A moment of fine symphonic listening

MANILA, Philippines - Hearing the Philippine Philharmonic Orchestra (PPO) again conducted by its former principal conductor, Ruggero Barbieri, in the fifth concert of its current concert season is a moment of fine symphonic listening. Brilliant and well-nuanced symphonic sounds carved out from a program of standard romantic orchestral pieces including a piano concerto easily ensured sumptuous listening. Indeed, it has been a while since I last heard PPO’s glorious sound since it explored the realm of the new and abstruse in symphonic literature.

The concert season’s title, “Transymphonia: The World in Concert,” appears rather unimaginatively phrased as all PPO programs in the past have been trans-national simply because they were made up of symphonic works from all countries, the Philippines included. Nonetheless, the fact that the concert season focuses on the finest traditions of symphonic music of different stylistic periods is indeed a welcome departure from past boring programming.

Through this, collaborative partnership between the CCP and the various foreign embassies in Manila have been forged, all down to what CCP president Nestor O. Jardin stated in his message in the souvenir program as “bringing the arts closer to Filipino audiences.”

European music took center stage and the concert was aptly billed “Glimpses of Europe.” For this concert, CCP had collaborated with His Excellency Jaroslav Ludva, Ambassador of the Czech Republic, as the Czech republic presides the European Union (EU) Council during the first half of this year.

Conductor Barbieri was very much at home with the program. An incurable romantic, he oozed with dynamic flair as he wielded his baton from Jean Sibelius’ Finlandia, through Franz Liszt’s popular Piano Concerto No. 1 with pianist Jovianney Emmanuel Cruz as soloist, and Edward Elgar’s Pomp and Circumstance March to Antonin Dvorak’s From the New World Symphony. Certainly, the audiences are familiar with the program; and precisely because it is well known, the audience would have no particular difficulty in measuring up, or determining the competence of the conductor.

Happily for the conductor, he wielded his baton with utmost integrity, drawing up fresh sound from the musicians who played very well. Coloring was vivid, and the voicing among the various instruments was well blended. He brought out the piece’s innate sentiment with remarkable freshness and biting sensitivity. Nobility marked his reading of the slow, hymn-like movements in the works of Sibelius, Dvorak and Elgar. The UP Concert Chorus that counted its conductor, Prof. Janet Sabas-Aracama, among the choristers provided depth in the familiar middle section of the work, (which is played during graduation ceremonies) singing in projected voices in unison its magnificent martial cadence. There was no triteness, only soulful mediation to ensure contemplative (Sibelius and Dvorak) as well as regal (Elgar) moods.

 When Elgar’s Nimrod (from Enigma Variations) was encored, listening all the more became intent: the PPO hushed the audience into contemplation, as it played with utmost calmness that served like a soothing balm to the tired spirit — well, at least for a while.

His rapport with the orchestra was beyond reproach. Ensemble playing and even solo playing from the musicians were superbly done. Barbieri did not fall short in ensuring handsome ensemble work from among them. He has acquired more depth and maturity, and has become more discerning than when I heard him in the latter part of the 1990s. And precisely because of this, the same Dvorak symphony, which, incidentally, he played with the same orchestra at the Manila Cathedral a decade ago, was awesome. 

His choice of a Liszt piano piece was perfect, as it is masterly orchestrated with ensemble exchanges between the piano and among the orchestra instruments. In addition, it soothed his personality as the piece exuded dramatic temper.

There was nothing short of the virtuoso in the playing of pianist Jovianney Emmanuel Cruz. He showed a wide range of technical ability that brought out the work’s brilliant effects. The tandem between him and the conductor was sealed with intelligent accord, ensuring him to play with fire and the orchestra with ardor. He knew the piece well and he stayed connected with the music throughout. Never mind the sour notes in the antiphonal octaves in response to the orchestra at the opening section; his playing was simply electrifying. He played the cadenza that bridged the scherzo and the finale with a broad sweep, and brought the audience to greater heights of listening as he played with aplomb and abandon the closing fast passages of the piece. Hearty applause followed.

Too bad he was playing, not on a full grand Steinway, but on a seven-footer Bossendorfer whose sound was wanting in brilliance and projection. This once more dramatizes the need for a new full grand piano in our concert halls, including the CCP. Hopefully, the CCP will have the financial capability soon to afford our top-caliber pianists, and foreign pianists as well, the best instrument they deserve to play on.

Eagerly awaited is the next concert on Feb. 13, as PPO’s resident conductor, Agripino “Nonoy” Diestro, sets his rendezvous with National Artists Antonino Buenaventura, Lucrecia Kasilag, Lucio San Pedro and Felipe P. de Leon in “Gabi ng Musikang Pilipino (A Night of Philippine Music).”

Vocal Brilliance

Vocal brilliance, honed in the bel canto tradition, marked the recital of upcoming baritone, Jerome Sibulo at the Dulaang Sibol Theatre in Ateneo de Manila University recently, with Prof. Nita Abrogar-Quino collaborating at the piano. A student of Alice Hooper at the Indiana University Jacobs School of Music, he impressed his intimate audience with his brilliant timbre, articulate sense of phrasing, even placement and projection. He is the baritone to watch, said one vocal-mentor.

Jerome sang to the audience’s delight mostly-Mozart arias coupled with arias from Belini, (I Puritani); Donizeti, (Don Pasquale), and Wagner (Tannhauser). He opened with “Non piu andrai” from Le nozze di Figaro which was followed by excerpts from Don Giovanni, (Madamina, il catalogo e questo) and (Deh, vieni alla finestra). Two other singers from the same school sang with him as guest artists. They were soprano Kimberly Redick, with whom he collaborated the duet, La ci darem la mano and William Lim, Jr. who rendered the aria, Il mio tesoro.

He capped his recital with two songs from the sarswela “Ang Palabas Bukas,” with music and libretto by National Artists Lucio D. San Pedro and Bienvenido Lumbera. In the song Sampatak na Hamog, the baritone showed his big reservoir of breath that enabled him to sustain long melodic lines with handsome appeal. He did not force out his voice but caressed it tenderly and revealed its arresting sheen. The next song, Araw araw sa Maynila, which he sang with the guest soprano elicited much applause. For his encore, he rendered the popular ditty Danny Boy, which was not rehearsed, all the more showcasing his debonair voice.