The occasion was a concert produced by the UST Conservatory of Music and the CCP featuring the UST Symphony Orchestra led by maestro Rodel F. Colmenar with alumni and faculty vocalists as soloists.

The show began with Colmenar leading the UST Symphony in a rendition of Dvorak’s Symphony No. 9 in E-minor, op 95 ("New World Symphony").

The youthful orchestra responded like a pro to the Maestro’s beat, particularly in those deliriously soft and slow passages as well as in the stirring climaxes.

Haydn’s Trumpet Concerto in E-flat major with Raymond de Leon as soloist was delivered with verve and brio.

Never was there a dull moment in the symphony and concerto numbers. The audience listened in rapt attention, and broke into applause only after the last note.

The evening’s main fare was Mozart’s "Marriage of Figaro" sung in Italian and in concert form. Here, the vocal stars shone, each with a different shimmer and hue.

Clearly, the star of the night was soprano Rachelle Gerodias as Susanna. She looked and sang like a true diva.

In duets and trios with other protagonists she stood on her own, producing some of the sweetest and purest tones one has heard in a long time. Her tones were always secure and full-bodied, in whatever register.

Gerodias was in best form in the final aria, Deh vieni non tardar which she sang with ease and lyricism.

US-based Andrew Fernando sang the role of Almaviva, unleashing a big, dark baritone that matched the character of the philandering Count.

Juilliard- trained Clarissa Ocampo as Cherubino unveiled an opulent mezzo in two arias, the familiar Non so piu and the very popular Voi Che Sapete.

Soprano Nenen Espina as countless Almaviva was particularly good in the aria, Dove sono. Noel Azcona, as Figaro, bared an equally rich baritone on his big moment, Tutto e disposto.

Adding depth to the vocal ensembles (duets and trios) were tenor Randy Gilongo (Basilio), mezzo soprano Thea T. Perez (Marcelina) and bass Jun Francis Jaranilla (Bartolo).

There were just a couple of points to lament.

First, Manila opera lovers missed out on this event. The crowd was quite small, limited to the orchestra level for the most part.

Second, the opera production was limited to the highlights and rendered in concert form.

This leaves one wishing for the production of a complete opera, sung and acted in its entirety and original libretto, with an evenly competent cast, with full orchestral support, and in full period costume.