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Timeless tunes, unforgettable night with ‘Ang Orkestra ng Bayan’

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The UP Symphony Orchestra at Okada Manila. (Photo courtesy of Okada Manila)

The University of the Philippines’ (UP) Ang Orkestra ng Bayan, established by the UP Board of Regents in 2018, presented “Harmonies of Memories: A Night of Classics with the UP Symphony Orchestra” on March 10 at the Grand Ballroom of Okada Manila.

As the official system-wide orchestra of UP — funded by the UP System and hosted by the UP College of Music — the ensemble showcased a diverse repertoire under the baton of Maestro Josefino Chino Toledo.

Maestro Josefino Chino Toledo. (Photo courtesy of Okada Manila)

Comprising 65 members from UP campuses, including students, faculty, staff, and alumni, the orchestra is the only one in the country that regularly performs Filipino, Asian, contemporary, and newly composed works alongside standard orchestral repertoire.

The UP Symphony Orchestra. (Photo courtesy of Okada Manila)

Festive Overture, Op. 96
Dmitri Shostakovich (1906-1975)

Composed in 1954 for the 37th anniversary of the October Revolution, Festive Overture is a fast-paced, celebratory work. It opens with a bold brass fanfare before transitioning into lively woodwind and string passages. The piece’s theatrical energy and triumphant coda have made it a favorite for concert performances.

William Tell Overture
Gioachino Rossini (1792-1868)

The William Tell Overture (1829) is structured in four sections. It begins with a serene cello solo (Dawn), followed by a dramatic storm sequence. A pastoral interlude (The Call to the Dairy Cows) leads into the iconic March of the Swiss Soldiers, a galloping finale synonymous with heroism and adventure.

“O Mio Babbino Caro”
Giacomo Puccini (1858-1924)

Featured in Puccini’s Gianni Schicchi, O Mio Babbino Caro (Oh, My Dear Papa) is an aria in which Lauretta pleads with her father to approve of her love. Its soaring melody and emotional depth have made it one of opera’s most cherished pieces.

Les Filles de Cadix
Léo Delibes (1836-1891)

Les Filles de Cadix (The Girls of Cádiz, 1874) is a lively vocal work infused with Spanish rhythms and flair. Its flirtatious melody and energetic tempo showcase Delibes’ ability to merge French elegance with Andalusian charm.

Quintin-Avila. (Photo courtesy of Okada Manila)

Mutya ng Pasig
Nicanor Abelardo (1893-1934)

A landmark of Filipino music, Mutya ng Pasig (1926) blends the kundiman style with dramatic storytelling. The song’s sweeping melodies and rich harmonies capture a spirit mourning lost love and the fading beauty of the Pasig River.

Danse Bacchanale from Samson and Delilah
Camille Saint-Saëns (1835-1921)

From Act III of Samson et Dalila, Danse Bacchanale is a wild, rhythmic piece depicting a scene of Philistine revelry. It builds from a mysterious oboe solo to a swirling orchestral climax, showcasing Saint-Saëns’ dynamic contrasts and orchestral brilliance. 

Tico-Tico no Fubá
Zequinha de Abreu (1880-1935), arr. Cliff Colnot

Choro composer Zequinha de Abreu wrote Tico-Tico no Fubá in 1917, a lively, syncopated work reflecting the genre’s fast-paced, dance-like energy. Arranged by Cliff Colnot, the orchestral version preserves its infectious rhythms while adding depth through rich instrumentation.

Jubilate
Lucio San Pedro (1913-2002)

Jubilate is a symphonic ode by National Artist Lucio San Pedro, known for fusing Western symphonic traditions with a Filipino sensibility. Opening with a grand theme, the piece moves through lyrical passages before building to a triumphant conclusion.

West Side Story Selections
Leonard Bernstein (1918-1990), arr. Jack Mason

This arrangement of West Side Story highlights Leonard Bernstein’s fusion of classical, jazz, and Latin styles. Selections include Mambo, Maria, and America, capturing the musical’s dramatic intensity and rhythmic energy.

Can-Can from Orpheus in the Underworld
Jacques Offenbach (1819-1880)

The Can-Can, from Offenbach’s operetta Orpheus in the Underworld, is a high-energy dance known for its rapid tempo and spirited orchestration. Originally a satire, it has since become one of classical music’s most recognizable melodies.

Meanwhile, soloist soprano Stefanie Quintin-Avila joined the orchestra, delivering a selection of operatic and classical favorites.

The event was organized by Okada Manila for its valued clients and guests.

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