A phenomenal violinist / A virtuoso juggler / Filipina: A tribute

The image of 18-year old violinist Nemanja Radulovic might perhaps be likened to that of Paganini, his tall, lanky figure encased in black, his curly long tresses framing strong, prominent features.

In his French Spring, concert at the Philamlife auditorium, Nemanja charmed his audience, smiling for most of the time as he played, or knitting his brow in deep concentration while swaying or bending in harmony with the music. When at rest, he would move his head to its rhythm or look approvingly at the first violin section of Manila Philharmonic Orchestra under Conductor Rodel Colmenar.

In Beethoven’s Concerto in D Major, Nemania traversed the wide tonal ranges of the movements in a work known, and I quote, "for its balance of the timbres and volumes of soloist and orchestra", his own tones warm and intense, lush and luminous.

Presenting the picture of supreme confidence, he tossed off the utterly complex and diabolically challenging cadenzas in an effortless manner that beggared description, conveying their glowing fire in fluid, seamless, impeccable style that stunned, amazed and almost petrified his listeners. His concentration never wavered wheher he was intoning Beethoven’s inexhaustibly rich melodies or rendering the bravura sections.

The orchestra played robustly, both strings and winds exhibiting sheen and polish as they took their cue from the keenly sensitive Colmenar who established close ensemble work with Nemanja.

In Mozart’s Concerto No. 4 in D Major, both evoked the lively, vibrant, often playful Mozartean spirit, Nemanja showing élan and brio with dazzling ease in the cadences of a work which, like the Beethoven concerto, is perfectly structured.

The breezy opening Overture to The Marriage of Figaro, early on, enlivened the program.

The third movement of the Beethoven Concerto was played as an encore in response to the rapturous applause and standing ovation; previous to it, Nemanja rendered an unaccompanied piece with its fierce pyrotechnics, that would have daunted the most seasoned virtuoso, alternating with long, pianissimo lines. As always, he displayed as much attention to the cadences as he did to the technical demands of the piece.

If at 18 Nemanja already demonstrates phenomenal mastery of the violin – he has won virtually all of Europe’s grand prizes, including the Yehudi Menuhin Special Jury Prize – how will he be playing years from now?

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In a novel, unique and astonishing performance for the ongoing French Spring, Simon Anxolabehere turned (as claimed in the printed program) into juggler, dancer, musician, comedian and mime all in one.

With obvious balletic training, he combined triple pirouettes, plies and port de bras with juggling. And what juggling it was! Not the routinary, standard one in the circus but fascinatingly creative, innovative juggling.

Two to seven tennis balls became, as it were, creatures doing his bidding. A ball would stay on his head or roll over an arm. When placed on a tray, three balls would move hither and thither without his touching them.

Simon created countless patterns with his sleight-of-hand tricks while making juggling look as easy as eating pie. With two or four balls, he produced swiftly changing pictures overhead or in front of him, his hands, like those of a magician, being quicker than your eye indeed.

In one remarkable sequence, he held a flash light in each hand then "painted" the entire backdrop with myriad visual designs – symmetrical images whose novelty was astonishing.

The show opened to a coated Simon, the light focused on his hands which, in fast, abrupt movements done to electronic sounds and beats – compelled complete attention. What a rivetering act in semi-darkness!

The one-hour, non-stop spectacle, clever, deft and inventive, made juggling seem like shooting the breeze. After the prolonged applause, Ambassador Renee Veyret, in the spirit of levity, suggested that we all try juggling at home. Cultural Counselor Franck Hebert heartily agreed with the idea.

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The launching of the book Filipina: A Tribute to the Filipino Woman at the NBC Tent in Fort Bonifacio was preceded by a dinner during which guests were regaled by the Subconcept Jazz Band composed of Jacques Christophe Branellec (sax), Francis Magat (bass), Nikko Rivera (keyboard), Daniel Crisologo (guitar) and Rey Vinera (drums). This listener was grateful for the sweet music theyplayed, rather than far-out hard rock.

In the lobby, a photo exhibit showed pictures from the book including those taken by Louis-Paul Heussaff who proved to be a talented photographer.

French Spring sponsors, among them Mr. Heussaff, Philippe Gauthier, Roger Ferrari, Louis Vergeon and, not the least, Jewelmer’s Jacques Branellec went around greeting guests.

On the giant screen pages from the book showed the Filipina in various roles as caring mother, hobby enthusiast, spiritual person, athlete – the program included children doing martial arts – socialite, professional or plain citizen.

Speakers headed by Ambassador Veyret and National Artist for Literature F. Sionil Jose complilmented her. Chin-Chin Gutierrez and a host of ohers sang praises to her. A fashion show of elegant gowns designed by Randy Ortiz was followed by a parade of Filipino women who, married to Frenchmen, walked onstage with their beautiful French-Filipino daughters. The heart-warming sight underscored the bonding between the two countries, interaction being a central theme of French Spring.

All told, the evening was a tremendous tribute to the Filipina initiated by the French business organization Le Club about half of whose members are married to Filipino women.