Strictly for romantics

A wide gamut of human emotions was expressed in a song-piano recital featuring the music of Schumann, the quintessential romantic of the nineteenth century. Held Sunday at the residence of avid music patrons Ambassador Herbert and Micheline Jess, the recital had pianists Najib Ismail and Jonathan Arevalo Coo, mezzo soprano Joanna Ong Go and tenor Jose Randy Gilongo as performers.

Appropriately, the musical opened with "Dedication" (transcribed by Liszt), and it may have been dedicated to the audience of (incurable) romanticists as well as to Schumann himself: Although his personal life was filled with never-ending disappointments and frustrations – which could have led to his later dementia – he nevertheless wrote some of the most exquisite works in music literature, thus rendering him "the central figure in the romanticism of the nineteenth century".

The last passages of "Dedication" are derived from the Ave Maria, which portions infused Sunday’s occasion with an air of religious spirituality or fervor. Ismail’s interpretation was marked by striking tonal clarity, power and a moving expressivity especially in the phrasing – characteristics likewise to be found in his next rendition, Fruhlingsnacht (Spring Evening).

Coo also played two selections, these from Fantasiestucke which contains many of Schumann’s best and finest pieces for the piano, e.g., Feurigst (Passionate) and In der Nacht (In the Night). In his interpretations, Coo left nothing or little to be desired, technically or stylistically.

The charming, attractive, lissome mezzo soprano Ong Go was highly impressive. Her voice is beautiful in its quality and timbre, and in due time, it will acquire greater volume.

As she portrayed a young woman in love in the song cycle Frauenliebe (Woman’s Love and Love), she conveyed through facial expression, bodily gestures and, not the least, through subtle vocal nuances surprise, ecstasy and delight as her love for her husband grows; anguish, uncertainty, despair as he dies suddenly. She was particularly eloquent at reflecting the joys of motherhood. Ong Go exhibited polish, refinement and assurance in her series of songs for which she had Coo as wonderful assisting artist. He achieved equal status with her, as did Ismail with Gilongo in the song cycle Dichterliebe (A Poet’s Love) to Heine’s verses.

The songs mainly celebrate spring, its flowers and blossoms in the month of May, the river and the stream, music-making (Flute and Violin Playing; I Hear the Sound of Songs), love (A Boy Loves a Girl), dreams and fairy tales – the very stuff of which romances are made.

The tenor sang (or "attacked") his high notes with ease; however, the voice could acquire more roundness and resonance if it is to become more pleasing. Or more appealing. But Gilongo did retain audience interest with his ability to admirably capture the substance – the feeling and emotion – of the songs. In interpreting Schumann, that ability is imperative.

The extent of the listeners’ response was implied by a guest when she said, "This musical should be repeated on Valentine’s Day." Again, it is to the immense credit of Ambassador and Mrs. Jess that their encouragement of Filipino talent is boundless and unending.