Kampalalite’s Connoisseurs Festival: An Affair of Fine Wine, Food & Classical Music

on Pearl Guide, March 2014 (Kampala, Uganda)

“…   The highlight of the evening came as courtesy of the immensely talented pianist Miss Carmela Sinco from New York who was a guest performer at the event and she performed two pieces: Boda Boda and Rubaga Rain. Her pieces were captivating. You could feel her energy and passion as she played which was visibly clear as even little kids pulled out their parents smart phones to record the moment.”

Read the full article HERE.


Piaf: Love Conquers All
Review by Paulanne Simmons, December 15, 2007

for CurtainUp, The Internet Theater Magazine of Reviews, Features, Annotated Listings

“… The show also owes much to the marvelous piano playing of Carmela Sinco, who sits upstage at her piano, barely visible behind a scrim. Sinco expresses instrumentally what Emmerson conveys vocally. Her playing is lush, romantic and evocative. …”

Piaf: Love Conquers All – The Soho Playhouse

Review by Heidi Vanderleein, January 7, 2008

 for Go Mag, the cultural road map for city girls everywhere
“… Also, it is extremely important not to ignore the beautiful piano stylings of accompanist Carmela Sinco, whose skill and grace complemented the performance immeasurably. …”

“… The second work on the program was a single-act opera by Carmela Sinco. Also led by Bo, the work featured tenor, soprano, and bass, who together depicted a story “inspired by a folk legend from the Philippines.” It was the premier run of the opera, and though contemporary, Sinco’s tonalities suggested a melodic approach influenced perhaps by the same folk traditions that inspired the opera itself. The setting is described as “a time and place when spirits and humans can cross paths,” which outlines the premise for the entire work. Sag-In, a spirit, falls hopelessly in love with Raya, a human. And so their struggle to love each other unwinds throughout the opera. The arias cycle between the three characters Sag-In, Raya, and Bathala–the leader of the spirit world–culminating in a duet and trio in the final scene. Chromaticism and long lines evoke the struggle of two forbidden partners, and ultimately gift the piece with originality and a separation from what could have been another bland love story.”  (2009)

Read the complete review here.
Fashionista with green conscience
By Carol Tanjutco, JD First Posted 15:01:00 03/19/2011
“Once in a lifetime you meet women of substance whose contribution to the global society has such an impact on all levels of the economic echelon. On March 15, 2011, Philippine’s environmental fashion guru Dita Sandico Ong presented her latest runway collection of Filipiniana dressing at the Philippine Center located at the heart of New York’s elite fashion district, Fifth Avenue. …
“… The Philippine Center auditorium was transformed into an haute couture fashion stage, preceded by an excerpt from a one act opera composed by Carmela Buencamino Sinco, Raya and Sagin, based on a myth of the origin of the banana. The featured story of a forbidden love between human and spirit was rendered by Victoria Wefer, soprano and Gregory McDonald, tenor. Miguel Braganza directed and choreographed the show featuring professional models, courtesy of Emmanuelle Modeling Agency, with some dignitaries who themselves strutted the catwalk. It was a most welcome respite, so timely as we approach the lively springtime.”
Read the full article in this blog here
New Music Connoisseur
The magazine devoted to the contemporary music scene
Art Song for Art Song’s Sake
“Song New York, A Concert of Vocal Music.” by Deak, Earnest, de Kenessey, Owen, Peaslee, Jonny and Lou Rodgers, Rorem, Sinco and Spektor. Soprano Elizabeth Cherry; Mezzo Wendy Brown; tenor John Nelson; baritone Charles Coleman; pianist Thomas Carlo Bo.
Presented by Golden Fleece Ltd., the Composers Theatre.
Renee Weiler Recital Hall, GHMS. Dec, 8, 2006.
“…Was it planned or just coincidental that the opening four-song set, “Simon Says” by Carmela Sinco, was the raciest and most contemporaneously chorded of the evening with punchy cadences and tongue-in-cheek underpinnings in the piano part, played to perfection by Mr. Bo. Baritone Coleman had a great time singing these songs, and his by now infamous “See-how-comfortable-I-am-in my-own-skin” posture served him well here.