‘Virtuosos’ in concert / Gonzaga enthralls again

‘Virtuosos, A Wealth of Piano Masters" is set for March 3 at the CCP main theater. The use of "virtuosos" in the concert title is a democratizing process as it includes not only virtuosos but also non-virtuosos with varying degrees of digital skill, power and expressivity.

Virtuoso Raul Sunico, who holds the international record of playing the four Rachmaninoff concertos with orchestra and without a score – in a single evening! – was unable to attend the presscon that announced the concert. When the participants were introduced by Menchi Mantaring, Nena R. Villanueva, another virtuoso, received prolonged applause. At age ten, Nena rendered two full-length concertos with orchestra. Incidentally, I was at that debut decades ago.

The other outstanding performers are here listed at random: pianist-composer Fr. Manuel Maramba, Grieg Zuñiega, Rudolf Golez, Mary Anne Espina, Della Besa, Anamaria De Guzman, Najib Ismail, Peter Porticos, 12-year old Regina Montesclaros, composer Ryan Cayabyab who will conduct the San Miguel Orchestra, and Eugene Castillo, PPO music director and principal conductor.

Fortunately, the CCP stage is large enough for 12 grand pianos and two symphony orchestras.

The program follows Buencamino’s Mayon Fantasy, Bizet’s Carmen Fantasy, Rachmaninoff’s Vocalise, Donizetti’s Andante Finale from Lucia, Piazolla’s Le Grand Tango, Liszt’s Hungarian Rhapsody No. 2, Wagner’s Liebestod from Tristan und Isolde, Mozart’s Allegro from Concerto in E Flat Major, a medley arranged by Cayabyab and Gershwin’s Rhapsody in Blue.

Stage director will be Monino Duque.

Guest artists are Renato Lucas and Ballet Philippines dancers. At the presscon, cellist Lucas, pianists Besa and De Guzman interpreted an excerpt from Piazolla’s Tango; Montesclaros played a Schubert sonata. A BP dancer also performed.

CCP President Nes Jardin delivered a few remarks; VP and artistic director Nanding Josef and marketing manager Dennis Marasigan were also present, with Dennis as emcee.

Peter Labrie, Country Representative of BNP Paribas which will sponsor the concert, praised the inherent musicality of the Filipino, adding that wherever he went abroad, Filipino bands played. Mr. Labrie is himself an avid music lover; he plays the guitar and once belonged to a music band in Chicago. His vast musical background makes him the ideal concert patron. He came with Claude Haberer, the bank’s personable CEO, and Anthony De Barry, the strikingly young head of Communication and Marketing Support.

Concert proceeds will go to the CCP’s Arts for the People Program.

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Tenor Otoniel Gonzaga again enchanted and enthralled the audience, this time at the Pasig Museum. And he did so pro bono – noblesse oblige! – the impresario claiming a lack of funds. The recital also featured the brilliant US-based baritone Andrew Fernando, assisting artist Mary Anne Espina and flutist GJ Herman Gomez.

Gonzaga sang light classics – Gastaldon’s Musica proibita and Cardillo’s Core Ingrato, two inspirational Broadway hits, Walang Angay and Cuenco’s Gaano Kita Kamahal. Each was rendered with fullness of tone, resonance, rousing power and intensity, magnificently controlled pianissimos, and subtly extracted substance and drama.

With typical magnanimity, Gonzaga praised Fernando, saying, "Wasn’t that wonderful? after the baritone’s arias Sois immobile from Rossini’s William Tell and Bella Siccome un’ angelo from Donizetti’s Don Pasquale. Fernando was indeed "wonderful", his forceful, rounded voice resonating, and projecting vocal shades and nuances, as it did in the folksongs arranged by Kasilag.

Both singers finished with a stirring Au fond du temple (In the depths of the temple) from Bizet’s Pearl Fishers. I heard that opera in Paris, and I dare say the Filipino duo was more impressive!

Espina was consistently sensitive and expressive; she also carefully anticipated end notes to establish perfect team work. In Schubert’s Sonata Arpeggione (first movement) and Cadiz’s Panagimpan, flutist Gomez conveyed fluency, fluidity and lyricism.

Encores followed the thunderous applause for the singers. Having earlier rendered two Broadway hits with robust spirit, Fernando sang another with even greater zest. Gonzaga dedicated a Swedish love ditty to his wife (later translating it into English) sang the sustained cavatina Amor ti vieta (My love compels) from Giordano’s Fedora, Nessun Dorma and Turandot, ending with an Irish blessing. What generosity! Yet the audience kept clamoring for more.