Arturo Molina captures Russian spirit; Asuncion shows impeccable technique

With undeniable logic, Manila Symphony Orchestra conductor Arturo Molina interpreted Russian masters at his latest concert at F. Santiago Hall, having immersed himself in Russian music (among others) at the Moscow and Kiev conservatories. His choices for that evening were prodigious: Tchaikovsky’s Francesca da Rimini, Rachmaninoff’s Rhapsody on a Theme by Paganini, with the outstanding US-based Victor Asuncion as piano soloist, and Shostakovich’s Symphony No. 9 in E Flat Major.

Based on the Fifth Canto of Dante’s Inferno, Tchaikovsky’s composition describes a story that calls to mind the feuding Montague and Capulet families in Romeo and Juliet. To bring about peace between the Polentas and the Malatestas, an arrangement is reached whereby Francesca Polentas, a noblewoman, agrees to marry the ugly Giovanni Malatestas whose place in the ceremony is taken by his handsome brother Paolo.

Alas, Francesca comes to love Paolo rather than Giovanni who inevitably takes revenge on the ill-starred lovers, and in uncontrollable rage, kills them.

Oddly enough, Tchaikovsky belittled the tone poem in this manner: “Both Francesca and my other tone poem Romeo and Juliet are written with merely affected warmth, with false pathos, with whipping-up of purely external effects, and are really extremely cold, false and weak.

“All this arises from the fact that these productions did not arise out of the given subject, but were only written apropos of it; i.e., the birth of the music was not inward but fortuitous, external. The meaningless uproar in the first part of Francesca does not correspond to the stupendous grandeur of the picture of the infernal whirlwind, and the sham exquisiteness of the harmony in the middle part has nothing in common with the inspired simplicity and strength of Dante’s Inferno.”

If one were to judge the music solely as a description of the lovers’ union that ends in tragedy, one would conclude that Tchaikovsky was being unduly unkind to himself. Molina interpreted Francesca as a mighty composition reflecting, with wistfulness and nostalgia, the brief happiness of the lovers, later conveying the jilted brother’s fury in the thunderous fortissimos of the orchestra. Its youthful members were obviously in top form, rendering a wide gamut of tonal colors and sweeping rhythms cohesively, this leading to a final, overwhelming climax.

Rachmaninoff’s Rhapsody on a Theme of Paganini, based on Paganini’s 24th Caprice, is more frequently heard than Francesca da Rimini. Sensitively interpreted by both MSO conductor Molina and piano soloist Asuncion, it eloquently conveyed a solid formal structure and exquisite lyricism, both qualities so typical of Rachmaninoff’s works. The melodic expressiveness, already so patent in Variation I (Precedente) was present to a greater or lesser degree throughout, making the work fascinating and enchanting.

Asuncion’s technique was impeccable, his runs admirably limpid and fluent, his chords lambent (although not unusually powerful). There was poignant beauty in his performance, and the lively dialogue between him and the conductor was remarkably close and keenly felt by the audience.

Shostakovich’s Symphony opened on a spirited, almost playful note which was forceful and exuberant. Often considered a symphony of victory by the Russians, it is not, however, to be compared with Beethoven’s towering Ninth. Shostakovich’s piece, initially full of gay abandon, is followed by the wistful and lyrical moderato — here concert master Gina Medina played a brief solo, her tones lush and brisk.

The Symphony ended quickly but not before the orchestral sections — the cohesive strings, assured woodwinds and brasses, not the least, the tuba, and the thunderous percussions rendered an overwhelming, pulsating, tumultuous tutti.

The encore, in response to audience clamor, was Khatchaturian’s Sabre Dance from his ballet suite Gayane. I saw the Sabre Dance performed years ago; no wonder its frenetic, driving rhythms were so familiar!

The concert left listeners thoroughly gratified that the MSO, under Molina's firm, authoritative baton, had captured and revealed the robust, dynamic Russian spirit to the most impressive degree.

Tata Poblador's CD

In it, Tata renders art songs by Handel and Rinaldo-Handel, and arias from Mozart's Don Giovanni and Marriage of Figaro. They are charmingly interpreted, the emotions conveyed with ardor. Tata is a favorite student of diva Fides C. Asensio for her infectious enthusiasm and avid love for song.

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Please send invitations, press releases and printed-out, regular photos to my home address, not to the Star office. RLO