There are groups that, once one sees their name on a poster, one reorganizes one’s life to watch. No excuses. Aleron is such a group.
This is an exceptional choir from its inception. Tied to no church, no school, founding director Christopher Arceo formed an all-male choir with the most powerful binding thread of all: a common love for excellent music-making. This is idealism of the highest level, as Aleron dared to tackle challenging music that used to be similar to the repertoire of other excellent choirs, until commerce forced these other groups to alter their repertoire to suit the tastes of the paying public.
Aleron did not, and does not, follow suit.
To listen to an Aleron concert is to be uplifted and enlightened. Even the most avid choir concert-goer will find new songs, new repertoire that excites.
Take this latest concert of theirs: a valedictory one as their brave leader leaves the homeland for further studies abroad.
The price of entry includes one of the most well-made and comprehensive programs I have ever come across. Arceo’s program notes, the detailed descriptions of each piece, and the complete lyrics attached at the end show that this group is bent on education. “Sing,” they seem to encourage. Maybe not at the live performance itself, but perhaps squeezed in between meetings at a busy work day, a beam of light and joy to illuminate the sameness of each passing sun.
I’ve always said I’d travel great distances for this particular choir, and I did. When work did not permit me to watch them perform this same repertoire in the CCP last Sunday, I braved the commute North last night. To miss this performance is Not. Permitted.
Especially when the esteemed director Floy Quintos is involved. The whole experience, then, becomes so much more elevated. Quintos understands that the music comes first. As the incredibly difficult singing does not permit a whole lot of physical action, Quintos has the choir walk onstage whilst acting, or merrily cheer and pump their fists in the air, or close their music books at the same time and throw them down violently at key moments that had us jumping in our seats.
Combine this with the sparse yet gorgeous and effective lighting of D Cortezano, and thankful audience members leave with an unforgettable choral experience.
Aleron’s first all-secular concert has a remarkably diverse repertoire. Arceo wanted to feature the duality of man, both his doom (our penchant for violence) and his salvation (our longing for peace). Act I featured songs of aggression, featuring Chilcott, Britten, Mahler, and lesser known gems by Veljo Tormis and Henrik Dahlgren. The second act starts with commentaries on war, then moves to songs celebrating unity and life. Medieval madrigals, anthems from Romantic composers, and Tavener’s mystical song on a Greek wedding are followed by a Blaan lullaby from Mindanao, set to music by Krina Cayabyab with spoken word poetry by Kevin Maske. The evening ended with a song by one of Aleron’s very own, Karl San Jose, as collective voices illustrated lipad, liwanag and ligaya through radiant song.
The musical highlight of the evening for this audience member was Mahler’s Urlicht. And with this jewel of a song, I dare to contest Arceo’s claim that this was an all-secular show.
There is nothing mundane about this piece. There is nothing earthly about Aleron’s singing of it.
When Urlicht ended, I was in tears, and frantically trying to keep it together, as it won’t do to break down in public.
This is the visceral effect Aleron has on people.
One does not emerge from an Aleron concert untouched. Their concert title reminds us of the artist’s mission: to dream while awake, and to sing a better world into being. Helped by this incredible gift of souls shared through song, we are able to dream again of what can be. And judging from the sold-out show, with the star-studded audience (including a National Artist and the most respected conductors) giving Aleron a standing ovation, it looks like I’m not the only one.
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