Thursday, September 29, 2011

USTSO in Concert

Pinoy Violinists members from UST

Linda Montessa, piano
Reynaldo Reyes, piano
Gina Medina, violin
University of Sto. Tomas Symphony Orchestra
Herminigildo Ranera, conductor

Giuseppe Verdi Overture from La forza del destino
Frédéric Chopin Piano Concerto No. 2 in F minor, Op. 21
Franz Liszt Piano Concerto No. 1 in E flat major, S.124
Manuel Infante Danses Andalouses
Nikolai Rimsky-Korsakov Scheherazade, Op. 35

The UST Symphony Orchestra (USTSO) conducted by Herminigildo Ranera recently had a concert at the Cultural Center of the Philippines featuring pianists Reynaldo Reyes and Linda Montessa and also violinist Gina Medina. I was a bit surprised about this concert since I only found out about it around three weeks before the date of the performance itself. And with USTSO being a resident company of the CCP, I expected a lot more from them in terms of promotion and publicity for this concert.

There were many things about this concert that left me surprised and baffled but I still made sure that I was able watch their performance with interest since their programme featured one of my favorite piano concertos of all time. As expected, the concert held at the Tanghalang Nicanor Abelardo (CCP Main Theater) opened with an overture and the one that they played was from La forza del destino by Giuseppe Verdi. They played this piece decently without any indication of how the rest of the concert would turn out to be.

Next came the piano concertos which were my most anticipated part of the concert. First up was Linda Montessa who played Frédéric Chopin Piano Concerto No. 2 in F minor, Op. 21 which is one of my favorite piano concertos of all time. It was my first time to hear of Montessa so I was curious to see how she played. After her performance was Reynaldo Reyes’ turn and he played Franz Liszt’s Piano Concerto No. 1 in E flat major, S.124. It would be very interesting for me to see him play a concert after seeing him perform at a couple of recitals playing Beethoven sonatas. And I wasn’t surprised at all with the Liszt piece that was played since it’s the composer’s bicentennial anniversary but three Liszt concertos in three months is already pushing it too far.

I felt that their pianists were only able to show a glimpse of what they were capable of since both were past their prime. It left me wondering how different the performances would have been had they played these pieces during their peak. I was hoping that the orchestra would somehow be able to step up knowing that they’d be playing with veterans but I didn’t feel any connection between them and the soloists. I felt sad since I was really hoping for the best from everyone. The Chopin piece wasn’t able to tell a story and the youthful vigor of the Liszt was sorely missed which was really unfortunate.

Thankfully, Montessa and Reyes were able to show what they were capable of when they played Manuel Infante Danses Andalouses on two pianos. During the performance of this piece, there was at least a connection between them and they performed better together despite the less than optimum sound from the second piano used by Reyes.

The last piece that the orchestra played was Scheherazade, Op. 35 by Nikoali Rimsky-Korsakov featuring Gina Medina performing the solo violin parts. Medina as the soloist was again surprising since she is the concert master of the Manila Symphony Orchestra and the orchestra accompanied Horacio Nuguid in a concert the day before. And this was probably the reason why she wasn’t the concertmaster during that performance. Nevertheless, the USTSO was able to show what they are capable of with this piece. I think that Medina should be given credit since it really did feel like she was able to inspire the orchestra into doing their best. The Scheherazade was played a lot better compared to the previous pieces in the programme. For an encore, the USTSO played the ever reliable Hungarian Dance No. 5 by Johannes Brahms. Overall, it turned out to be a very uneven concert but I learned not to expect too much from student orchestras since the members still have school work to worry about and their skill level is not yet at par with the pros.

Apart from the performances, I was able to observe the audience and they were mainly composed of UST music students and alumni with a very large number of enthusiastic and well dressed freshmen which was very amusing to see. Many of them will aspire to be part of the USTSO and will no doubt be working hard to achieve that goal. I just hope that when that time comes, they will be able to play a lot better than what they saw. But it’s still early in the school year and this current batch of the USTSO still has a number of concerts for them to redeem themselves.

Sunday, September 25, 2011

Three plays by Tony Perez take spotlight at Tanghalang Pilipino's silver anniversary season

Nobyembre, Noong Akala Ko’y Mahal Kita

September 30, 2011, 8:00 PM
October 1, 2011, 3:00 & 8:00 PM
October 2, 2011, 3:00 PM
October 15, 2011, 8:00 PM
October 16, 2011, 3:00 PM
October 21, 2011, 8:00 PM
October 22, 2011, 3:00 PM

Sierra Lakes/Bombita

October 7, 2011, 8:00 PM
October 8, 2011, 3:00 & 8:00 PM
October 9, 2011, 3:00 PM
October 14, 2011, 8:00 PM
October 15, 2011, 3:00 PM
October 22, 2011, 8:00 PM
October 23, 2011, 3:00 PM

Tanghalang Huseng Batute (CCP Studio Theater)
CCP Complex
Pasay, Metro Manila

Tanghalang Pilipino’s 25th Anniversary celebrations had a very good start with the phenomenal success of its season opener Noli Me Tangere the Musical. For their second offering for their silver season, they present Tatlong Tabing: Three Plays by Tony Perez, a retrospective of one of the company’s resident playwrights.

Tony Perez

The three plays to be staged from September 30 up to October 23 at the Tanghalang Huseng Batute (CCP Studio Theater) at the Cultural Center of the Philippines are Sierra Lakes, Bombita and Nobyembre, Noong Akala Ko’y Mahal Kita directed by Tess Jamias, Dennis Marasigan and Tuxqs Rutaquio respectively. An exhibit of paintings by Tony Perez will also be mounted during the entire run of the production.

During the recent press conference for this production, I’ve had the opportunity to see Tony Perez himself and I did find him to be a very interesting and fascinating person. He in fact made me want to reread Ibong Adarna when he mentioned how it relates to the Filipino psyche. And this brief moment really made me curious and intrigued to see how his works are. I admit that I had no idea who he was before this press conference and I guess that this was the right time for me to get acquainted with him since he said that he wrote plays for people in their 30’s. And I am in my early thirties which means that the timing was perfect for someone like me.

The cast of Sierra Lakes

Also during the press conference, some of the cast, mostly members of the Tanghalang Pilipino Actors Company presented excerpts from the plays to be staged. For Sierra Lakes, Rayna Reyes performed a song which I think is part of the play if I’m not mistaken. Then for Bombita, a comedy scene about a reporter played by Jonathan Tadioan trying to get a story from a group of soldiers was shown. This was followed by Tadioan doing a monologue from Nobyembre, Noong Akala Ko’y Mahal Kita. The versatility of Tadioan was highlighted in the excerpts since he played two entirely different characters and he had to get into character in just a few minutes. I also realized that in just the span of a few months, I’ve come to know most of these actors and the relationships formed since then made me want to support them more in their upcoming projects.

The cast of Bombita

Tatlong Tabing: Three Plays by Tony Perez is definitely a change of pace and direction after the previous production. And as much as I really liked Noli Me Tangere, I am happy and satisfied with my experience there and as I now eagerly await this new production in line Tanghalang Pilipino’s Silver Anniversary celebrations. I do hope that the momentum continues not just for Tanghalang Pilipino but also by the other resident companies of the CCP that have had successful season openers as well.

Jonathan Tadioan for Nobyembre, Noong Akala Ko'y Mahal Kita

Ticket price:
50% student discount
20% senior citizen discount

For inquiries:
Tanghalang Pilipino 832-1125 local 1620/1621
TicketWorld 891-9999

Saturday, September 24, 2011

Horacio Nuguid in Concert

Horacio Nuguid with the Manila Symphony Orchestra

Horacio Nuguid, piano
Manila Symphony Orchestra
Jason Ros, conductor

Johann Sebastian Bach Sinfonia, from Partita No. 2 in C minor, BWV 826
Franz Liszt 3 Song Transcriptions
     Widmung, Liebeslied, S.566*
     Chant Polonais No. 5 Meine Freuden, S.480**
     Liebesträume No. 3 O lieb, so lang du lieben kannst!, S.541
Maurice Ravel Jeux d’eau
Sergei Rachmaninoff Études-Tableaux in E flat minor, Op. 39 No. 5 
Ludwig van Beethoven Piano Concerto No. 5 in E flat major, Op.73 Emperor

*after Schumann
**after Chopin

Piano concert lovers had much to rejoice in recent months with numerous performances happening around the metro. But it came to the point that it became difficult for me not only to keep track of them but to attend them as well. And there had been a few concerts that I had to miss because of lack of time, money and information regarding them. But this concert by US based pianist Horacio Nuguid was something that I couldn’t afford to miss for various reasons. The concert was organized by friends whom I’ve hung out and watched concerts with a number of times. And among these friends was conductor Jason Ros who made his Philam Life Auditorium debut with the Manila Symphony Orchestra for this concert. And I was glad that I was able to help them in my own little way as well since this was also for the benefit of the Hospicio de San Jose.

As I’ve said, there had been numerous piano concerts and sometimes it could be draining to watch them since classical music concerts require more effort from a member of the audience compared to a regular pop/rock concert. Thankfully, this concert had a unique and varied repertoire which made it interesting for me. As expected, the concert started with Nuguid playing something from the Baroque period which was Johann Sebastian Bach’s Sinfonia, from Partita No. 2 in C minor, BWV 826. It is no secret that I am not a huge fan of this era although I’m beginning to appreciate it more of late. Next, he performed a trio of pieces by Liszt which was again expected during this year of the composer’s 200th birth anniversary. I am pleased that Nuguid chose Widmung, Liebeslied, S.566, Chant Polonais No. 5 Meine Freuden, S.480, and Liebesträume No. 3 O lieb, so lang du lieben kannst!, S.541. The first two pieces were Liszt’s transcription of works by Robert Schumann and Frederic Chopin respectively. These two aren’t commonly played while the third piece is one of Liszt’s most popular works. And I do appreciate Nuguid’s decision to play these pieces since it had a nice mix of familiar, somewhat familiar and unfamiliar pieces.

Maurice Ravel’s Jeux d’eau and Sergei Rachmaninoff’s Études-Tableaux in Eb minor, Op. 39 No. 5 were performed next and I do admit that it was my first time to hear these pieces performed live. But the second half of the concert was familiar territory for me as Nuguid played Ludwig van Beethoven’s Piano Concerto No. 5 in Eb Major, Op.73 which is more popularly known as the Emperor. For this piece, he was accompanied by the Manila Symphony Orchestra under the baton of guest conductor Jason Ros. This piece may be very familiar to me but I welcomed it with open arms since it was a breath of fresh air since it wasn’t another Liszt piano concerto in line with the celebrations. Nonetheless, I felt proud for Jason since he seemed tall while he was conducting the orchestra.

Horacio Nuguid, Jason Ros and guests

Overall, the performance was alright and Nuguid played the pieces that I’m familiar with without any surprises like unconventional interpretations. But what I found most rewarding was the things that I’ve learned like how to produce a concert and how difficult it is especially for classical music.

Wednesday, September 14, 2011

Astrovision and Orange Magazine TV's Blogger's Blowout Music Edition

A treat was in store for bloggers courtesy of Astroplus/Astrovision and Orange Magazine TV during its first ever Blogger’s Blowout held recently at the Astroplus/Astrovision store at Greenbelt 5. I was there among with some music bloggers to see the current and upcoming releases by the major recording labels, all of which are available at Astrovision branches and very soon, at Astroplus/Astrovision online stores.

Blogger's Blowout Music Batch

I admit that I am not as updated as I would like to be when it comes to current music, like which songs and artists are enjoying massive radio and video airplay, whose albums are really selling and whose gigs are jampacked. And because of this, I am truly grateful for the opportunity that Astroplus/Astrovision and Orange Magazine TV gave me to be informed with what’s happening to the popular side of music.

Before we got to know what’s new in the recording scene, we had the chance to check out first the impressive LG Cinema 3D TV. While wearing the special 3D glasses, were were able to watch some clips and the 3D effect was really breathtaking. If I were a hardcore television viewer and if I really like watching 3D movies at home, then I would definitely want this. Too bad that I am more of a musician although I think that the movie and gadget bloggers were left drooling for sure after getting a very brief taste of this LG Cinema 3D TV.

LG Cinema 3D TV

Then it’s time for the music to take center stage. Before I continue, I want to clarify that the representatives from the major record labels did feature more artists like those from overseas especially Korea. But I’d really like to spotlight the local recording artists or OPM music here that’s why I deliberately left the others out in favor of the Filipino recording artists.

First off was Sony Music Philippines which is licensed and distributed locally by Ivory Music & Video. The local artists that they’ve featured were Sheng Belmonte, Stephanie Dan (Love to Love Acoustic) and JM de Guzman. Both Sheng and Stephanie were also recently featured at the launch of the Mang Inasal Mang Aawit Music Advocacy Program.

Sheng Belmonte
Stephanie Dan's Love to Love Acoustic

Next to be showcased was Ebe Dancel whose double CD record Dalawang Mukha ng Pag-Ibig under Warner Music Philippines was recently released in the market. Dancel, the former frontman of Sugarfree, also had some in store appearances at Astroplus stores to promote his album. Clips of these were shown in the video of his current single Muli.

Ebe Dancel's Dalawang Mukha ng Pag-Ibig

MCA Music (Universal Music Philippines) then presented their current and upcoming local releases. Solenn Heusaff, Richard Poon (I’ll be Seeing You), Kitchie Nadal (digital release of her single Isang Araw) Jim Paredes (Laro), Urbandub (Sending a Message Tee Dee), Lica (All I Want to Be), Humanfolk, 1:43 (Time for Love), Tricia Garcia (Kulay), and the Lamars (Kung Puede Lang) were the artists whose local releases were presented to the bloggers present. Upcoming releases to watch out for are those from Sabrina, Krissy & Ericka and Ramon “RJ” Jacinto. As a side note, I was also recently on hand to witness the album launch of Tricia Garcia.

Solenn Heusaff
Richard Poon's I'll Be Seeing You
Jim Paredes' Laro
Ubrandub's Sending A Message
Lica's All I Want to Be
1:43's Time for Love
Tricia Garcia's Kulay
The Lamars' Kung Puede Lang

Last but not the least was the presentation by Star Records. Juris (Forevermore), Erik Santos (Awit Para Sa 'Yo), Maria Aragon, Yeng Constantino (Versions Live!), Gary Valenciano (With Love) and Marcelito Pomoy (Duet Yourself). And I do find it satisfying to note as well that I’ve seen Erik Santos’ recent concert wherein he had an impromptu duet with Gary Valenciano.

Juris' Forevermore
Erik Santos' Awit Para Sa 'Yo
Yeng Contantino's Versions Live
Gary Valenciano's With Love
Marcelito Pomoy's Duet Yourself

I still feel that the local artists still trail in terms of promotions compared to the foreign releases especially the KPop artists who are extremely popular today. But I am glad that most of the local releases presented have more original material in them. Too many cover versions from local artists have been released for the past few years thinking that this would be a quick way to crack the international market. The Philippines has a lot of songwriters whose work deserves to be recorded and I’m glad that the record labels are now really concentrating on more original material.

After each record label’s presentation, some CD’s and merchandise were raffled away to lucky bloggers. Since they were so generous, everyone had the chance to win at least once and I went home with a copy of Erik Santos’ latest album which is quite fitting since I did see his concert as I’ve said earlier.

I left the event feeling like that I’m now more informed with what’s current with the local recording scene and with the urge to hear more from them. And with Astroplus/Astrovision just a mall and soon a click away, along with Orange Magazine TV, still just a click away, I am confident that I’ll be as updated with the local popular music as I am with the classical music scene here in the country.

Reynaldo Reyes, Beethoven Piano Sonatas Concert III

Pianist Reynaldo Reyes

Reynaldo Reyes, piano

Ludwig van Beethoven
     Piano Sonata No. 30 in E major, Op. 109
     Piano Sonata No. 12 in A flat major, Op. 26 no. 12
     Piano Sonata No. 3 in C major, Op. 2 no. 3

Reynaldo Reyes, a US based pianist, had the third and the last of his concert series featuring piano sonatas by Ludwig van Beethoven held at the Tanghalang Aurelio Tolentino (CCP Little Theater) at the Cultural Center of the Philippines. I missed the first concert of the series but I was able to catch the second one which was postponed from its original date due to bad weather.

Before this concert, I had to make use of the spare time that I had since I participated at the CCP tour for the media that happened right before lunch time. Finally, the hour of the concert arrived and I was quite dismayed by the low audience turnout. During the tour around the CCP building, the resident companies called for support from the government and private institutions for the arts and yet it wasn’t reflected by the attendance for this concert.

I felt really bad since I did find Reyes’ performance here a lot better compared to the second concert he had. The pieces he played on this night were not really familiar to me but I do find Beethoven’s latter sonatas really interesting, and Reyes opened with the Sonata No. 30 in E Major, Op. 109 which is an example of the latter work. Despite having a page turner for the entire concert, it didn’t bother me as much. The other pieces that were played were the Sonata No. 12 in A flat Major, Op. 26 no. 12 which is the piece that has the popular funeral march movement in it. And the last piece that made up the second half of the concert was Sonata No. 3 in C Major, Op. 2 no. 3. For his encore, he played the Bagatelle No. 4 in B minor, Op. 126 by Beethoven once again like he did during the second concert.

The night felt a bit short since the concert ended early and the attendance did bother me a bit. Despite the night’s shortcomings, I welcomed the chance for me to watch live performances of piano pieces that I’m not really familiar with and then wonder if I am capable of playing them. I was able to watch two out of three concerts Reynaldo Reyes had and I found it disheartening to see the law of diminishing returns in effect especially during the last concert. I was told that the first concert had a good audience turnout and I felt bad that this didn’t carry over to the succeeding performances.

But Reynaldo Reyes isn’t done playing yet since he still had another performance scheduled a few days after this concert. More about that in a later blog post.

Tuesday, September 06, 2011

The CCP Arts Appreciation Tour

Olivier Ochanine with the Philippine Philharmonic Orchestra

To say that the art installatian Politeismo by Mideo Cruz which was part of the exhibit Kulô held at the Bulwagang Juan Luna at the Cultural Center of the Philippines was controversial is an understatement. I never imagined the frenzy, chaos, drama and theatrics that accompanied this exhibit since I was able to view this a few times right after it opened. And I was also able to view it a few times during the Cinemalaya when the CCP was brimming with people. And all that time, while some people including myself found Politeismo not appealing at all, there weren’t any violent reactions until some people with their own agenda stepped in. I don’t want to get into the debate regarding the merits of the exhibit. All I will say is that while I think that Politeismo was done in bad taste, I think that the chaos that ensued and the grandstanding done by some people was a lot worse.

One of the effects that this controversial artwork has done was the threats to cut the budget allotted to the CCP probably to teach the people there a lesson. I am very much aware that the CCP and its resident companies operate in the tightest of resources. And I am very much afraid that the people who call for budget cuts and worse, the closure of the institution are totally uninformed of what the CCP really is.

Margie Moran-Floirendo, President of Ballet Philippines

To show that the CCP is more than just the exhibit, the media was invited to take a walking tour of the building conducted by Ariel Yonzon, head of the CCP Theater Operations. Overseeing the tour was Chris Millado, CCP Vice President and Artistic Director. For me, the tour offered very little that was new since I’ve been to the CCP a lot and I already know the resident companies there like the Philippine Ballet Theatre, Bayanihan Philippine National Folk Dance Company, Ramon Obusan Folkloric Group, Philippine Philharmonic Orchestra, Ballet Philippines and Tanghalang Pilipino. But it was very surprising to see the major media outlets that were present there and I really felt that for most of them, it was their first time to get acquainted with most of the companies there.

So the media was brought to the different areas of the CCP and introduced to some of the companies that were rehearsing there at the time. And when members of these companies were asked what they think of the controversy surrounding the CCP, they all said that budget cut is not the solution and that they need the financial support very much in order to mount shows here and abroad. When I heard these ballet dancers, folk dancers, singers, musicians and actors tell the media that they’ve been working hard and bringing pride to our country with very little financial support from the government, and yet the threat of a budget cut looms over their heads. I personally find this disheartening as if people didn’t learn from the Skyflakes and cat food controversy some months ago. These artists work so hard despite not getting enough support and yet when they reap accolades overseas, that’s just when people start to say how proud they are of them. And I do find this hypocritical but sadly, this is what really happens in here.

I’m glad that the media was given the chance to know more about CCP during their brief tour of the building. I’m glad that the media was able to see the various resident companies of the CCP and I do hope that they’d cover the shows that they mount as well.

John Arcilla and the Tanghalang Pilipino Actors Company

I do hope that people would realize that the CCP has done a lot of good and one has to watch a show there to see what I mean. First of all, shows there start on time and that in itself is very significant in my opinion. If one cannot understand the value of time and punctuality, then I don’t expect that person to ever progress and be successful in life. Second, people tend to behave well at the CCP. During the last Cinemalaya, even the most boisterous crowd during a gala screening was far more civilized than the crowds at premiere screenings held at mall cinemas. This basically boils down to discipline and it doesn’t matter if the people felt that they were forced to be at their best behavior at the CCP. What matters most is that discipline is enforced there and rowdiness be it at the CCP or any place else is not tolerated.

This entry has gone from the CCP tour of the media because of the controversial exhibit to what has CCP instilled in me aside from my appreciation of the arts. It only goes to show that despite the controversy, I still support the artists and the CCP and I will continue to watch their shows, view the exhibits and go there since it has become a huge part of my life.

Monday, September 05, 2011

Philippine Philharmonic Orchestra presents epic lineup for their 29th Season “Soundscapes”

After what seemed like an eternity (when it was actually just a few months), the Philippine Philharmonic Orchestra comes back for their 29th concert season called Soundscapes featuring pieces that are of epic proportions. And finally that time has come and I couldn’t wait to see what their principal conductor/music director Olivier Ochanine has in store for us this season. I’ve been terribly busy during the orchestra’s off season and although I’ve attended countless events at the Cultural Center of the Philippines, I always wished that it was already the start of the PPO’s new season. Well, the time has finally arrived and the wait is over.

In order to spread the word for this season, the PPO held a press conference at the Silangan Hall at the CCP. Of course I was there armed with a few questions for the Maestro Ochanine in regards to this season, the PPO’s 29th which is dubbed as Soundscapes: Epic Evenings with the PPO.

Olivier Ochanine

Ochanine teased the members of the press and media present that for this season, there will be technically difficult pieces, epic in other words, pushing the limits of the orchestra. And aside from the usual guest soloists coming from abroad, there will also be more Filipino soloists featured this season. CCP President Raul Sunico also mentioned that there will be pre-concert lectures once again for the benefit of the audience. Ochanine added that the audience will benefit from these lectures since some of the pieces would require some explaining to do in order for the people to appreciate it fully.

There were a few changes to the programme that was known during the press conference compared to the lineup that I got a few months ago. Most notable among the changes was the cancellation of the world premiere of a commissioned work that was replaced by a concert featuring soprano Rachelle Gerodias. Ochanine originally wanted Gerodias to be part of the season but she was still not yet sure of her schedule months ago. So the PPO released a tentative lineup which was eventually changed when Gerodias’ participation became absolutely sure. But Ochanine pointed out that he is still very much open to premiering a new work but he prefers to have this outside of their regular season to be held at a different venue.

The PPO String Quartet

I also asked if there will be masterclasses by the guest soloists and Ochanine answered that everything depends on the guests’ schedules but that it would be great. And as a conductor himself, Ochanine wants the two guest conductors to share their knowledge to conducting students in here. He also mentioned that he hopes that the conducting workshop that he has planned before will finally happen soon.

Here is the schedule of the Soundscapes, the 2011-2012 season of the Philippine Philharmonic Orchestra

September 9, 2011

Renato Lucas, cello
Olivier Ochanine, conductor

Camille Saint-Saëns Bacchanale from Samson and Delilah, Op. 47
Edward Elgar Cello Concerto in E minor, Op. 85
Richard Strauss Ein Heldenleben, Op. 40

October 7, 2011

Ariel Sta. Ana, clarinet
Olivier Ochanine, conductor

Silverstre Revueltas Sensemayá
Wolfgang Amadeus Mozart Clarinet Concerto in A major, K. 622
Angel Peña Igorot Rhapsody
Ottorino Respighi Feste Romane

November 11, 2011

Bùi Công Duy, violin
Jae-Joon Lee, conductor

Johannes Brahms Academic Festival Overture, Op. 80
Max Bruch Violin Concerto No. 1 in G minor, Op. 26
Hector Berlioz Symphonie Fantastique, Op. 14

December 16, 2011

Ariel Dechosa, piano
Olivier Ochanine, conductor

Maurice Ravel Le tombeau de Couperin
Ludwig van Beethoven Piano Concerto No. 4 in G major, Op. 68
Sergei Rachmaninoff Symphony No. 2 in E minor, Op. 27

January 20, 2012

Takahiro Ono, trombone
Olivier Ochanine, conductor

Antonín Dvořák Czech Suite in D major, Op. 39
Nikolai Rimsky-Korsakov Concerto for Trombone and Military Band
Carl Nielsen Symphony No. 4, Op. 29 FS 76, The Inextinguishable

February 17, 2012

Vesa-Matti Leppänen, violin
James Judd, conductor

Leonard Bernstein Overture from Candide
Ludwig van Beethoven Violin Concerto in D major, Op. 61
Felix Mendelssohn Symphony No. 4 in A major, Op. 90 Italian

March 16, 2012

Rachelle Gerodias, soprano
Olivier Ochanine, conductor

Arias, kundimans and more
Anton Bruckner Symphony No. 4 in E flat major, WAB 104 Romantic
Antonino Buenaventura By the Hillside

April 20, 2012

Sofya Gulyak, piano
Olivier Ochanine, conductor

Johannes Brahms Piano Concerto No. 1 in D minor, Op. 15
Igor Stravinsky The Rite of Spring

*All concerts except for the February 17, 2012 concert will be staged at the Tanghalang Nicanor Abelardo (CCP Main Theater) at the Cultural Center of the Philippines at 8:00 PM. The James Judd and the Italian Symphony concert on February 17, 2012 will be staged at the Philam Life Auditorium at 7:30 PM instead.

Renato Lucas opens the Philippine Philharmonic Orchestra's 29th concert season

September 9, 2011, 8:00 PM
Tanghalang Nicanor Abelardo (CCP Main Theater)
CCP Complex
Pasay, Metro Manila

Renato Lucas, cello
Philippine Philharmonic Orchestra
Olivier Ochanine, conductor

Camille Saint-Saëns Bacchanale from Samson and Delilah, Op. 47
Edward Elgar Cello Concerto in E minor, Op. 85
Richard Strauss Ein Heldenleben, Op. 40

The Philippine Philippine Philharmonic Orchestra opens its 29th concert season with a heroic programme this September 9, 2011, 8:00 PM at the Tanghalang Nicanor Abelardo (CCP Main Theater) of the Cultral Center of the Philippines. Renato Lucas, the PPO’s former principal cellist, will be the featured soloist as he performs Edward Elgar’s Cello Concerto in E minor, Op. 85 with the Philippine Philharmonic Orchestra, under the baton of Olivier Ochanine. Other pieces comprising this concert entitled “A Hero’s Life” are the Bacchanale from Samson and Delilah by Camille Saint-Saëns and Ein Heldenleben, Op. 40 by Richard Strauss.

Cellist Renato Lucas

The last time I saw Lucas perform was during the opening of the Eiga Sai and I told him that I was patiently waiting his time to perform the Elgar Cello Concerto which is one of the most popular pieces in the cello repertoire. I’ve yet to hear Bacchanale and Ein Heldenleben live and I’m really looking forward to seeing how the PPO will perform the Strauss piece. As expected, I will be among the Pinoy Violinists before, during and after the concert.

The Philippine Philharmonic Orchestra

Ticket prices:
P1000 Orchestra Center
P800 Orchestra Side
P500 Balcony I Center
P350 Balcony I Side
P200 Balcony II
50% student discount
20% senior citizen discount

For inquiries:
CCP Marketing Department 832-1125 loc. 1806
CCP Box Office 832-3704
TicketWorld 891-9999
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