In the concertos, Ingrid played the soloist’s part; Reynaldo, the orchestra’s.
Rachmaninoff’s massive, thunderous introductory chords manifested a power belied by Ingrid’s frail appearance. The second theme was exquisitely interpreted, the development section was distinguished by resonant, "singing" tones through the concluding intricate coda. The grand rondo gave ample proof of the soloists’s virtuosity. Both Reynaldo and Ingrid dramatized the movement with brilliance and brio.
Brahms’ little-known concerto is regarded the least successful of his concertos; though hardly comparable to Rachmaninoff’s robust style, it was nevertheless rendered with spirited vibrancy. Representing the orchestra, Reynaldo complemented the soloist masterfully.
Buencamino’s descriptive music depicted tranquil life around Mt. Mayon, and its later frightening rumblings made the piece truly relevant to Mt. Mayon’s current threat to erupt. The contrast between the quiet opening and closing, and the turbulent explosion in-between was a feat in dynamics.
Santiago’s nostalgic piece called to mind early Filipino songs which were conveyed by Reynaldo with beautiful lyricism, while the tricky passages were executed with virtuosis deftness.
Schumann’s Concerto is the best-known in the standard repertoire. The allegro affetuoso was opulent and rhapsodic; the andante conveyed subtle sentiment without sentimentality; the marvelously varied rhythms of the allegro vivace brought the work to a glorious ending. Ingrid and Reynaldo made it truly one of the purest gems of Romantic music.
The encore, a Chopin Etude, demonstrated both adroitness and perfect rapport between the two pianists in every note and beat. The over-all performance was a distinctive, admirable sampling of how Reynaldo and Ingrid have gained advocates of Romantic music through their illuminating forays as masters of their idiom.
Offering his residence as venue, German Ambassador Weishaupt illustrated a continuing logic because in 1908, the German Benedictine nun Sr. Baptista Battig introduced formal music education in our country. Thus all Romantic composers go right back to her.
Playwright Terrence McNally does capture Callas’ personality in the dialogue: she is tart-tongued, impulsive and eccentric. She is volcanic, fiery, tempestuous.
Needless to say, to portray Callas is hazardous and risky: only the most gifted, most talented actress can approximate the singer in real life. Jay Valencia Glorioso, a versatile lyric mezzo and an accomplished actress made a valiant and impressive attempt to convey Callas’ personality and persona. She did convince the audience that Callas, no ordinary person, built her career on tremendous work, unrelenting discipline and an obsessive desire to achieve perfection.
Artistic license, of course, allows that singers who supposedly need vast improvement should not appear as mediocre performers because they are meant to entertain, enthrall and arrest audience attention. Thus the aspiring singers taking lessons from Callas, who drives them to superhuman endeavor, were actually remarkable both as singers and players: Karla Patricia Gutierrez as Sophie de Palma, Anna Guillen Feleo as Sharon Graham, and John Glen Gaerlan as the tenor Anthony Candolino. In the script, Candolino drives Callas to tears with his performance; however, he did not do that to the audience. At any rate, he gave a wonderful account of himself.
In-between her importunings, Callas falls into deep reveries. On a stage transformed into La Scala, she sings (through a recording) reminding listeners of the golden voice that led to the name "La Divina", the reveries glowing with nostalgia and ambiance.
Michael Williams, who directed the play with distinctive authority, played the stage manager; Ceejay Manuel Javier as Manny, the pianist, was thoroughly credible.
Later, the dances were elevated to a creative level. Movements became eloquently descriptive as Gina depicted a kangaroo; Alinta, an aimu.
Both women are students of Australia’s National Indigenous Dance Training Institution. Their performance was in line with the celebration of Australia’s National Aborigines and Islanders’ Day Observance Committee Week whose theme is "Respect the Past, Believe in the Future".
At the performance – an enlightening introduction to Australia’s aboriginal dances – were Ambassador Tony Hely and his wife Wendy Jeffery.