Interview by Luz Bergersen
Cloi started her musical journey at the age of 6. Cloi's father had been enrolling her in piano classes, but her fascination with singing grew more when Cloi decided to join an amateur singing competition in their school. Her father was very supportive of her hobby, and he decided to enroll her in a music studio where she could hone and develop her talent.
Over time, she represented her school in different music competitions, up to the point of joining "Little Big Star," a famous singing television competition at that time.
Cloi was exposed to different genres and became influenced by classical singing at the age of 16, when she became drawn into the world of opera. Her college professor encouraged her to pursue learning classical singing, which at that time she felt was not her cup of tea; she was more drawn to learn theater and Broadway. But when she gave classical singing a chance, she was fascinated.
Every day, she would rehearse in the music studio and learn different art songs and opera arias, which drew her into the works of Debussy and Strauss. For her, these two Western musicians inspired her more to have that eagerness to study and understand more western classical music. During her bachelor’s she was a scholar of George T Yang's Klassikal Music Foundation, which gave her a full scholarship. She was also given an opportunity to join different artistic projects under Philippine Opera Company.
Her graduation was affected by the pandemic, so she had to finish her studies in the Philippines through an online graduation. Because of this, she met a Norwegian musician who suggested she take a master’s in music at the Norwegian Academy of Music. Without even planning to study in Norway,. Cloi decided to give it a try, and she was admitted. She is now an alumna of the school and is currently a music teacher and freelance musician in Norway.
RW: When did you come to Norway?
I came to Norway in the summer of 2021 with the intention of taking up a master’s in Music at the Norwegian Academy of Music.
RW: Can you tell us about your family?
My father is an engineer who loves music, and my deceased mother was a health professional who also loves music. She gave up her career to become a full time mom for us. I grew up in a middle class family in the Philippines. I am blessed with a supportive family who was always there to give me encouragement in my passion and career in music. My father was a single parent, and while my father was working, my aunt or my grandparents would look after us when we were young. My family is my biggest source of inspiration, and they are the reason why I keep on pursuing my passion in music.
RW: How were your music studies in Norway? Please tell our readers about the path to becoming a professional musician in Norway.
I would say that it is pure hardwork and dedication. It is really a challenge to pursue a career in music, but if you are disciplined and faithful in your practice and commitment as an artist then you will surely get there. I am blessed to have supportive mentors and professors in the Philippines and Norway. Through them I was able to have a deeper understanding and respect of my instrument and the music world in general.
RW: How about the work/career path you have done so far?
When I was a bachelor’s student, I decided to delve into music teaching. I was a part time music teacher in music studios and recreational places for seniors in the Philippines. Teaching music can give you a different sense of fulfillment as a musician. Having been affiliated with the University of Santo Tomas music professors, artistic director, and music conductors gave me an opportunity to be part of music productions.
I am truly grateful that through that, it paved a way for me to be affiliated with Klassikal Music Foundation and Philippine Opera Company. It opened a lot of doors for me as a freelance classical musician in the Philippines. When I moved to Norway during the pandemic, I had no choice but to focus on my master’s education at that time. I remember there were some restrictions and it greatly affected us musicians and artists in the whole entertainment world.
On my end, I also felt that the momentum to perform was gone and getting back on stage was a bit terrifying. It feels like I have to get back in shape again to condition my mind mentally, but I remember I had no choice but just do it. My first classical performance after the pandemic was here in Norway. I was given the chance to perform with MNHs orchestra and music conductors and it gradually led up to more collaborations with different musicians and artists here in Norway. And so here I am continually singing and creating more small artistic projects while I teach music at the same time.
RW: How is your musical work today?
My musical work today has gradually grown and shifted from before. I felt like moving here in Norway opened up my eyes to the greater possibilities of performing and music making. I am truly grateful to be able to have that artistic freedom to create and collaborate with different artists here and develop new ideas and projects out of the box.
The past musical projects in the Philippines were greatly influenced so much with ideas and concepts mainly from artistic directors and music directors of orchestras but now I feel like I have more freedom and autonomy to explore different artistic styles and ideas and create new projects of my own. Now I am continually looking forward to learning more and discovering more about my instrument and artistry and if there is one thing I would like to delve in more in the future, that would be to explore more about improvisation in music and correlation of it with text and literature.
RW: Please tell us about your work here.
In my master’s project, I have done research about synesthesia: the connection between music and visual arts. This paved way in discovering and learning that music for some people is not just an auditory experience but also a visual experience. I have collaborated with visual artists and digital artists to create an artwork that is based on the repertoire I have for the master's recital and it was a very interesting and challenging project to work on. I think there is something more to learn and discover about this project, but being given only a period of time to work on it is quite limiting.
But even though I tried applying the same principle in my work as a music teacher, I did incorporate the basic elements and premise of synesthesia to my students — especially those who have short attention span and who are visual learners. It was a really effective approach. As a music educator and performing musician, I am constantly challenged to be versatile and to be able to adapt to different life situations, and I believe that versatility and adaptability is what makes me a better musician and artist. I didn't just box myself in one genre of music. Although I am known to be someone who is performing classical, I'd like to explore more about music and art and its broad spectrum.
RW: Please share a message of encouragement to our readers.
To my amazing Filipino artists and musicians abroad who happen to read this article, I would like to remind you that your talent knows no bounds, and your creativity shines across borders. Keep pursuing your passion with unwavering determination. Your artistry not only enriches the world but also serves as a source of pride for our nation. Remember, every stroke of your brush, every note you play, carries the essence of Filipino spirit. Stay inspired and continue to paint the world with your talent. Mabuhay!
youtube reel: @cloi0128
instagram: @cloisugano
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