Thursday, November 24, 2011


Nora Aunor  shines brightest among the stars in the 25th Star Awards for Television of the Philippine Movie Press Club [PMPC] held Tuesday night, November 22, at the Newport  Performing Arts Theaters of Resorts World Manila in Pasay City.

She receieved a special award   for her musical variety show  "SUPERSTAR," which holds the record as the  longest-running musical show on Philippine TV after lasting for 22 years on air.  

The Superstar received a standing ovation while she was being conferred the Hall of  Fame.

Monday, November 21, 2011


The 24th Aliw Awards Night was held at the Newport Performing Arts Theater, Resorts World Manila last November 8, 2011.

Nora Aunor receives the Lifetime Achievement Award for Singing and Acting.  She is considered icons in singing and acting and was recognized for her unparalleled contribution to the entertainment industry of the Philippines.   Because of her dedication and selfless sharing of her talents, she have given pride and honor to Filipinos around the world.

Founded in 1976, the Aliw Awards Foundation, Inc. annually recognizes exemplary live performances in the Philippine performing industry through the Aliw Awards.  It led by its President Atty. Marujita “Jeatte“ Palabrica.

Saturday, November 19, 2011


Sun Star Pampanga: Peanut Gallery
Monday, November 14, 2011

“NOTHING is more powerful,” Victor Hugo said, “than an idea whose time has come.”
I can’t remember how many times Nora Aunor has been nominated to the National Artist Award (renamed Order of National Artists recently) since Malacañang declared Fernando Amorsolo the country’s first National Artist way back in 1972.
In the files of the Cultural Center of the Philippines (CCP) and the National Commission for Culture and the Arts (NCCA), which jointly administer the award, Nora Aunor probably holds the record of being the artist with the highest number of nominations — which is actually not a good thing, because it means she is also the artist with the highest number of losses.
And this is what I don’t understand: why the same institutions that have already acknowledged her unparalleled contribution to Philippine art and culture keep giving the award to other people.
Remember, it was CCP itself that put Nora Aunor in the list of 100 Filipinos who made the greatest contribution to Philippine art and culture in the last 100 years (1900-1999), alongside Juan Luna, Felix Resureccion Hidalgo, Aurelio Tolentino, Juan Crisostomo Soto, and Claro M. Recto. She is the only Filipino film actress in the list.
That was in 1999. She had been nominated several times before and has been nominated several times since.
The first National Artist award in the category of Film was given in 1976 to Lamberto V. Avellana, who had by then made 70 films, including two classics, Anak-Dalita and Badjao.
Had Nora Aunor been nominated that year (1976), she would have already deserved to win on the strength of the two films she made that year, “Minsa’y Isang Gamu-Gamo” and “Tatlong Taong Walang Diyos”, considered classics like “Anak-Dalita” and “Badjao”, and two others she made earlier (Banaue in 1975 and Fe Esperanza Caridad in 1974).
Avellana was one of her directors in Fe Esperanza Caridad; he was so impressed with her that he called her “the perfect film actress.”

Her other director in that film was Gerardo de Leon, who also directed Banaue. It was De Leon who was conferred the second National Artist award for Film, in 1982.

De Leon was recognized for his films “Sisa”, “Ang Daigdig ng mga Api”, “Sawa sa Lumang Simboryo”, “Noli Me Tangere”, “Moises Padilla Story”, “Lilet”, and many more.
Like Avellana and Aunor, De Leon had made many movies that can be considered mediocre, but like Avellana, he was recognized for the few pearls among the bed of oysters.
Nora Aunor should have been nominated for (and also deserved) the award that year (1982), because she had by then added more pearls in her filmography: Atsay (1978), Ikaw ay Akin (1978), Ina Ka ng Anak Mo (1979), Bona (1980), Kastilyong Buhangin (1980), Bakit Bughaw ang Langit (1981), T-Bird at Ako (1982) and Himala (1982).
But De Leon had died the year before, and Aunor was only 30 years old in 1982.
And then, for five consecutive years (1987, 1988, 1999, 1990 and 1991), the government conferred the National Artist award in every possible category — architecture, dance, theatre, music, literature, visual arts — that is, except film, which seems to mean that no one in the film industry deserved to win.
Two deserving filmmakers, Lino Brocka and Ishmael Bernal, died in 1991 and 1996, respectively, and so in 1997, they were posthumously conferred the National Artist award. That was also what happened to Fernando Poe, Jr. who died in 2004 and was made National Artist in 2006.
According to the CCP-NCCA rules, nominees should be artists who (a) have helped build a Filipino sense of nationhood through the content and form of their works; (b) have pioneered in a mode of creative expression or style, making an impact on succeeding generations of artists; (c) have created a significant body of works and/or consistently displayed excellence in the practice of their art form; and (d) have enjoyed broad acceptance through prestigious national and international recognition, critical acclaim/reviews of their works, and respect from peers within their artistic discipline.
Noranians have been holding the torch for their idol to be formally declared National Artist — I say formally because they know in their hearts that Nora Aunor is already a National Artist in the truest, purest sense of the title.
Is there any Filipino who doesn't know Nora Aunor, who hasn't heard her songs ("Pearly Shells" in the 1960s is the best-selling record ever), watched her TV shows ("Superstar" was the longest-running musical-variety show in Philippine TV history) and her films ("Guy and Pip" broke all box-office records in the 1970s).
I don't think there is any Filipino artist whose art has permeated Filipino society and culture this much and this long (five decades). She was already a Superstar when Ninoy was alive; she helped install a President (GMA), reelect another (Marcos) and bring down a third (Erap).
Noranians are actually offended every time the government bypasses her in favor of others who probably need the award more urgently, or who deserve it ahead of (not necessarily more than) her. The height, of course, was when Carlo J. Caparas was named National Artist for Film and Visual Arts in 2007.
Is Nora Aunor being quietly disqualified for her youth? She will be 60 next year, for God’s sake. Brocka was 52 and Bernal was 58 when they died; Lamberto Aavellana was 61 when he got the award. Carlo J. Caparas was only 49 in 2007. Or is it her “questionable” lifestyle? Even if those allegations about substance abuse were true (the US courts have dismissed them), since when has ethics or morality been a criterion in the selection process? Which artist, here and abroad, living or dead, has lived a totally untainted life? Every one of them has some kind of a moral, emotional or psychological flaw or scar which precisely is the energy source that powers their art and genius.
Some Noranians are even pushing for a special category for Aunor, because her achievements transcend film: her excellence extends to theatre, television and recording.
Those who belittle her dedication to her craft and her self-discipline should have seen her in the play DH (Domestic Helper), shown at the Dulaang Rajah Sulayman in Fort Santiago in 1992, where she portrayed not one, not two, but four different characters without ever leaving the stage (she changed costumes right there!). Even National Artists for Theatre like Atang de la Rama, Wilfrido Ma. Guerrero and Rolando Tinio would give her a standing ovation.
A few years ago, CNN named Nora Aunor’s Himala as the all-time best film in Asia and the Pacific, besting even Akira Kurosawa’s Seven Samurai and Ang Lee’s Crouching Tiger Hidden Dragon.
In the last two months alone, Aunor was awarded an unprecedented four lifetime achievement awards, including one from the Cinemanila International Awards for her several best actress awards from film festivals abroad, and another from Cinema One Originals Film Festival for being one of the country’s pioneering indie film producers (she used her own money to produce movies when Viva and Regal dominated the scene).
It used to be only Noranians who acknowledged Aunor's contributions. Now almost everyone else does, probably including Vilmanians.
It's only a matter of time before the CCP and the NCCA admit what millions of Filipinos already accept: Nora Aunor is the People's Artist -- which is just another term for National Artist.


Friday, November 11, 2011


Cinemanila Internation Film Festival 2011 has picked Nora Aunor as its recipient of this year's Lifetime Achievement Award for her accomplishments and contributions to Philippine entertainment as actor, singer, TV host and movie producer.

Nora received her award on the festival's opening day on November 11 at the Market! Market Cinema.

As part of the homage to the multi-awarded Aunor, a short video tribute have been shown during the presentation of the award.  Throughout the festival, Cinemanila will screen (with English subtitles) classic films showcasing Aunor's legendary acting talent, including "Tatlong Taong Walang Diyos" (1976), "Minsa'y Isang Gamu-Gamo" (1976), "Bona" (1980) and "Himala" (1982), winner in 2008 of the CNN APSA (Asia Pacific Screen Awards) Viewers Choice Award for Best Asia-Pacific Film of All Time.

Nora has won internationa recognition for her acting from the Cairo Film Festival ("The Flor Contemplacion Story", 1995), East Asia Film and Television Festival ("Bakit May Kahapon Pa?", 1997), Brussels Festival of Independent Films ("Naglalayag", 2004).  She was also nominated in the Berlin Film Festival for "Himala" and awarded the Certificate of Honor in the Cannes Film Festival for "Bona."

Superstar Nora Aunor to Receive Cinemanila’s Lifetime Achievement Award on 11 11 11

Thursday, October 27, 2011

Saturday, October 22, 2011



Malaya Business Insight
Friday, October 21, 2011

At the late September press preview of "Sa Ngalan ng Ina," Nora Aunor’s return to TV drama after an eight-year hiatus, the scene inside the venue was reminiscent of how it was when the legendary actress’ Elwood Perez-directed mother-and-daughter drama "Ang Totoong Buhay ni Pacita M" was being shown in theaters in 1991. This was way before the advent of mall cinemas and Nora Aunor loyalists would burst into a thunderous applause at her every dramatic highlight.

Where Nora was largely over-the-top as the self-sacrificing mom in Pacita M, she delivers a fine performance as the wife who becomes governor in TV5’s "Sa Ngalan ng Ina." Unlike the regular soap that proliferates on the tube, "Sa Ngalan ng Ina" is far from glossy and convoluted. It is, thankfully, both gritty and theatrical. The theatrical touches are, of course, to be expected since the one at the helm is Mario O’Hara who remains a presence in the local theater scene.
And because theatricality calls for huge, spectacular scenes, logic is sometimes sacrificed. Consider the scene where Nora had to walk through the rubble after the explosion that killed her husband in the series (played by Bembol Roco). Why in the world was Nora without a mobile phone so that her children could have just called her and relayed the news? O’Hara was clearly striving for effect at the expense of logic.
Other than little quibbles like this, "Sa Ngalan ng Ina" is still rather refreshing to watch. Aside from Nora, Eugene Domingo (as Nora’s sister), Edgar Allan Guzman as one of Nora’s two sons and Karel Marquez (as the willful daughter of Christopher de Leon and Rosanna Roces) offer performances that bristle with quiet power. We would have wanted to sing hosannas to Alwyn Uytingco as the renegade son of Nora and Bembol but his portrayal strikes us as too blustery for comfort.
The ratings are none too impressive – 4.3% of the audience share for its pilot episode according to AGB Nielsen – but the month-long series which started airing last October 3 on TV5 is loaded with commercials and is praise-worthy if only for its being briskly-paced and quite gripping. If the Manny Pangilinan-owned station is aiming for prestige, their efforts had not entirely gone to waste.



Nora Aunor back with first all-original album 

Philippine Daily Inquirer
April 16, 2009

THE SUPERSTAR hasn't lost her luster.

Nora Aunor, whose long and checkered career officially began as a singer in the 1960s, is back with a new album. Recorded as an independent production in the United States, the 10-track CD, Habang Panahon,? is her first attempt to interpret an all-original set of material.

Nine of the songs are credited to the husband-and-wife team of Bodjie Dasig and Odette Quesada, likewise the album producers and backup vocalists. Dasig wrote five of the tracks; Quesada penned one; and the duo collaborated on three cuts. Christine Bendebel composed one song.

Audio files

The Inquirer received, by e-mail, audio files of five of the songs. Refreshing is the effect of listening to Aunor sing these new songs, since the bulk of the material she released on Alpha Records were covers.

Her last known album, released by Universal, was a live recording of a concert, "Handog," at the Big Dome in 1991 and also featured an all-covers repertoire.

The title track on "Habang Panahon," a ruminative ballad with the piano as lead instrument, has Aunor delivering vocals that can best be described as lovely in a mature context. She gives a bright outlook to wistful lyrics about reflecting on one?s life, and the meaning of love and commitment.

"Starlight," which has cool bass lines and light percussion on a mid-tempo beat, finds her rendering English lyrics in a clear, neutral accent, nothing forced or faked, just exactly how she sounded at her peak. The song, using the image of the road as a metaphor for life's journeys, is a bit ambiguous portraying another image, the stars in the sky, as a friend who guides the singer as she deals with her challenges. But since Aunor is the singer, it sounds simpler and easy to appreciate.

Another English track, "Friends," is jazz-inflected, with saxophone solos weaving around feel-good sentiments on the value of relationships.

But Aunor shines best in the Tagalog cuts.

"Kung," about a woman?s confusion on whether she can have the one she loves, has the 55-year-old artist giving a youthful touch to the verses.

Effortless sustain

The last of the sample tracks, "Ganyan Nga Ba," is an upbeat, acoustic guitar-driven showcase for Aunor?s trademark singing style characterized by effortless sustain on the high notes.



Listen to and buy Nora Aunor music on CD Baby.  Download or buy the CD Habang Panahon by Nora Aunor on the independent record store by musicians for musicians.

Tuesday, October 18, 2011


Sa ikatlong taon ng pagpaparangal ng Philippine Movie Press Club [PMPC] para sa mga natatanging talento sa larangan  ng musikang Pilipino.  Napili ng samahan na pagkalooban ng pinakamataas ng pagkilala si Ms. Nora Aunor, as this year's recepient of the Lifetime Achievement Award.

Sa kanyang hindi matatawarang kontribusyon sa larangan ng pag-awit, pagre-recording, pagpe-perform sa mga pagtatagnhal na musikal, pang-telebisyon man o pang-live concert, si Ms. Nora Aunor ay itinuturing ding isang "ICON" of the Philippine Music Industry, sa loob ng pahigit na apat na dekada.

Siya rin ay hinirang bilang "Female Celebrity Star of the Night" at special award from PMPC's majoy sponsor called, "Look of the Night."

Iginawad ang parangal noong ika-16 ng Oktubre, 2011 sa Henry Lee Irwin Theatre ng Ateneo De Manila University [ADMU], sa Loyola Heights, Quezon City.

Saturday, October 15, 2011


Thursday, October 13, 2011

International Circle of Online Noranians [ICON] and Nora's Friends Forever [NFF], through the "Nora Aunor Foundation" handed over to Saint Anthony of Padua Parish, Iriga City, relief goods composed of noodles as a contribution to the parish's relief mission for the flood victims in the Bicol region.  Msgr. Jonie Aguirre received the donation from Noranians in the presence of Iriga City Hall representatives.

Nakausap ni Sister Glorina si Monsignor Aguirre.  Sabi ni Ate Glorina: "Nagpapasalamat si Monsignor sa tulong na naipamahagi at lalong nagpapasalamat siya kay Ate Guy dahil sa pagkakaroon ng mga fans na iniisip ang kapakanan ng iba.  Ipinapa-abot niya ang kanyang pasasalamat sa lahat at sinabi niyang lagi niyang ipagdarasal si Ate Guy, sa mga aspirations nito at sa health niya.  Napanood daw ni Monsi yung mga old movies ni Nora Aunor na ipinalabas kamakailan sa TV.  Aware din si Monsignor sa mini seryeng "Sa Ngalan Ng Ina".

Ang Bicol Relief Drive ay inanunsiyo nang live sa local radio station ng DZRH (naririnig sa Camarines Sur), sa pamamagitan ng isang live interview kay Albert Sunga.

Saturday, October 8, 2011


Philippine Daily Inquirer
Friday, October 7, 2011

Nora Aunor’s latest and perhaps last comeback to the local TV-film scene should, by rights, be a major entertainment event. Not just yet another turgid, florid melodrama, but a production with a theme and significance commensurate to the iconic actress’ proven worth.
The good news is that her prime comeback vehicle, the month-long TV5 miniseries, “Sa Ngalan ng Ina,” is shaping up to be such an event. Perceptively megged by Mario O’Hara, the series is more than just a convoluted and prolix family drama, it’s a seething study of politics, Philippine style, with all of its dark and dangerous twists and turns – and telling insights into the Filipino psyche.

Morality tale
As the new series’ cautionary political morality tale swiftly unreels, a well-loved gubernatorial candidate (Bembol Roco) is killed at a political rally, leaving his widow (Aunor) to (like Cory Aquino) carry the torch. In so doing, she reveals that she isn’t the meek pushover many people thought she was.
Other revelations in the series’ first three episodes include the fact that the widow had a past relationship with the governor (Christopher de Leon) who’s now her political foe (and the suspected mastermind of her husband’s murder). It’s also intimated early on that he isn’t guilty, but his ambitious wife (Rosanna Roces) could very well be.
As the plot dramatically thickens, the series’ significant themes emerge and glisten, exciting us with the possibility that “Sa Ngalan ng Ina” could be as exceptional as it has promised to be. On the local teleserye scene, where self-serving melodrama instead of authentic drama rules, that really is an eventuality worth celebrating.

To be sure, some “danger signs” are evident that may limit or detract from the series’ worthy objectives. There appears to be too much emphasis on the other and young members of the slain politician’s family, and some of the young actors assigned to those roles are not up to the thespic task at hand.
Also less than choice is the rather standard way that the production stages and handles its “political” scenes, which betrays a lack of “actualized” insights in the process that the story seeks to expunge.
Some production details are similarly and distractingly inept, like the “dramatic” veil that Nora is made to wear in the funeral scenes, which threatens to “drown” her slight frame and upstage her in a major way. And the decision to make Rosanna wear a brightly colored outfit at the funeral was similarly too “TH.”
But, these are details. What matters most is the firmness of the series’ plot, character and thematic development, and that’s coming along relatively well – so far. In addition to the gathering strength and force of Nora’s lead portrayal, Bembol also did well in his all-too-brief appearance, and Rosanna, Eugene Domingo, Karel Marquez and Alwyn Uytingco are also coming on strong.
Unfortunately, Christopher tried to get by with mannered “voice acting” in his early scenes. By the third telecast, however, in his first long scene with Nora, he managed to drop the melodramatic “act,” and the thespic chemistry between them was stirring to behold. We hope that, from here on in, the actor will continue to give us seminally focused moments like that, instead of mannered approximations thereof.
Other thespic “grace notes” thus far were provided by Nora’s speech at her first rally, Leo Rialp’s subtle political machinations, and the exceptionally telling scene between Eugene and Alwyn, ostensibly just a small and offhand interlude at mealtime, but in fact an eloquent expression of their unique relationship and what they felt about what was happening to their family and to their town.
It is grace notes like these that tell us that more than just simple storytelling is happening in this series, which could end up as one of the year’s best extended dramas – and proof positive that Nora Aunor still has what it takes, and is here to stay.

Friday, October 7, 2011


Thursday, October 6, 2011

CALL it what you will but the initial telecast of TV5 “Sa Ngalan Ng Ina” is a big, big hit! Proofs are the college students, particularly from PUP, who were glued on their TV sets and then declared – quality is back in the Philippine TV drama! And who will argue with that? With the great ensemble of great acting led by Superstar Nora Aunor and with the master direction of Mario O’Hara in SNNI, nothing compares.
The only trouble is the poor reception of TV5, sabi ng ibang nakapanood sa parteng Batangas, Laguna at Quezon. Kitam, hindi lang sa Metro Manila tumutok ang viewers, kahit pa nga sa Tacloban, ayon kay Luis ng GANAP. Ang problema nga lang, malabo o walang channel 5 din sa kanila.
Ayon naman kay Mar Coligado ng Liliw, Laguna, “Talagang totoo na mas dumami at naging active muli ang maka Ate Guy rito sa Liliw. Lahat lumabas ang pagka-Noranian, lahat nakatutok sa panood ng SNNI. Talagang iba ang hatak ni Ate Guy, ano?” Kahit nga sa Batangas ang hindi lang nanood ay iyong bawal mapuyat at iyon lang mahina ang reception ng TV5, sagot ko naman.
“Kung inaakala ng iba na ang ratings game ay diyan lamang sa Manila, magtanong-tanong kayo sa mga probinsya at talagang nangununa ang SNNI at ang Willtime, Big Time,” dagdag naman ni Aling Conching Comel. Walang duda, SNNI dominates the primetime these days.