The opera diva is an enduring figure in the history of opera. Considered to have had its origins in the 19th century, the term ‘opera diva’ is typically reserved for female sopranos who have not just established a larger-than-life presence, but also a singular status. The soprano Maria Callas, who The Guardian described as someone who ‘put as much passion into her life as into her art,’ was among the lucky (and committed) few to receive this distinction over her three-decade career.

Aside from receiving the moniker of ‘La Divina’ (the divine one), her behavior and her personal life also often made the front pages. Yet it wasn’t until ‘Master Class’ by playwright Terrence McNally that she had been the subject of a work of art. The play premiered on Broadway in 1995. It follows Maria Callas in what is supposed to be a student-centered pedagogy. 

However, she occasionally slips into detachment, often finding herself reminiscing or recalling the triumphs she has had at Teatro alla Scala (commonly referred to as La Scala), her relationships, which included tycoon Aristotle Onassis, and the hardships she persevered through in life, which ultimately earned her a reputation of having ‘the kind of magic that makes news,’ as The New York Times had reported, but also the perception of being ‘irreplaceable,’ as conductor Leonard Bernstein puts it.

La Divina is, once again, spellbinding

Menchu Lauchengco-Yulo has a sterling career, with sublime performance after sublime performance. Going on strong with almost five decades, Lauchengco-Yulo is the recipient of similar raves. She is also referred to with the term ‘First Lady of Philippine Musical Theatre.’ And in her turn as Maria Callas, she gives a masterful balance of outward composure and inner despair. A winning combination for a sublime performance.

Right as she addresses the audience before going onstage, one doesn’t see the first lady of Philippine musical theatre at all. Instead, they see the La Divina herself, as if she had risen up from the dead. For an opera diva that had lived decades ago, one may not be so inclined to have a solid grasp of who she was. Unless they had watched Angelina Jolie’s turn in Pablo Larrain’s ‘Maria,’ a 2024 film. Or they love opera. But in Lauchengco-Yulo’s arrival, which marked the start of the performance, audiences unfamiliar with Callas will immediately be transfixed, and audiences that are familiar indeed will likely be amazed by how Lauchengco-Yulo completely embodies ‘the most exciting opera singer.’

Down to the New York lilt and the elevated, grounded posture, Lauchengco-Yulo successfully conveys how revered the opera diva really is as she conducts the titular masterclass. McNally does not provide Callas a scene to show off her mastery of bel canto. But there is enough hefty material in this two-hour play (with a 15-minute intermission). And as a result, the emotion that comes not only from Callas, but also from the lived experiences she had accumulated, is something that Lauchengco-Yulo really excels at demonstrating throughout the play. 

Bringing depth to Callas

‘Master Class’ follows three consecutive masterclasses. The first one is Sophie de Palma’s, performed by Alexandra Bernas. As expected in a masterclass by perhaps the epitome of the opera diva, Callas wreaks scrutiny upon the soprano. This only results in entertainment value because of the chemistry (or lack thereof) between Lauchengco-Yulo and Bernas.

de Palma is the representation of youthful ambition. The kind of young person who hasn’t proven themselves yet and is extremely eager to impress. Bernas succeeds in conveying this through the dramatics. Yet in spite of her individual strength, she is let down by McNally’s book. He is more focused on Callas for de Palma’s segment, which takes up the first act of ‘Master Class.’

While the first act is an entertaining depiction of Callas, it does not do much in developing the La Divina. However, McNally picks up on the second act. The latter half is centered on sessions by soprano Sharon Graham (played by Angeli Benipayo) and tenor Anthony Candolino (Arman Ferrer). 

Graham is remarkable for her tense demeanor and entertainment value. The character shifts from excitement to criticism, both inward and outward, which Benipayo excels at expressing. Benipayo’s defensive spirit serves as a wonderful contrast with Lauchengco-Yulo’s Callas. The third and last Candolino is very much assured, which Ferrer emphasizes with his restrained approach to the character. Ferrer’s good-humored embodiment of the all-American boy confident in what he can bring to the table is immensely charming. One would immediately get why Callas tends to retreat into ruminations during the second act.

Emphasizing the reverence Callas demands

McNally’s play operates as a reckoning with image and self. Its analysis of Maria Callas resonates, not just in a personal sense but also with the legacy we intend to leave. The restrained direction of Jaime del Mundo underscores these.

del Mundo emphasizes McNally’s intention: even the most esteemed are left unspared from doubt. While the stationary movement from the actors may prove dull over time, it forces the audience’s attention on the sheer bravura of Lauchengco-Yulo. JC Buendia, costume designer for Callas, successfully displays the stature of La Divina herself with the handsome black suit Lauchengco-Yulo wears. 

Lighting designers D Cortezano and Perine Nyssa Bianzon also flourish. The lights, though largely minimal, work best when it comes to conveying the emotional states of Callas herself. They assist in Lauchengco-Yulo’s ruminations. The vibrant blues and purples work in underscoring the melancholia, but also the respect Callas is no stranger to receiving. Their work adds to the allure Callas has cultivated over the years.

Fusion of two greats

With the simplicity of McNally’s play, audiences get a fuller understanding of not just who Maria Callas was, but also how she has been perceived since then. ‘Master Class’ offers incisive insights into the person beyond her nicknames, who Lauchengco-Yulo inhabits with aplomb.

Part of what makes ‘Master Class’ work is the casting of established actresses. On international shores, award-winning actresses Zoe Caldwell, Faye Dunaway, and Patti LuPone had played Callas. In the Philippines, Cherie Gil and Menchu Lauchengco-Yulo have played Callas. Their involvements contribute to the triumph of ‘Master Class,’ in the sense that such works have these actresses rid themselves of their personal, eventful lives to become who many perceive to be the paragon of opera.

The clash, and eventual fusion, of these actresses and their backstories with Callas herself adds to the power of the play itself. And like the actresses who had played the character before, Lauchengco-Yulo is sublime in this 2026 staging. Possessing the presence and delivering the heft of La Divina’s storied life, Lauchengco-Yulo simply does it again. She possesses the same kind of magic that makes news, headlines even.

Further information

‘Master Class’ is staged by the Philippine Opera Company. It will run from May 15 to May 30, 2026 at the Carlos P. Romulo Auditorium in RCBC Plaza, Makati. Tickets may be availed via Ticket2Me.

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