Castillo at his best / Tribute to G. Velasco

The word “mediocre” is not in the vocabulary of Eugene Castillo, conductor and music director of the Philippine Philharmonic Orchestra. To be sure, through the years, some of his concerts have been better than others, but last Friday at the CCP auditorium he was, to my mind, at his best.

The orchestral rendition of Ravel’s La Valse, described as a choreographic poem, was characterized by spirit, sparkle, sweep. The work was not meant to conjure the image of a woman in a diaphanous gown waltzing with her partner in frolicsome abandon. Although the lilt of Strauss waltzes was basic to the work, it created strikingly dark, ominous forebodings and a constant tension that rose to thunderous climaxes, with all sections of the ensemble in a vast, dramatic, outpouring. Indeed, Castillo’s baton work reflected in vigorous, vibrant fashion Ravel’s audacious and masterful orchestration.

Rolf Hind was an excellent choice for Ravel’s Concerto in D for the left hand alone and orchestra. The composer’s idea was to create the illusion of two hands playing, and Hind rose to the challenge in the runs, chords and arpeggios, his left hand “flying” from one end of the keyboard to the other. The orchestra was totally responsive through the rapturous end.

Reacting to applause, Hind jestingly announced “I have two hands” then played Debussy’s Feux d’artifice, his abrupt pauses, vigorous accents and runs producing fascinating, arresting effects. A musicologist observed: “If anything so artificial as fireworks can be said to have an inner nature of their own, Debussy has found it, and put it on paper.” From paper, Hind transferred it to the piano, enthralling his listeners.

Franck’s Symphony in D Minor does not rank as highly as the symphonies of Beethoven, Brahms, et al. One false impression gained from Franck’s frequently performed work is its repetitiveness, its themes and melodies constantly recurring. Under Castillo’s direction, the symphony was exciting and pulsating, the ensemble drawing from the score’s emotional and dramatic possibilities to the utmost and bringing these to a splendid, overwhelming conclusion.

The tribute to the late Geronimo “Ronnie” Velasco last Sunday at St. Cecilia’s Hall honored a highly gifted cellist by avocation and a most avid music lover. His eight-year old violinist granddaughter Dominique Gabrielle Velasco, taking after him, displayed wonderful musicianship in Dance with My Father (by Vandroso and R. Marx) with pianist Justa Polotan assisting. Likewise taking after him, grandson Rafael V. Laperal, sans score, interpreted Saint-Saens Cello Concerto in A Minor with surprising vitality and technical dexterity, demonstrating admirable confidence, assurance and elan. The Manila Symphony Orchestra under Arturo Molina assisted with enthusiasm and verve. Renato Lucas was masterful on the cello in Buenaventura’s exquisitely melodious Romance in G as was Greg Zuniega on the piano. In Dvorak’s Piano Trio in E Minor, cellist Lucas, violinist Gina Medina and pianist Zuniega engaged in a sensitive, finely nuanced interplay.

As expected, Nena R. Villanueva was superbly virtuosic in Rachmaninoff’s Moment Musicale, brilliantly expressing its lyricism and harmonious beauty. Camille Lopez Molina, soprano,  was powerfully moving in Abelardo’s Mutya ng Pasig and San Pedro’s Parang Kahapon Lamang, with Molina and the MSO assisting.

Carminda L. Regala and Amelita D. Guevara regaled listeners with the charming Philippine  Airs arranged by Raul Sunico for two pianos, Erlinda F. Velasco (Ronnie’s wife) and Amelita, Nena and Carminda played Smetana’s Sonata in One Movement. In strikingly close ensemble work, the four gave a spirited, fiery and furious interpretation of Fantasy Themes from Bizet’s Carmen to rousing audience applause. Nena, Greg and Carminda rendered Mozart’s Concerto for Three Pianos,  a welcome addition to the program. Dean Sr. Mary Placid delivered the opening remarks.