller showed him many different ways to look at his voice and his singing. After having studied at the University of New Orleans with Dr. Cortina, it was Mr. Miller who gave him the new approach in singing and in voice technique he needed. He needed more training and Mr. Miller provided him that. After graduating from Oberlin, he got lots of auditions and Mr. Miller helped him get most of them. That is, to get to the next level. 

Well, this Love Month, or better yet, this National Arts Month, we have the rare opportunity to fall in love with Arthur’s music via The Poet Speaks.

Together with pianist Najib Ismail, he will perform Robert Schumann's Liederkreis, Franz Liszt’s composition based on Petrarchan sonnets, and opera arias about, of course, love!

Produced by the Manila Chamber Orchestra Foundation for the benefit of Unang Hakbang Foundation, his concert will be on Wednesday, 6 February, at 7pm at the Ayala Museum.

Vim Nadera: What is your reaction when people consider you the finest Filipino tenor in the world today?

Arthur Espiritu: I don't really think that I am the finest Filipino tenor in the world today considering there are plenty of great tenors here in the Philippines and all over the world. I consider myself lucky and being able to have the privileges and opportunities at the right place at the right time. I am grateful.

VN: Could you tell us more about becoming the 2009 George London Awardee, the La Scala Awardee in the Belvedere Vocal Competition, or the second placer in the Irene Dalis Vocal Competition and the Metropolitan Opera National Council Audition? How did competitions change you?

AE: Competitions are a good way to challenge yourself as a singer and to test where you are in your technique and advancement in singing. Being able to win these prizes are great but what I remember most in being in competitions are the times when I lost or did not even make it to the finals. It was those times when I really realized that I had to believe in myself and look at it as a learning experience. It made me realize that "I'm only as good as my last performance"... Judges are gonna be judges and you cannot change that fact. It is the journey you take from being a loser to being a winner. For me, win or lose, it is the same journey. As long as you realize that you still believe in yourself and no one else. You, and only you, have the power to change the results.

INDIO GENIUS NAMED SUZETTE DOCTOLERO (Last part) (January 28, 2013)

Suzette Doctolero (fourth from left) with her GMA family _Denoy Punio, Kit Villanueva, RJ Nuevas, Richard Dode Cruz, Des Severino, Jun Robles Lana, and Roy Iglesias at Camp Benjamin

Vim Nadera: Can you compare and contrast your degree of fulfillment of your two big hits Encantadia and Amaya?

Suzette Doctolero: As a writer sa TV na may headwriter, wala kang boses. Ang vision at boses ng soap ay nasa headwriter. Headwriter ang guide, ang captain of the ship, siya ang magtatakda kung saan pupunta ang kuwento: characters, plot. I understand that kaya as a writer ay masunurin ako sa headwriter ko noong nagsisimula ako. Tanggap ako nang tanggap ng turo nila, inaaral ko ang style nila. Gusto kong matuto e. Pero dumating sa point na feeling ko, naaral ko na ang dapat kong maaral sa mga headwriters ukol sa soap kaya gusto ko nang marinig din ang boses ko. Luckily, GMA-7 offered me a headwriting job. My first. Tungkol daw sa diwata, kay Maria Makiling. Ay, fantasy? First time kong gagawa ng fantasy sa buong buhay ko. Two weeks akong hindi nagparamdam sa kanila. Tinatanong ko ang sarili ko: gusto ko bang gumawa ng diwata na mala-Mariang Makiling? Nakasuot ng puti? O, kaya ko bang magsulat ng fantasy? Hindi na ako puwedeng umurong. Baka isipin pa ng GMA, hindi ko pa kayang mag headwrite. So nag-isip ako ng kuwento. Gusto ko ng kakaibang diwata. Palabang diwata. Mala-amasona. Sila ang nagtatanggol at hindi ipinagtatanggol. Thus, the story of the four sisters was born. Beautiful women na mga powerful at mga palaban. Same lang din sa Amaya. Powerful woman, palaban. Sabi ko nga, matriarchial ang pinanggalingan kong pamilya na babae ang nasusunod kaya s’yempre iyon din ang gagawin ko kasi iyon ang normal sa akin. Encantadia was a test for me. Test sa pagtuklas, pag-aaral, at pagyakap ko sa genre ng fantasy. Test kung hanggang saan ang kayang tanggapin ng audience. Imagine, mga babae ang knight in shining armour at hindi lalaki? Isang Inang Reyna na may anak sa iba’t ibang lalaki at iyon ang norm sa kanyang kingdom? Pero tinanggap ng audience. Naging confident ako sa Encantadia. Pakiramdam ko, nakita ko na ang simula ng aking voice doon bilang manunulat sa TV.Amaya, compared with Encantadia has no humor. Mas serious ito. Pero palaban pa rin ang babae at powerful. Ayaw ko ng mga babaing hindi lumalaban. Pakiramdam ko, niloloko ko ang sarili ko at ang pinagmulan kong pamilya. (Actually, afterEncantadia ang Etheria, I wanted to do a historical fiction na so I submitted a concept about the life of Urduja. Pero hindi na-approve kasi nauso na ang mga adaptations bukod sa fantasy that time. So I waited for several years pa bago na-approve na gumawa ng historical fiction). While doing the research for Amaya, nagbalik sa akin ang Encantadia. I’ve realized na may nagawa akong pagkakamali sa Encantadia. I naively used the term – diwata -- to mean fairies. E iyon din ang pagkaka-intindi ng karamihan hindi ba? Hindi fairy ang diwata kundi lambana. At ang diwata, iyan ay goddess. Diyosa. Ang fairy ay isang western concept. Ang diwata ay Filipinong-Filipino. I corrected that sa Amaya kaya ginamit ko ang term na diwata bilang mga goddess. Hindi ako kinabahan sa Encantadia. Why? May excuse ako. E kasi ang mga cast ng Encantadia ay hindi pa mga kilalang artista at that time so sa loob-loob ko, pag hindi nag-rate, sila ang masisisi at hindi ako. (Laughter.) Pero kinabahan ako sa Amaya. Superstar na sa TV si Marian Rivera e. Pag ito hindi mag-rate, kuwento at concept ko ang may sala. Tapos historical fiction pa ang genre, bago sa soap ng Filipino. Ngayon pa lang gagawin. Kaya noong ito ay ipinalabas, gabi-gabi ko itong pinapanood para tingnan kung maganda ba ang episode, tapos itse-check ko ang internet para sa reaction ng mga nanood. Positive naman ang reaction except sa isang nagdunong-dunungan na ang mga binukot o hidden maidens ay sa Panay lang daw at hindi iyon makikita sa ibang banwa o tribe during the pre-Spanish Period. Ay, bobo! Other than that, masaya ako sa naging outcome kasi nag-rate, maraming commercials at may mga positibong reviews mula sa mga historians at teachers ng history.

VN: What lessons did you learn from your past works?

SD: One by one. In Kirara, I was one of the writers at sa dulo na ako pumasok. Salimpusa kung baga. Pero doon ako unang nakapunta sa tirahan ng mga aeta sa Pampanga at nakita ko ang tunay na pamumuhay nila. Mula noon ay nakita ko na ang kahalagahan ng research kahit sa mga soaps. In Sana Ay Ikaw Na Nga, inaaral ko ang pagsusulat ng traditional soap opera noong mga panahong ito at ako ay pumaloob talaga dito. In Etheria, I was humbled. Importante pa ring isaalang-alang ang gusto at hinihingi ng audience. Lupin is based on a French novel. Hinabol kami ng reklamo mula sa Japan kasi may Lupindin sila. Hello? Kinopya lang din kaya nila sa French Lupin iyon kaya walang nangyari sa kanilang kaso. Ikaw Na Sana is a family drama, sibling rivalry, so balik- formula. Joaquin Bordado is another adaptation of a Carlo Caparas’ work for komiks. Hindi lahat ng nasa utak ng writer ay mata-translate sa TV. Totoy Bato is another adaptation, another Carlo Caparas’ work. Kung ano-anong pinasok na trabaho ni Totoy, at sa bawat mapasukan niya, dini-discuss namin ang socio-ecomomic realism ng bawat pasukan niyang trabaho. Pero nag-away na kami ni Robin. Ayoko na ring pag-usapan iyon. In My Lover, My Wife, may binuwag kami sa soap: walang tunay na kontrabida sa kuwentong ito. Relationship story rin ito. Ibang bihis ng wife-mistress-husband story—noong panahon na hindi pa uso ang pag-tackle muli ng mistress stories sa pelikula at TV. Panday Kids is a another adaptation. Pambata. ‘Yon lang. Gagambino is another adaptation. Flopped sa Mega Manila pero nag-rate sa Visayas at Mindanao. Sumumpa ko na hindi na ako gagawa ng adaptation na hindi ko gusto. One True Love is my favourite drama soap na maliit ang production budget, kaunti ang tauhan pero mahuhusay ang mga artista, intimate ang mga scenes. I learned that huwag maliitin ang kakayahan ng audience na maka-unawa ng isang ideya, o complex na sakit lalo na’t kung ito ay madi-discuss nang maliwanag. Naintindihan ko rin kung bakit nag-rate ito to think na dapat ay filler lang ang soap at pang eight weeks lang pero umabot ng 17 weeks. Karamihan ng audience ng soap ay mahirap, hindi nakatapos sa pag-aaral pero nangangarap..tapos makikita nila ang isang character na nagsumikap kahit mahirap? Gusto nila ang inspiring soaps.

INDIO GENIUS NAMED SUZETTE DOCTOLERO (Third of four parts) (January 21, 2013)

Suzette Doctolero (right) as one of the speakers with Prof. Michael Charleston Chua and Dr.Bonifacio Comandante during the 2012 Bagong Kasaysayan (BAKAS) Seminar-Workshop

Vim Nadera: Please be our guide to popular literature. Do you need a formula to come up with a bestseller?

Suzette Doctolero: If I know the right formula, sana wala na akong nagawa na nag- flop. And there are soaps or movies that I’ve done na hindi rin nag rate o kumita. Walang nakakaalam sa right formula. Pero base sa experience ko at ng iba pang nagsusulat ng popular lit ay ito ang aming learnings: (1) Kailangang may filial love o pagmamahal ng magulang sa anak and vice versa. Kaya naging formula na sa soap yung ina na nawalan ng anak. Lahat yata ng soaps ay may mga inang nawawalan ng anak. Akala ko ay sa Filipinas lang ito ginagawa. Pero ang mga soaps sa Latin America ay ganun din. May mga Korean soaps din na may nawawalang anak o kaya ay nagkapalit. May sumubok gumawa, kapatid na nawalan ng kapatid. Pero mas matindi pa rin ang emotional hook ng inang nawalan ng anak kaysa doon. Bakit? Yung mga naunang soaps kasi ay babae, mga ina, ang audience. Ngayon na lang nagkaroon ng bata at lalaking audience ang soap. May mga pagtatangka nang alisin ang formula na ito. Pero somehow, nagki-click pa rin ang mga soaps na may nawawalang anak. Until now ay hindi ko alam kung bakit. (2) Kailangang may love story. Kahit anong genre pa iyan, action-adventure, drama, fantasy, horror—kailangang may love story. (3) Kapag drama, kailangang may light moment. So importanteng may comedian o side-kick na nagpapatawa. (4) Dahil may mga batang audience na kaya kailangan na ring may batang character sa soap. (5) Kailangang malinis ang main characters. Mabait sila, mabuting tao. May tamang moral stand o compass. Bihira ang mga soaps na may mga lead na flawed o grey ang character gaya ng Bakekang (nagpabuntis siya sa isang Kano para magkaroon ng anak na maganda tapos pinilit niyang mag-artista ang anak niya noong lumaki na). Iyan lang ang importanteng formula na until now ay sinusunod pa rin. 

VN: What about television? Or film?

SD: Mas malawak na ngayon ang kayang abuting tema ng film lalo na’t dumadami ang mga pelikulang gawang indie na tinatangkilik na rin ng mga tao. Yung sa TV, ingat pa rin. May mga formula na p’wede nang buwagin -- gaya ng dapat mayaman ang lalaki, mahirap ang babae. Ngayon, p’wede na ang kabaligtaran nito). Pero mayroong mga formula na mahirap pa ring alisin. Halimbawa: nag-rate ang Encantadia. E kumpletos rekados siya. May inang nawalan ng anak, may love story, may comedy, may drama, may action at fantasy. May ibang mundo. May kakaibang kasuotan. May sariling lengguwahe. Check lahat! Noong natapos ang Encantadia ay ginawa namin ang prequel nito, ang Etheria. Hindi siya flopped pero hindi kasing-taas ng Encantadia ang ratings. Bakit? Inalis ko ang lahat ng formula e. Walang anak na nawawala, walang light o comedy moment—ang dark-dark niya. Pati ang love story, hindi romantic, edgy, dark. Political pa ang topic kahit fantasy. Awayan at schemes ng mga kaharian. Tapos may back-to-the-past premise pa. Kailangang maglakbay ng apat na bidang fairies to the past to correct some mistakes. Masalimuot at kumplikado, kahit ako na nagsusulat, nasisira ang ulo. E kung high fantasy angEncantadia, gusto ko dark fantasy ang Etheria. Akala ko ay tatanggapin ng audience ang dark fantasy. Hati sila. May mga natuwa dahil ibang-iba ang Etheria pero mas marami ata ang namuhi sa akin.

So ang learnings ko from then on: kung magtatanggal ng formula, isa-isa lang. Huwag lahat. Kung mag iintroduce ng bago, maglagay pa rin ng formula para may makapitan pa rin ang audience, na ginawa ko sa Amaya. Dahil bago ang historical fiction sa soaps kaya sinadya kong formula ang k’wento ng buhay ni Amaya: isang prinsesa (mayaman) na namatayan ng magulang dahil sa schemes ng kanyang tiyahin. Inapi. Kinawawa. O? Hindi ba’t soap na soap? Pero kasabay nito ay naikukuwento rin namin sa tao ang tungkol sa mga babaylan, sa mga rajah at datu, sa mga liping uripon (alipin) at timawa (maharlika), sa mga busao (encanto), sa mga old customs and traditions natin noon. 

Ayun, nakita ko ang right formula sa pagkakataong iyon. Pero hindi ko alam kung applicable ito sa lahat ng soaps. Mahirap nga kasing mahulaan ang taste ng audience.

VN: Please share with us your experiences with, say, drama anthologies, soap operas, or telecines.

SD: I was lucky kasi I started writing for drama anthologies before I shifted to soap opera. Kung ihahalintulad, ang drama anthologies ay ang short stories, ang soap opera ay katumbas naman ng nobela. So bago ako nag-soap, naaral ko munang magk’wento sa maikling paraan (drama anthology) bago ako sumabak sa pagsusulat ng continuing stories (soap). Kung sa pag-aaral naman, siguro ang drama anthology ay college degree. Ang nobela ng lit, o soaps sa TV ay maihahalintulad naman sa masteral studies. Ito ang problema ng baguhang TV writers ngayon. Hindi uso ang drama anthologies ngayon sa TV kaya wala silang pagsasanay o training ground. Sasabak na agad sila sa pagsusulat ng soaps. E madali bang gawin iyon? Sa maniwala ka sa o hindi, ibang popular art form ang soap. Marami nang nagtangka na magsulat at baguhin ang hulma ng soap pero sila ay nabigo. Bakit? E hindi muna kasi inaral bago nagtangka. Para mabago ang isang bagay, kailangan muna itong maintindihan at maaral. Hanggang ngayon, sa totoo lang, hindi ko pa rin lubos na naaaral ang soap at nahahanapan ng sagot kung bakit ito ay popular sa tao. Isa siyang discipline na may kasamang gut feel. Hindi mo lang isinusulat ang k’wento, kailangang ito ay damahin din para mag-hit sa tao.

VN: What advise can you give to young ones who dream of becoming a successful headwriter and/or creative consultant like you?

SD: Kung gustong magsulat sa TV at pelikula, manood ng TV at pelikula at aralin iyon. Kahit sa pinaka-panget na pelikula o palabas sa TV ay may matutuhan pa rin. 

Write. Kahit saan, kahit anong genre, kahit sa print, sa TV, pelikula, sa pader, sa papel, para sa contest--- magsulat lang. Mas matututong magsulat kapag sinasanay ang sarili sa pagsusulat. At huwag mahiyang ilako at ialok ang akdang nagawa. Ang manunulat ngayon, lalo na sa TV o popular lit, kailangan ay hindi lang marunong magsulat, dapat marunong ding magsalita (dahil makikipag-debate ka during story pitching sessions) at mag-market ng sariling akda. Kung hindi, sinong makaka-discover sa iyo?