The Filipino countertenor won first prize at the 8th edition of the annual Handel Aria Competition
In a time when pop tunes from Zed and DJ Khalid top the charts, lyrical works by Taylor Swift and Ben&Ben inspire many, and everyone wants to dance to the new beats of Lizzo and SB19 on TikTok, why do you still need to listen to classical music, particularly Baroque music. Well, for one, it is good for your mind.
Studies show that music from 1600 to 1750 helps improve people's focus. Musical works such as the compositions of Vivaldi and Handel can help people's productivity, accuracy, and learning efficiency. Not only did the Baroque era influence musical styling throughout history (but more of that later), it also aided people in becoming great artists. Among those who have benefited from the era's sound is Kyle Sanchez Tingzon, a Filipino countertenor who was named champion of the 8th annual Handel Aria Competition, a prestigious opera singing contest in the US.
This is not the first time Kyle was hailed as a classical singing winner. Last year, he took home the third prize at the Rochester International Vocal Competition in New York, organized by the Rochester Oratorio Society.
Prior to becoming a champion internationally, Kyle first performed in the Philippines as a soloist at the International Bamboo Organ Festival in Las Piñas City. From there, he went on to become a street singer and a soloist in Singapore, and later on performed at the Svenska Kyrkans Gosskörsförening male choir festival in Sweden. But, believe it or not, while music has been a big part of him, his life was directed to a different path before he got a strong hold of the sound his heart was singing.
In a conversation with Manila Bulletin Lifestyle, the newcomer to the Bay Area music scene shares his music journey, from his early music lessons in the Philippines to becoming an international classical music victor.
You studied management prior to focusing on music. What made you decide to pursue an artistic path?
Music has always been a part of my life but pursuing it as a dedicated field of study came later on. I was active as a choir member in my grade school and high school years at Don Bosco Makati. I was a member of the Ateneo de Manila College Glee Club (ACGC) during my undergraduate years at Ateneo. I tried to get my feet wet in the corporate world but the idea of music as merely a hobby did not make sense to me. I was blessed to have musical figures and mentors in my life who have encouraged me to pursue this path: Mr. Alvin Paulin, Prof. Ma. Lourdes Hermo, Dr. Beverly Shangkuan-Cheng, Prof. Eudenice Palaruan, and my very first voice teacher, Mr. Christopher Arceo, who discovered that I can be a countertenor.
Does music play an integral role in your family in the Philippines?
A number of people in my family occasionally dabble in music, whether it be singing or playing an instrument. I am, however, the only one in our family who is pursuing classical music professionally.
What is it like studying music abroad? How different is it from learning here?
What I immediately noticed is the wealth of information, resources, and opportunities available abroad—and these are easily accessible to everyone. The study of voice here is much more detailed. Technique is explored in-depth and there is a certain structure to the programs. Voice lessons are done weekly and singers also collaborate constantly with a pianist to learn their pieces and discuss them in more detail. There is an opportunity to perform (formally or informally) a piece one has just learned. Because the structure is strong, it was easy to collaborate with other groups and the amount of encouragement among singers is very high.
Back home in the Philippines, I think we have been blessed with so much talent. Everyone just has a beautiful, unique voice and a natural aptitude and love for singing. I truly hope that more support systems are put in place and existing ones strengthened, so that we can create more structure and performance opportunities in vocal programs back home. This will also encourage a healthy exchange of ideas and collaboration across all our musical institutions.
Let's talk about the competition. How did you become a finalist?
Around June of this year, there was a call for application submissions for the competition. I submitted two videos of my performance. Out of 150 applicants from around the world, I was chosen as one of the lucky seven finalists who got to fly to Madison, Wisconsin and sing live, accompanied by a baroque ensemble, the Madison Bach Musicians.
Did you choose the piece you sang? What were the challenges that you encountered during rehearsals?
The requirements for the final round were two Handel arias, one with a short recitative and one without. Also, at least one of the arias had to be in English. I chose “Combattono il mio core... Furibondo spira il vento” from the opera “Partenope,” and “O sacred oracles of Truth” from the oratorio “Belshazzar.” I chose these arias because they showcase my current strengths: a good hold of singing coloratura (running, florid) passages, and good vocal color on my low-middle range.
The very first challenge I encountered was that of collaboration with other musicians. The idea of communicating musical ideas to a director and ensemble proved to be a challenge, mostly because we were all coming from a pandemic that has forced us to be isolated for the longest time. Since I was performing live, with musicians, for the first time in over a year, it was hard for me to line up my vocal line with the ensemble sound.
Another challenge I encountered was the space itself. As a classical singer trained to sing without microphones, we are generally trained to judge our vocalism based on feeling and not sound. Again, as I emerged to perform after a pandemic, I immediately got excited to sing. The space did not have that much feedback to the singer (but it sounded loud and with much reverb to the audience). As a result, I pushed my sound during the first rehearsal. Given that this was a day before the competition, I tried my best to take control of my voice again by just focusing my natural sound forward, let the space transform the sound, and to trust my feeling and technique rather than the resultant sound.
What can a singer or musician best learn from composer George Frideric Handel?
What I love about the music of the Baroque is the idea of improvisation. It’s amazing how this skill today is immediately associated with jazz music, yet it has been present since the 17th century. Singers of the Baroque era were expected to be highly-skilled musicians, and this skill was best showcased through the ornamentation of their arias—their “improvisation” skill. Baroque composers like Handel give us the opportunity to make their music ours as well. At the end of the day, Handel challenges us to bring out the affect of the text through both his music and the ornaments we bring to it. It’s highly possible to take a piece of music from the 1700s and still deliver a new performance of his music up to this day.
What advice would you give to aspiring singers and musicians interested with this genre of musical study?
Regardless of genre, I think the most important question a singer should ask is: “How can I communicate more effectively?” The challenge in performing Baroque music is that it can tend to be repetitive (especially in Handel da capo arias), so the idea of communication can prove to be difficult. The trick is to explore all elements and gestures used in the piece. What kinds of harmonies did the composer use? What is the contour of the vocal line? What are its high and low points? What are the moments of tension and release? Ultimately, how do these elements tie in to bring out the affect of the text?
That being said, it’s evident that a singer should place equal importance in the areas of vocal study, musicianship, history, and literature. Take these classes seriously. Expose yourself to all cultures. Have an inquisitive mind and take in as much information as you can that can help inform your work as a performer.
Watch the Handel Aria Competition 2021 below.