Rigidly trained and disciplined by Conductor Josefino "Chino" Toledo, the MMCO gave a highly gratifying and impressive performance last Saturday at the "Xtreme Classix" concert in the IS Theater.
It was an all-Shostakovich program except for Angel Peña’s Igorot Rhapsody. The Festival Overture, breezy and fanciful, created a remarkably festive atmosphere. Shostakovich has a distinctive way of employing woodwinds and brasses, particularly the woodwinds, to evoke a piquant, playful spirit, and this was eloquently conveyed by the MMCO under Toledo’s firm direction. The brisk tempo was sustained throughout the Overture and "The Golden Age," the latter a score for a spritely ballet.
Peña's Igorot Rhapsody admirably preserved the ethnic, indigenous character of Igorot music with its rhythm and imaginative use of ethnic instruments – the gangsa (gong), the bungkaka (bamboo buzzer), sulibaw (wooden drum) and litguit (bamboo violin). The ethnic quality was retained further by Peña’s clever device of making the symphonic instruments simulate or imitate the ethnic.
This combination as well as the strong, varied rhythms, and the dramatic contrasts between forte and pianissimo made for an intriguingly Igorot piece. The ending, however, powerful as it was, seemed to lose its ethnic character, veering obviously toward a Western symphony. In any case, Peña’s composition is a worthy contribution to the enrichment of Philippine music literature.
Shostakovich’s orchestral works are typically breezy, fanciful, vital and spontaneous. These qualities were conveyed by both the MMCO under the authoritative baton of Toledo and the outstanding soloist Cristine Coyuito in Piano Concerto No. 2 in F Minor. In the opening passages, Coyuito’s forceful, crystal-clear staccatos built an exciting momentum. As she continued, she dazzled with the power of her chords – surprising for a small, slim pianist – the admirable evenness and swiftness of her runs and a strikingly skillful left hand. Her cadenza, rendered with unflappable assurance and poise, was electrifying, her facial expression reflecting total immersion in the music as also her sheer enjoyment of it.
After the sensitive, lyrical andante, the allegro achieved a magnificent climax with Coyuito’s characteristic élan and brio, seamless technique, fire and virtuosity. Prolonged applause led to two encores: Moritz Moskowski’s Etude in F, op. 72 and Ernesto Nazareth’s Odeon/ Tango Brasiliera.
Symphony No. in F Minor is an inspired, triumphant work. Playing a prominent part, the woodwinds are effectively used; the xylophone and the piano enrich tonal hues. Like the Festival Overture, it is breezy and fanciful, with the tutti passages, crisply phrased assuming an occasionally grandiose, majestic air. Under Toledo’s audacious and expansive direction, a vigorous, exuberant conclusion was reached.
The concert was under the auspices of the Institute for Orchestral Development in the Philippines, Miriam College, headed by Dr. Patricia B. Licuanan, president. In the select audience were US Embassy Deputy Head of Mission Paul Jones, music patrons Alfred and Enny Ching and Annie Sobrepeña, vice-chairman, MMCO board of trustees.
On Nov. 25, the Concert of Eleanor Calbes at the Philamlife will coincide with that of the Ivory Mafia at the Don Enrique Yuchengco Hall at DLSU.
On Nov. 29, the Kabayao Quintet consisting of virtuoso violinist Gilopez Kabayao, pianist Corazon Pineda and their violinist children Farida, Gilberto and Sicilienne will give a concert at the CCP Little Theater. Works will be by Beethoven, Mendelssohn, Schubert, Brahms Tschiakowsky, Ginastera and a clutch of Filipino compositions co-authored by Kabayao with Santiago, Vallejo, De Guzman and Cayabyab.
The family that plays together stays together, to paraphrase the Rosary Priest Fr. Patrick Peyton, and the saying totally applies to the Kabayaos who exemplify the best family ensemble hereabouts. They regale Manila audiences not only with their music-making but also with wonderful theater productions such as "My Fair Lady" and "The Miracle Worker" that come directly from their home base in Iloilo.
On Jan. 25, 2006, international tenor Otoniel Gonzaga and Broadway singer-actress Lea Salonga will perform jointly at the CCP main theater with the PPO under Julian Quirit.
Last month, Gonzaga, who performs in major opera houses in Germany, served as understudy for Placido Domingo at the National Opera in Washington, DC. Lea just made her Carnegie Hall debut Nov. 7, garnering a standing ovation. Quirit had a special engagement with Pavarotti, Carreras and Dame Kiri Te Kanawa, the first Filipino conductor to have the honor.
In the forthcoming concert, Lea will draw songs from Les Miserables and Westside Story; Gonzaga will interpret arias from Tosca and Otello. Joining Lea and Gonzaga will be distinguished Rachelle Gerodias and richly talented baritone Noel Azcona.
It may be premature to announce the proposed production of Turandot, this to be headed by Gonzaga as Calaf, and to include Azcona in the cast. According to Gonzaga, Domingo may conduct the opening of Turandot at the CCP. Hopefully!