Food and nature tripping in Kinabuhayan, Quezon

One of the many cascades at Kubli springs, right at the foothills of Mt. Banahaw.

What's there to do in Quezon? I used to ask this question. And why not, the province is not as famous as the other destinations in the country for more-than-the-usual natural wonders or man-made tourist attractions — well at least I wasn't aware of any, or probably no one hasn't really discovered them as of yet.

Save for the mystical Mt. Banahaw, I know Quezon province for the pahiyas festival, pancit habhab, and my uncle’s private beach resort tucked in the far-flung part of Infanta town.

But it's me and my underestimating self again, little did I know that the foothills of Mt. Banahaw itself has a lot to offer.

The option of exploring Dolores, Quezon surfaced when I came across an article written by another journalist friend of mine about Kinabuhayan Café and Bed and Breakfast.

The place is owned by the husband of one of our editors, and some of my colleagues said I would love it there since it’s a place that seemed to have been built specifically for the artsy-fartsy crowd.

But more than that, my curiosity was piqued by raving reviews at online fora and blogs — and of course the nice article written by my friend about portions of the so-called “Viaje del Sol.”

And so one fine day, when I got so stressed at work and needed a place that's secluded but not too far away, my friends and I decided to check out Kinabuhayan.

We were only commuting, and the directions stated at Kinabuhayan’s Multiply site was not at all hard to comprehend. One doesn’t even have to look at a map for reference.

We took a JAM bus bound to Lucena. The terminal is located at the corner of Gil Puyat (better known as Buendia) and Taft Avenues. It’s actually at the Buendia station of LRT 1 so it’s not actually hard to locate.

The fare up to the NEW Market of Tiaong was P157 per head. I asked the conductor to let us know if we’re already at the New Market of Tiaong. Take note that it’s NEW. The OLD market in Tiaong is a different thing.

The trip should be about 2 1/2 hours from Manila, including the perennial traffic at the South Luzon Expressway.

When we got to the market, I asked around for jeeps bound to Dolores. I sat beside the driver and told him to take us to Dejarme Street. Be forewarned, though, that there are no street signs. The marker would be a signage that says, “Paaralang Sentral ng Dolores.” If you’ve gone past the parish church, you’ve already missed the place.

From the signage, Kinabuhayan is the one in front of a Bayad Center. The place itself is marked by a porch, and next to it is a tree house.

The porch. See the purple flowers? They found their way to our salads come lunch time. Yum!

The jeepney trip is P20 per head, and lasted about 15-20 minutes from the New Tiaong market.

The Multiply site also said Barangay Kinabuhayan is quite far from Kinabuhayan Cafe so we were forewarned that if ever we're going to ask for directions, better not ask for Kinabuhayan. But why the name? Jay Herrera, the owner, later on told me that it's a nice name, and that it depicts of "new life" or whatever.

That was the intention of my weekend getaway, anyway — to empty myself out and get some sort of a new life and renewed vigor given the stress of daily deadlines and the global financial market turmoil that's already spilling on my personal concerns.

Upon entering, guests will be greeted by a billiards table, and several small tables with little trinkets. The wall to the left has traditional Filipino papier mache horses called taka, while a sungkaan — a traditional game common among Malaysians, Indonesians and Filipinos (I found lots of those when I went to Malacca, Malaysia. And I have one at home) — rests at one of the tables.

The place is well-lit as natural light seeps through the glass ceiling.


But the structure with the porch is just the beginning.

Walking further and outside of the "main building," one will see several huts where guests can lounge, sleep, dine, emote, reflect, or do whatever they want.

One of the huts (please excuse the overexposure. Amateur fotog here).

Walking through the outdoors, one will be greeted by the other cast members of Kinabuhayan: a pot-bellied pig named Onion, who behaves like a dog when scratched; a Daschund named Muning; another dog named Chongki, who's too excited to greet guests as they arrive (if you're afraid of dogs, it doesn't bite but beware.); a cat named Tweety; a number of pigeons, hens and chicks; and other pets that I might have failed to meet during my stay. We were told later on there's a snake in an aquarium and 2 turtles under a hut.

The hut where we slept doesn't have four walls, so to speak, but guests keep their privacy given the abundance of plants around.

The hut's also got a hammock (must try!), a 14-inch cable TV, the owner's personal reads and some more trinkets.

The bathroom is open to the skies, but the owner assured that guests can still have privacy while doing their business.

The sleeping quarter is at the loft with a mattress and mosquito net. I missed the olden days when we have to set up the kulambo!

The side view of our hut.

Since we arrived a little before lunch time, our host immediately asked us to prepare to go to Kubli Springs for lunch. Be ready to get wet, he said.

The way to the Springs was a 5- to 10-minute jeepney ride. Jay took care of the jeepney rental.

As we descended to the stream, lo and behold: there was a bamboo dining table and benches submerged on the water, while adding to the ambience of the place was a portion of the cliff adorned with bamboo tubes where water spring water pass through.

The eating part was actually one of the most anticipated part of this trip as Kinabuhayan has been well-known for Jay's gourmet cooking.

For lunch, we had grilled liempo on top of a healthy serving of risotto rice with what looked like Shitake mushrooms. The side salad was made up of carrots and other sliced veggies that I didn't recognize, topped with purple mayana flowers (that I never thought was edible) and vinaigrette dressing. Yum!

I forgot what we had for dessert, but as far as I can remember, that's some sort of macapuno topped with dill. We also had barako coffee and lots of lambanog shots with orange and mango juice. Gourmet dining at the batis capped by Jay and his buddy Ralph's hilarious stories? Memorable.

And so afterwards we trekked the stream to check out the three falls. It was not really a difficult trek, except for the fact that the three of us had to float (if not swim) at some portions of the stream just to get from point A to B. Please take note also that we were a bit drunk, so it's a little bit more difficult. The water was kinda rough so I went home with some bruises.

Going to the three falls, the water was too deep that I had to leave my camera and camera phone somewhere just to get to the place. But I managed to get some shots along the way.

Ever wondered what it's like to be in a washing machine? Try having a dip below this cascade and see for yourself.

On our way back to the cafe, Jay picked up some herbs that later on graced our platters. I saw him pick up medicinal wild grass called pansit-pansitan, katuray, and some wild balimbing or star fruit.

He also showed us a tree that bore Philippine cherries, and picked some ripe fruits for us to try.

While Jay was preparing dinner, a masseuse came in and gave each one of us a relaxing massage. She said it was called "relaxing" massage, but whatever that is called, I really appreciated it compared to the kind of treatments that I'm getting in Manila.

Dinner was spectacular. The table was fabulously set with candle lights and simple flower arrangements. We were served with chicken (I don't know what it's called) again on top of rich risotto rice. Greens on the side were the pansit-pansitan, katuray, decorative but edible flowers called Impatience, among others. There was also tokwa't baboy on the side.

The dessert was ice cream with some herbs on top.

And of course, the evening ended with Jay and Ralph's stories of magic realist proportions.

The following morning, I woke up with the scent of dew, the smell of burning dried leaves, and the crow of birds and fowls in the area. It may sound annoying for someone like me who would rather sleep the whole morning, but that really gave me a sense of being so far away from Manila.

My friends and I had a stroll at the Our Lady of Sorrows Church, which was only two blocks away from the cafe. At the background was the scenic Mt. Cristobal. I've read somewhere that stained glass windows in this church discreetly bore the name of a certain Fr. Benjie, but I couldn't find it. Takes a magic eye to see them, maybe, or I wasn't actually paying attention since I was still sleepy at that time. Pupungas-pungas pa, as they say.

The verdict? I'd definitely come back there. Not because I still haven't seen Santa Lucia falls, but I want to experience that probinsya feel again, taste Jay's creative cooking and hear their incredible stories. Five stars.



For more information — prices, other testimonials (if you didn't believe me), contact numbers and some more photos, click here.

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Sneak peek at Opera

Before reading my post below on the latest opera performance here in the Philippines, here's an interesting (ehem) review that I wrote in 2006 about a production of the Philippine Opera Company. This one's about Master Class. The show's restaged and is running until Oct. 25, with Cherrie Gil, one of the icons in the local TV, film and theatre scene, playing the lead.

So here's my review, which should encourage everyone to see the ongoing show.





* This piece appeared at the Weekender/Arts and Liesure section of BusinessWorld on July 21, 2006.


Opera 101: A sneak peek at opera

THEATER REVIEW
Master Class
By Terence McNally
Presented by the Philippine Opera Company
July 21 and 22, 8 p.m. (2006)
Carlos P. Romulo Auditorium, RCBC Plaza, Ayala cor. Buendia Aves., Makati City

To those who do not have the discerning ears - or perhaps the patience - to appreciate classical music, the mere mention of the word "opera" triggers boredom. It may be because the arias are in unfamiliar languages, or, it may be the high-pitched birdlike voices that lull some to sleep. Because they are not willing to take the chance on it, a lot of people miss the great things that opera has to offer - the music and the magic combined on stage, the experience that the privileged few, so it seems, get from every performance.

With its aim of increasing the Filipino's awareness and appreciation of opera, the Philippine Opera Company makes a good first step to introducing the art to more Filipinos with its production of Master Class.

The production is very apt as the company's season opener. Since this is a play on opera rather than a full-length classical piece, watching Master Class does not require one to be a buff to comprehend what playwright Terence McNally wants to convey.

Master Class gives one a glimpse into the life of the legendary soprano Maria Callas (played by Jay Glorioso), touted to have been one of the greatest opera singers in the recent history for having revived the bel canta heroines of some of the greatest Italian composers. The play focuses on the latter part of Callas' life, that is, as a teacher giving a series of master classes at the Juilliard School of Music. While she did in fact conduct the master classes, the events in the play are of McNally's imagination.

While biographical sketches similar to this often result in travesty or comes out as a mere retelling of a famous figure's life, McNally was able to creatively weave Callas' musical genius together with the drama of her personal life.

The play shows a master class featuring three music students. This is where McNally is able to tell the people, for instance, that art is not detached from real life. This is best exhibited in one of Callas' lines - "You don't just stand on stage, you own it," saying that performing is not about pretending but being the person that one portrays at a particular time and place.

Such insights into music and performances are complemented by monologues that Callas delivers when she mentally moves out of the scene and airs out the miseries of her personal life.

McNally structured the play to include the audience, with the proverbial invisible wall between the actors and the audience eliminated. With the audience essentially included in the class, Glorioso as Callas, is able to inject a comedic touch as she delivered quips to the audience throughout the play.

The class does not become a mere showcase of the vocal prowess of Karla Gutierrez as Sophie de Palma, Anna Feleo as Sharon Graham, and Juan Alberto as Anthony Candolino with their renditions of some popular arias. Callas, after all, interrupts them after their first notes - sometimes even before they start singing. And even when they sing the pieces in their entirety, the renditions subtly turn to recorded versions. Rather, these actors were able to give remarkable acting performances in their respective moments.

In the brief vocal exhibitions, Gutierrez was the most memorable as her dynamics never failed to amaze, despite the fact that she was only required to sing a short portion of the aria.

Feleo's voice is equally striking, and I hope her character has become more solid through the production's run than it was during press night. Same with Alberto who looked a bit inhibited in his movements onstage - but his singing was a different matter!

The role of Maria Callas requires a strong actress, and Glorioso, in my opinion, was a good choice to play the part. As the role requires, she is an authentic singer. However, some people think that a stronger actress could have been cast as the role requires only minimal singing. But still, although her performance may seem to need a little more heft as compared to Baby Barredo's in Repertory Philippines' production some years back (I was
told Barredo had firsthand experience of a master class under Callas), I believe Glorioso will be able to give a stronger delivery throughout the rest of the run.

Full of insights on Callas' life and the basics of opera, complemented with equally impressive sets and lighting, Master Class depicts how art - opera in particular - truly becomes a magical reflection of life.



Disclaimer: I wasn't paid to make this post, or am I close to people at the POC. I just want to share the experience.

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Finally, an Italian opera in the Philippines!

A couple of years playing classical music when I was in my teens has made me a sucker for anything classical. Name it: Mozart, Beethoven, Lizst, anything with piano and violin, or even harp or glockenspiel, I'd like to have a CD or MP3 of it. So this, together with my undying love for the theatre arts, made me wonder what would be it like to watch an opera -- a real opera at that.

And then I had a chance to have an interview with Philippine Opera Company (POC) founder Karla Gutierrez. She herself was trained in Rome, with a course that's something like a masters degree in opera interpretation. She told me that a good career as an opera performer awaited her in Italy (she has what it takes to be a star: VERY good singing and a pretty face) but she said she'd rather put up an opera company here. So to make the long story short, POC was born.

Going back to the interview with Karla, I was trying to write a story about the potential of opera in the Philippines. By the way she described me her vision -- a major theatrical production with elaborate sets, an orchestra, and a material that is sung all throughout -- I was convinced that I really wanted to see one. And with the oversupply of talent in the country, there opt to be lots of such productions here in the Philippines.

So when I've heard POC's doing Puccini's La Boheme, I begged for a free ticket from my friend (hehe).

This was the same piece were Rent (read: the movie and the musicale) was based. Not to mention the tagline, "The Greatest Love Story Ever Sung" as an added come on, I was really itching to see it.


So I went to the CCP Main Theatre last Oct. 3 to see POC's La Boheme. It was the opening night. Bloggers were invited to have a sneak peek during the dress/tech rehearsal last Oct. 1, but I opted not to go since I'm not yet an established blogger.

ReviewThe production was not as grand as what Karla described to me, but it was a good show, all in all. With the singing as the centerpiece of any opera, I think the talented performers did a good job, and they did not fail their audience made up of high-profile personalities (read: the patrons of the arts).

I thought the director was being snob for not putting subtitles. The entire piece was sung — in Italian — and I couldn't make up what they're trying to tell.

My friend who attended the press conference said there was a debate among the producers and the artistic staff if they should put subtitles. The director argued that the attention of the audience will be divided if they do that, and that the audience should have done their homework by reading up about the opera.

For me, I think the move was one sure way to bring the arts much farther from the people. In this society where art is barely appreciated, I thought the producers should have done something to at least bring it closer to the Filipinos.

But then, another friend told me that that's how it is done in Europe -- even in non-Italian speaking countries. The objective is to simply listen to the singing and the music, and from there one can have an understanding of what's happening on stage. Let the singing touch your heart, my friend told me.

So this is what is called audience development -- you try to introduce new things to your audiences, and develop their appreciation for such things.

I wasn't able to comprehend the libretto of the opera, yes, but if I'll rate my experience based on the singing, I'd say it's superb!

The cast was made up of some of the top-notch performers in the country. That night I saw Jennifer Uy as Mimi and Gary del Rosario as Rodolfo. I've learned from the souvenir program that Gary is an accomplished opera performer abroad and only came home to do this (something like that).

But in terms of both singing and acting, Ana Feleo was a showstealer as the sexy Mussetta. Her stage presence, as in her past performances (I was able to work with her in Tanghalang Pilipino's Oraciones in 2003) was really something amazing.

Also noteworthy was the performance of the three "alipores" of Rodolfo's -- baritones Lawrence Jatayna and Jesus Baang who played Marcello, Joseleo Logdat who did Colline, and John Ocampos who played Shaunard.

One comment, though. The show intended to contextualize the piece to Modern-day Manila. Yeah, the effort was there with the sorbetero and all that. But all in all, I didn't feel Manila. And the second act with the chorus in what was supposed to be a carnival of sorts, I was kind of confused on who to look at on stage, and that in my opinion, the scene was badly blocked.

But nonetheless, this project should be the start of more to come in the Philippine theatre/entertainment scene. Bravo, POC!

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