In Faure’s Suite from Pelleas and Melisande, based on Maeterlinck’s play, Melisande and Pelleas wander through the forest while Golande, Melisande’s husband, makes an ominous appearance, thus disrupting the romantic rendezvous. Sicilienne, the suite’s most familiar section, is introduced by a lambent interplay between harp and flute against a pizzicato string accompaniment. The violins eloquently depict Melisande at the spinning wheel, and later, announce her tragic death with profoundly soulful stirrings.
Under Castillo’s authoritative baton, the ensemble excellently demonstrated what musicologists describe as Faure’s "delicacy and refinement of style, classic restraint, understatement, purity of expression, meticulous attention to detail and exquisite workmanship."
In Ravel’s Concerto in G Major for Piano and Orchestra, Cecile Licad began with vibrant cascades of sound in rapid succession, then unfolded the development at an exciting pace. The movement was conspicuously infused with Gershwin’s jazzy syncopations. In the andante, bassoons, flutes, clarinets and oboes echoed the theme exposed by the piano, and in the cadenza, Cecile gave a grand display of virtuosity  so typical of her!  the orchestra joining in the sparkling conclusion.
The cantinela (second movement) was augmented by the brass while the pianist wove fine, subtle grace notes with delicacy and elegance. The finale (presto) again evinced the spirit of jazz although less obviously. The pianist exuberantly dominated the movement, the orchestra brilliantly playing prestissimo along with her.
Licad, now a leading international pianist who appears with the world’s major orchestras, contradicts the dictum "No man is a prophet in his own country" with her large, loyal following here. Her 20-year old son Otavio is a pianist in transition with an excess of musical genes. His father, Brazilian cellist Antonio Meneses, won the 1982 Tchaikovsky Competition, has played with the London Symphony under Claudio Abbado, with the Berlin Philharmonic under both Herbert von Karajan and Ricardo Muti, with the Concertgebouw and the Israel Philharmonic, among others.
All these years, Otavio and his mother live, breathe, think and feel music as one, so to speak. In Poulenc’s witty, whimsical, satiric Concerto in D Minor for Two Pianos and Orchestra, single notes, runs and chords in clever, ingenious rhythmic effects, were struck in terrific togetherness. Both pianists and orchestra under Castillo  who incidentally, dared Otavio to play Poulenc  performed in a light, rollicking fashion that was absolutely engaging in its consistent precision through the electrifying ending.
It was as much the performance that elicited thunderous ovation as the fact that the duo pianists were mother and son. The endearing, sentimental factor earned both admiration and affection from the listeners who were even more captivated by the attractive pair  the pretty Cecile and the tall, good-looking Otavio  giving each other a peck on the cheek.
With the wild clamor for encores, the duo obliged with Buencamino’s Hibik ng Diwa on two pianos. Cecile’s solo rendition of Kreisler’s Love’s Joy (arranged by Rachmaninoff) conveyed whirlwind virtuosity at increasingly lightning speed, amazing power complementing amazing technique. Rachmaninoff’s Italian Polka played on one piano by the duo led its infectious brio and aplomb to another rousing ovation, with Castillo joining in earlier curtain calls.
In sum, the seasoned Cecile possesses greater power, skill and more profound, subtle expressivity than Otavio who, at this stage, holds tremendous promise.
Acclaimed total performer Cocoy Laurel has re-set his concert at the CCP main theater to June 22 owing to sudden illness. The program will be even more diverse and fascinating.