German Ambassador Christian Ludwig Weber-Lortsch and finance wizard Ramon K. Ilusorio jointly presented a Wagnerian concert at the former’s residence. In brief remarks, Mr. Lortsch said: “Wagner is either admired or hated but never ignored.” (Indeed, Wagner’s audience in his time was divided between followers and critics.) With sly humor, Mr. Lortsch noted that in the opera
The Flying Dutchman
, the captain’s search for a good and faithful woman took a long time. He continued: “Wagner’s music leads to the transformation of people, of society.”
Mr. Ilusorio, “Father of the Philippine Monetary Market”, startled listeners with his deep knowledge of music and conversance with Wagner’s works and the Bayreuth Festival which consists of these. He pointed to the deepening of Phil-German cultural relations through the evening’s concert of German music (Wagner’s) and an all-Filipino performing cast: The UST Symphony Orchestra under Herminigildo Ranera, the Liturgikon Vocal Ensemble, pianist Raul Sunico and baritone Noel Azcona.
Although Mr. Lortsch earlier described the concert as an “experiment”, the solid, formidable program was solidly and formidably rendered. The Rienzi Overture, the only portion of the opera performed nowadays, had a predominance of martial rhythms, outbursts from the trumpets, fluid, cohesive measures from the violins and violas, assured, intense passages from the woodwinds and brasses — all finishing in a triumphant coda.
Explosive samplings of Wagner’s music drama and leitmotifs led to a weird, frightening upheaval depicting the wild maidens in The Ride of the Valkyries (from the Ring). Liebestod, Liszt’s piano transcription of Isolde’s aria sung beside her dead lover Tristan, had Raul Sunico conveying, through thunderous chords, Isolde’s anguish, and through swift, rippling runs, her outpouring of love. In true virtuosic fashion, Sunico conveyed electrifying passion and devotion.
The opera Tanhauser, a combination of myth and mystery, lives here only through the aria “The Evening Star” whose exquisitely lyrical latter portion is widely different from the first half. Azcona’s tremendously powerful, sonorous voice, enhanced by expressive nuances, was sheer delight.
The Flying Dutchman, Wagner’s first music drama, goes way beyond the Rienzi, and is more deeply felt with its continuing action and melody. That evening, it throbbed with vigor as it delineated sea and sky. Musicologists point to the characters Vanderdecken and Senta as “the timeless symbols of Wagner’s spiritual strife”. Conductor Ranera was thoroughly attuned to the turbulent music he was interpreting through the youthful yet admirable UST Orchestra.
The concert ended triumphantly with the choir singing “The Bridal March” from Lohengrin and “The Pilgrim’s Progress” from Tanhauser, the latter “contrasting restlessness and anxiety with tranquility brought on by religious faith”, both voices and orchestra reverberating mightily and reaching the rafters.
Sturm und Drang was a phenomenon of 18th century music. The Lortsch-Ilusorio concert brought on Wagner’s own distinctive sturm und drang which alternately startled, fascinated, intrigued and overwhelmed the audience.
The pre-concert cocktails duly fortified the following, among others, for the tremendous auditory experience: Josie Lichauco, Jimmy Laya, Consuls Luis and Mellie Ablaza, Fortune Ledesma, Vince Carlos, and Evie Costa, Gemma Cruz Araneta, Nena Casimiro, Butch Bonsol, Glenn Gale, Ambassador Peter Beckingham, Ambassador Herbert Jaeger Martina Coroda, Mr. and Mrs. Antonio Guerero.
‘Pragres’ to go on tour
Tanghalang Pilipino, CCP’s resident theater company, will present once more “Pragres”, a musical adaptation of “Progress”, a short story by National Artist F. Sionil Jose, in schools and colleges around the country in May. Set during the Martial Law years, it is a hilarious satire on lazy government employees, government bureaucracy and corruption. Originally directed by Herbie Go, it will be restaged by Abner Delina for the Dulaan Sipat Lawin Ensemble.