Concert pianist Charisse Baldoria, first-prize winner in Jeffrey Ching’s Piano Competition, opened the MCO Music Festival at the F. Santiago Hall with marked distinction. Haydn’s Sonata in E Major, unfettered by academic regulations, was given a free, and delightful rendition, the three movements — Moderato, Menuetto-Trio, and Finale: Presto — vividly differentiated from each other in mood, rhythm and expression.
Baldoria grasped the stylistic and technical demands of Ravel’s Miroirs which, quoted, are “his bold and adventurous harmony, exquisite workmanship, deliberately projected moods” — the pianist’s dexterity, rich and refined tonal qualities, subtle expressiveness reflecting the descriptive sections.
Scriabin’s Sonata No. 2 in G Sharp, the Minor “Sonata Fantasy”, like certain of his other sonatas, was influenced by Chopin, and Baldoria’s interpretation illustrated considerable technical skill and profound emotional content, evoking calm (andante) that alternated with turbulence (presto).
In Brahms’ Fantasieu, the pianist masterfully captured the romanticism, the poetic lyricism, the fancifulness of the intermezzos and capriccios with delicate charm.
The warm applause at program’s start grew thunderous at its close. The descriptive encore pieces — “Mt. Mayon” by F. Buencamino, and De Falla’s “Fire Dance” — were characterized by dramatic vitality and intensity.
Concert pianist Rudolf Pelaez Golez never ceases to amaze, startle or dazzle listeners. This he did again at his latest concert for the ongoing MCO Festival.
He began and ended with Debussy: Suite for the Piano and Claire de Lune, the latter as encore. The Prelude of the Suite sparkled with vigorous glissandos nimble runs, and massive chords. Claire de Lune, in true impressionist style, was feathery and gossamery, giving the illusion rather than the reality of a moonlit night, its ambiance and atmosphere evoking rather than presenting blinding illumination.
A fascinating comparison between John Field’s Nocturne in B Flat and Nicanor Abelardo’s First Nocturne emerged, with Golez interpreting one after the other. The latter was more poignant, more urgent in its appeal, its exquisite melodies more romantic with the pianist eloquently conveying the contrasts and differences. The ensuing Scriabin Etude in C Sharp Minor seemed like a third nocturne for its languid quality.
In Rachmaninoff’s Corelli Variations — a great work by a great pianist — fiery devices are combined with the less daunting, the florid with the less intricate, Golez dazzling the audience in the fiendishly challenging passages.
Ernesto Halffter’s elegant Habanera and Albeniz’s familiar Tango provided a stark contrast to De Falla’s Fire Dance to which Golez imbued a superbly controlled rousing power through vibrant rhythms dramatically abrupt pauses and marvelously graded dynamics.
Chopin’s Piano Sonata No. 3 in B Minor has been described by a musicologist thus: “The turbulent introduction, lyrical, dewy, exquisitely modulated episode, a light yet dynamic scherzo, a pensive, elegiac largo and a sweeping finale that is a first-rate bravura number in its own right — these are the interrelated components of the best of Chopin’s three sonatas.” Indeed it is regarded the last of Chopin’s great works, and Golez showed moving lyricism and unleashed electrifying dynamism, maintaining his poise and graceful manner throughout.
Amidst the turbulent applause, Golez took his bows almost timidly, declining to give another encore despite the deafening clamor.
On April 24, music lovers will have to choose between Bartok’s opera “Bluebeard Castle” starring Andrew Fernando and Clarissa Ocampo at F. Santiago Hall, or French Spring’s Quatuor Diotima string quartet at Philamlife Theater.