Cecile Licad holds solo piano concert at Gallery MiraNila on October 1

Whenever world-renowned pianist Cecile Licad performs piano concertos with an orchestra, the final note is always greeted by deafening applause by a dazzled and enthralled audience. The combination of a large theater packed to the brim, a full symphony orchestra, technically demanding pieces, and Licad's larger than life stage presence all add up to a grand experience.

The above paragraph is mainly why the switch to a solo concert, with Licad and just a piano, at an intimate venue surrounded by the garden of an historic heritage house, make Cecile Licad Up Close, happening on October 1, 2025, 6:30 PM at the Gallery MiraNila, a must see.

Presented by the MiraNila Heritage House & Library in partnership with the Erehwon Center for the Arts and the P. Ilusorio Foundation and in collaboration with Gallery MiraNila by The Blue Leaf, Cecile Licad Up Close sees Licad performing Ludwig van Beethoven's Piano Sonata No. 14 in C-sharp minor, Op. 27, No. 2 Quasi una fantasia or more popularly known as the Moonlight Sonata, Robert Schumman's Carnaval, Op. 9, Franz Liszt's St. Francis of Paola Walking on the Waves, a handful of Scott Joplin's ragtime pieces namely The Entertainer, Rose Leaf Rag, Stoptime Rag, and Easy Winters, and Frédéric Chopin's Ballade No. 1 in G minor, Op. 23.

A recipient of the Leventritt Gold Medal, Grand Prix du Disque, and Pamana ng Pilipino Award, Ms. Licad has also worked with esteemed orchestras and distinguished conductors, including the Philadelphia Orchestra under Eugene Ormandy, the New York Philharmonic under Zubin Mehta, the Chicago Symphony Orchestra under Claudio Abbado, as well as Sir Georg Solti, the National Symphony Orchestra under Mstislav Rostropovich, the Boston Symphony Orchestra under Seiji Ozawa, the London Symphony Orchestra under Kurt Masur, the London Philharmonic Orchestra under Andre Previn, and the Russian Academy State Orchestra (Moscow) under People’s Artist of Russia Mark Gorenstein.

Cecile Licad
Photo ©Patrick Diokno

She continues to captivate audiences at the Carnegie Hall and, most recently, on tour with famed Wynton Marsalis and his brass band playing alongside Louis, a modern silent film based on the early years of the legendary trumpetist Louis Armstrong.

The Gallery MiraNila concert offers a rare opportunity to hear this most decorated of Filipino classical artists in the intimate setting of the hall.

Tickets for her one-night-only solo concert in Metro Manila are priced at P3,500 (premium) and P3,000 (regular).

For tickets, text Bern at 0906-547-8268 or email miranilaheritage@gmail.com.

Apart from the concert, guests can avail of pre-concert cocktails and post-concert dinners on offer. The pre-concert sunset cocktail hour from 5:00-6:00 PM, serving cocktails and charcuterie with panoramic sunset views is priced at P1,000 per guest. While the post-concert dinner, a curated late dinner under the stars by Bizu on the rooftop cost P2,000 per guest.

Spots can be booked at: https://bit.ly/3JvaG9q

Other guests can avail of the Bizu pasta station and light snacks for sale during the intermission and after the concert.

MiraNila Heritage House & Library is located at 26 Mariposa Street, Brgy Bagong Lipunan Crame, Q.C. Facebook: MiraNila Heritage House Events.

Cecile Licad Up Close is presented by the Benitez-Tirona MiraNila Foundation in partnership with the Erehwon Center for the Arts, P. Ilusorio Foundation, and Gallery MiraNila by The Blue Leaf.

Cecile Licad performs in post-Valentines online concert

A post-valentine online recital by world renowned pianist Cecile Licad is all set this February 22, 2022, 5:00 PM streaming through Zoom.

Presented by Megaworld and Rustan's for the benefit of the Philippine Philharmonic Orchestra Society, Inc. (PPOSI), the event, dubbed as Amore: A Post-Valentine Hour with Cecile Licad in New York, will feature performances by Licad interwoven with an interview by David Dubal filmed at the Lotos Club in New York.

Licad will perform piano favorites that include Frédéric Chopin's Étude Op. 10, No. 3, in E Major "Tristesse", Scherzo No. 2 in B-flat minor, Op. 31, and Ballade No. 1 in G minor, Op. 23; Ludwig van Beethoven’s Piano Sonata No. 14 in C-sharp minor, Op. 27, No. 2 Quasi una fantasia more popularly known as the Moonlight Sonata; Sergei Rachmaninoff’s Prelude in G minor, Op. 23, No. 5, Prelude in E-flat Major, Op. 23, No. 6, and Prelude in A minor, Op. 32, No. 8, and Francisco Buencamino Hibik ng Diwa (Soul’s Lament).

Amore is presented by Megaworld and Rustan's along with sponsors SSI Group, Inc., Starbucks, San Miguel Corporation, BPI, and Mr. Danny Dolor.

To purchase tickets priced at P1500 each, contact Lulu Casas (0917) 570-8301, lgcasas@rgoc.com.ph or Maricar Alamodin (0917) 538-4508, esalamodin@rgoc.com.ph. A purchase of 10 tickets will get 2 complimentary passes. One can also visit https://bit.ly/3I6r2Qy.

Cecile Licad in her element with Gottschalk piano music

Pianist Cecile Licad

Internationally renowned Philippine pianist Cecile Licad’s recent concerts here have seen her tackle two piano concertos in a single night. Audiences were delighted to see her conquer such a herculean feat but deep within I wished that the concertos she performed were not the ones that have been overplayed.

That’s why when she did her encores, two delightful piano miniatures with a distinctly Spanish flavor that I haven’t heard before, I was fascinated. I was later told by Licad herself that these were Manchega, Op. 38 and Souvenirs d’Andalousie, Op. 22 and it was a surprise for me to learn that they were composed by an American named Louis Moreau Gottschalk.

As expected, I wanted to learn more about this composer and his works. Thankfully, an album of Gottschalk’s piano works recorded by no other than Cecile Licad herself was offered as a free download at the Naxos Records newsletter. It was as if someone responded to my unspoken longing. Not only was I able to listen again and savor the two pieces that I’ve heard her play already, but I now I have fourteen more tracks to kick start my Gottschalk music immersion.

It was indeed music to my ears what I heard: folk idioms, exoticism, rhythm and syncopation that somehow foreshadowed ragtime and jazz that were still decades from emerging, and surprisingly, patriotic American music. Notable tracks for me aside from the two pieces that I’ve already mentioned earlier are Le banjo, Op. 15, Bamboula, Op. 2, The Dying Poet which was a very popular piece of music during the American Civil War and Union, Op. 48 that weaved together Yankee Doodle, Hail Columbia and the still undeclared national anthem Star Spangled Banner. It doesn’t mean that I think that the rest is filler as they still have their charm and worthy pieces not just to listen to but also to play.

If only I could play it as well as Licad does in the recording. The fiery aggressiveness and brilliance she exhibits here is balanced by a delicacy and lightness. I may have had my reservations on how she played her piano concertos during her most recent performances in here, but with her Gottschalk, she is clearly in her element.

The album liner notes gave a brief account of Gottschalk’s life and I found it fascinating that he lived right smack during the American Civil War and this has greatly influenced some of his music. This also revealed how little I know about this moment in history and also about American music before the 20^th century.  And through Gottschalk, I hope that I would be able to remedy this soon.

Lastly, I have nothing against Licad performing another pair of piano concertos in here. But I do hope that she considers doing a solo piano recital for the meantime and may it be heavy with Gottschalk music. For the meantime, I’ll just satisfy myself by giving her album another spin.

Gottschalk: Piano Music

Tracks:

1. Le banjo, Op. 15

2. Bamboula, Op. 2

3. Le bananier, Op. 5

4. La savane, Op. 3

5. Tremolo, Op. 58

6. El sitio de Zaragoza, "Symphony No. 10"

7. Manchega, Op. 38

8. Souvenirs d’Andalousie, Op. 22

9. Souvenir de Porto Rico, Op. 31

10. L'etincelle, La scintilla, Op. 20

11. La gallina (The Hen), Op. 53

12. Suis – moi! (Follow Me! Vamos a la azotea), Op. 45

13. Pasquinade, Caprice, Op. 59

14. Tournament Galop

15. The Dying Poet

16. Union, Op. 48

Philippine Philharmonic Orchestra to make US debut at Carnegie Hall

June 18, 2016, 8:00 PM

Stern Auditorium/Perelman Stage

Carnegie Hall

57th Street and Seventh Avenue, New York, NY

Featuring:

Cecile Licad, piano

Diomedes Saraza Jr., violin

Philippine Philharmonic Orchestra

Olivier Ochanine, conductor

Programme:

Dmitri Shostakovich

     Festive Overture in A major, Op. 96

Jean Sibelius     

     Violin Concerto in D minor, Op. 47

Sergei Rachmaninoff     

     Piano Concerto No. 2 in C minor, Op. 18

Redentor Romero

     Philippine Portraits

In the 33 years that the Philippine Philharmonic Orchestra has been in existence, it is quite remarkable to find out that the country’s leading orchestra has never performed in US soil. But come June 18, 2016, all that will change as the PPO makes its US debut at the Carnegie Hall nonetheless. Leading the orchestra in this historic concert is Olivier Ochanine, the PPO’s former music director/principal conductor, who has worked for more than three years to make this project come to fruition.

The evening boasts a formidable program including two major concertos that will feature pianist Cecile Licad and violinist Diomedes Saraza Jr., two of the Philippines’ top caliber artists. Licad will perform Sergei Rachmaninoff’s Piano Concerto No. 2 in C minor, Op. 18 while Saraza will tackle Jean Sibelius’ Violin Concerto in D minor, Op. 47. Other pieces to be performed are Dmitri Shostakovich’s Festive Overture in A major, Op. 96 and Redentor Romero’s Philippine Portraits.

Licad has performed the Rach 2 with the PPO and Ochanine earlier this year at the Cultural Center of the Philippines Main Theater that also saw her perform Tchaik 1 at the same concert. Saraza, on the other hand, had his solo violin concert with pianist Greg Zuniega at the CCP Little Theater just a few weeks prior to that of Licad’s concert.

The PPO’s Carnegie Hall concert/US debut is made possible with the support of Philippine Airlines (the official carrier of the Philippine Philharmonic Orchestra), Smart Infinity, Rustan’s Commercial Corporation, One Meralco Foundation, with the support of PLDT Smart Foundation, Federal Land, Inc., and Metrobank Card Corporation.

Proceeds from the concert will go to a housing project of the Philippine Disaster Relief Corporation, Inc. in Tacloban for typhoon Yolanda (international name: Haiyan) victims.

Ticket prices:

$130

$110

$85

$70

$60

$50

$40

$35

$30

$25

$22.50

For inquiries:

CarnegieCharge 212-247-7800

A dizzying display of speed in Cecile Licad Encore!

Featuring:

Cecile Licad, piano

Philippine Philharmonic Orchestra

Olivier Ochanine, conductor

Programme:

Gioachino Rossini

     Overture to L’Italiana in Algeri

Pyotr Ilyich Tchaikovsky

     Piano Concerto No. 1 in B flat minor, Op. 23

Sergei Rachmaninoff

     Piano Concerto No. 2 in C minor, Op. 18

Encore:

Francisco Buencamino Sr.

     Lullaby

Earl Wild/George Gershwin

     Embraceable You from Seven Virtuoso Etudes on Gershwin Songs

Louis Moreau Gottschalk                     

     Souvenirs d'Andalousie, Op.22

Cecile Licad, without a doubt the Philippines’ most celebrated pianist, has captivated audiences with her performances here and abroad for more than three decades already. Such an impressive résumé gives her an aura that she could do no wrong. But her most recent concert, entitled Cecile Licad Encore!, saw her sprinting her way through piano concertos by Tchaikovsky and Rachmaninoff with such dizzying speed that she actually left the Philippine Philharmonic Orchestra, led by principal conductor and music Olivier Ochanine, huffing and puffing in her wake.

The concert actually started at the right tempo with the PPO coasting through Gioachino Rossini’s Overture to L’Italiana in Algeri at the expected tempo, although the sound was less explosive without the bass drum, the triangle, and the cymbals, leaving only the timpani as the sole percussion.

The explosion started early on right at the opening piano chords of Pyotr Ilyich Tchaikovsky’s Piano Concerto No. 1 in B flat minor, Op. 23 with Licad going on a bit too fast. Any hope of her slowing down was dashed by when she did the cadenza at lightning speed. And right then and there, I somehow knew that she would stick with this blistering pace throughout the lengthy first movement. A moment of reprieve was granted when she slowed things down at the second movement. But dread started to creep in as she approached the central Prestissimo section and my fears were founded when she indeed reverted to her first movement antics and played this section a lot faster than usual. The third movement was no better as she went on faster than before with the orchestra struggling at times just to remain in the same measure with her. I do have to give her credit that despite the unearthly speed that she spurred with this concerto, her precision was still amazingly spot on.

Licad’s second piece of the night, Sergei Rachmaninoff’s Piano Concerto No. 2 in C minor, Op. 18 fared a bit better with her surprisingly starting slower dragging out the introductory chords. Probably owing to the piano serving an accompanying role throughout most of the first two movements, her tempo remained in check. Alas, it was short lived. For every opening of a phrase that she stretched, she responded by accelerating inexplicably towards the end. And just like with the Tchaikovsky, the fast interlude in the second movement of the Rachmaninoff went by like a blur in Licad’s hands. There were more moments of brilliance with the Rachmaninoff but her penchant to speed things up, especially as she neared the end of the third movement, made for an unsettling listening experience. Spicing up a well-known piece, giving it a fresh and exciting interpretation is one thing. But I think that she crossed the line when she took extreme liberties in regards to tempo.

The audience’s rapturous response to Licad's performance was not surprising. Though it seemed to me that it was either due to her exuberance, the stunning sight of the speed of her hands and fingers as seen on two giant screens at each side of the stage, or most probably because she is Cecile Licad, the Philippines’ most celebrated pianist. While she had most of the CCP audience at the palm of her hand despite a less than ideal performance, it would be a different matter with a more discerning New York audience if she performs the same way this Tchaikovsky piano concerto when she joins the PPO at their Carnegie Hall concert later this year.

Most surprisingly, Licad’s three encores, namely Francisco Buencamino Sr.’s Lullaby, Earl Wild’s arrangement of George Gershwin’s Embraceable You from his Seven Virtuoso Etudes on Gershwin Songs, and Louis Moreau Gottschalk’s Souvenirs d'Andalousie, Op.22, actually showcased more of Licad’s musicality. By not rushing through the pieces unnecessarily, she exhibited delicate touch, finesse, and restraint, along with power, command, and spark that I wish she displayed with her two piano concertos.

Cecile Licad Encore! was a co-presentation of the Philippine Italian Association and the Cultural Center of the Philippines, with the Rustan’s Group of Companies, Calata Corporation, The Peninsula Manila, Starbucks, Royal Duty Free Shops, Inc.,  and the San Miguel Corporation. The proceeds of the concert will benefit the Philippine Italian Association Endowment Fund and also the Philippine Philharmonic Orchestra’s upcoming US tour this June 2016.

Icons Lea Salonga, Cecile Licad and Lisa Macuja returns for The Legends and the Classics Encore

October 12, 2013, 8:00 PM

October 13, 2013, 5:00 PM

Tanghalang Nicanor Abelardo (CCP Main Theater)

CCP Complex

Pasay, Metro Manila

Featuring:

Lea Salonga

Cecile Licad

Lisa Macuja-Elizalde

Francisco Llorin

ABS-CBN Philharmonic Orchestra

Gerard Salonga, conductor

Ballet Manila

It was just a question of when Lea Salonga, Cecile Licad and Lisa Macuja-Elizalde could be able to match their schedules in order to stage a repeat performance of The Legends and the Classics. This show, the winner of Best Concert Collaboration at last year’s Aliw Award was the talk of the town when it happened back in March 17-18, 2012 and I was very fortunate to watch the show back then. And now comes another opportunity for those who have missed it and those who want to see it again as The Legends and the Classics comes back for a two performance Encore this October 12, 2013, 8:00 PM and on October 13, 2013, 5:00 PM at the Cultural Center of the Philippines’ Tanghalang Nicanor Abelardo (CCP Main Theater).

The show will once again feature individual numbers from the three as well as special collaborations among them that combine song (Lea Salonga), music (Cecile Licad) and dance (Lisa Macuja-Elizalde and the rest of Ballet Manila). Joining the show this time is ABS-CBN Philharmonic Orchestra led by Gerard Salonga. Another change this year will be the inclusion of cellist Francisco Llorin for The Dying Swan number which was also one of the most memorable highlights from last year’s show.

It’s been announced that Cecile Licad will completely change her repertoire for this concert. And I was able to learn from Gerard Salonga himself that she and the orchestra will now perform Sergei Rachmaninoff’s Rhapsody on a Theme of Paganini, Op. 34 replacing the Chopin piece they did during the original staging. The title itself may not ring a bell to most people but once they get to listen to the Variation 18 of the Rachmaninoff piece, it will either send shivers down their spine or bring them into tears. And the hardcore piano enthusiasts like me will highly anticipate seeing and hearing the Steinway and Sons grand piano that will be provided by the Steinway Gallery Singapore for this concert. I was also told by Lisa Macuja-Elizalde that they will also have a special surprise number at the end but that was all that I was able to get out from her or from any other member of the ABS-CBN Philharmonic Orchestra that I was able to talk to.

This show is truly one of the most eagerly awaited events of the year considering that Lea Salonga has recently concluded a very high profile stint as a coach at The Voice of the Philippines. Cecile Licad, on the other hand, will be back at the CCP stage once again less than four months after The Pianist’s Pianist. And Lisa Macuja-Elizalde is almost done with her Swan Song Series with Ballet Manila ending this December when she bids goodbye to full length ballets. The Legends and the Classics Encore is definitely the last chance for people to see these three icons perform on one stage.

The Legends and the Classics is presented by the Manila Broadcasting Company and Ballet Manila, under the stage direction of Roxanne Lapus and musical direction of Gerard Salonga. Major sponsors are BPI Credit Cards, Sofitel Philippine Plaza, Bellarocca Island Resort & Spa, Mekeni, Uratex, Solaire Resort and Casino and El Nido Resorts, supported by Island Rose. Steinway Gallery Singapore is the official piano sponsor.

Ticket prices:

P6000 Orchestra Center Premium

P5000 Orchestra Center/Side, Parterre/Lower Box

P3000 Balcony I, Upper Box

P2000 Balcony II Premium

P1000 Balcony II

For inquiries:

TicketWorld 891-9999

The Pianist's Pianist

Cecile Licad, Gerard Salonga and the ABS-CBN Philharmonic Orchestra

Featuring:

Cecile Licad, piano

ABS-CBN Philharmonic Orchestra

Gerard Salonga, conductor

Programme:

Ludwig van Beethoven Overture from Egmont Op. 84

Franz Liszt

     Symphonic Poem No. 2 Tasso, Lamento e Trionfo, S. 96

     Piano Concerto No. 1 in E-flat Major, S. 124

Camille Saint-Saëns Danse Macabre Op. 40

Franz Liszt Totentanz S. 126

The pieces may have dealt primarily with death but the Tanghalang Nicanor Abelardo (CCP Main Theater) was brimming with life, vigor and excitement when Cecile Licad joined forces with Gerard Salonga and the ABS-CBN Philharmonic Orchestra at the successful The Pianist’s Pianist concert. Concertgoers completely ignored the threat of a typhoon and the possibility of heavy rains (and getting stranded as well) and trooped to the Cultural Center of the Philippines to see this much anticipated performance.

The concert started with a very familiar Overture from Egmont Op. 84 by Ludwig van Beethoven which the orchestra played before during their Kapamilya Concert: Intro to the Classics. Since this is the orchestra’s first major concert featuring a classical repertoire, it was fitting that they opened the performance with an accessible piece such as this starting with powerful chords and building towards its triumphant final note. But the next piece, Franz Liszt’s Symphonic Poem No. 2 Tasso, Lamento e Trionfo, S. 96, was something that is not familiar to me. This program music, about the drama filled life of the poet Torquato Tasso was a bit difficult to listen to considering its length, unusual structure and my unfamiliarity with Tasso in the first place. I do find symphonic poems more challenging to listen to compared to traditional symphonies that are divided in several movements. I believe that most in the audience also wanted this piece done and over with so that they could finally see Cecile Licad.

When I learned about the programme for this concert, the idea of having Liszt’s Piano Concerto No. 1 in E-flat Major, S. 124 didn’t thrill me at all. I got sick and tired of the piece when it was played numerous times back in 2011 in celebration of Liszt’s bicentennial anniversary of his birth. And I think that just two years after that is too soon for me to want to listen to it again. But Cecile Licad is Cecile Licad and I would want to watch her even if she plays just major and minor scales. As expected, Licad’s Liszt lived up to expectations of being filled with explosive fireworks and dazzling virtuosity. I got a bit nervous towards the end when she surged ahead of the orchestra which I think couldn’t be helped when one plays this Liszt concerto.

The program music that started the second half, Camille Saint-Saëns’ Danse Macabre Op. 40, was more to my liking compared to the Liszt piece played earlier. This soaring waltz brought to mind images of a ghastly cotillion inside a ballroom during Halloween. For a piece that is about the dead “rising” at midnight to dance, this piece sounded so lively and appealing with a neat solo violin played by concertmaster Ralph Taylan.

I believe that among pianists, it was Liszt’s Totentanz S. 126, a piece that many haven’t seen performed live before was the main reason why they watched the concert. An aggressive, penetrating, wildly animated and no hold barred Totentanz was exhibited by Licad and the orchestra. This was when I realized that the two pieces that made up the second half of the concert was about the dead dancing and Licad wore green which is considered as the color of life which was how she played throughout the concert. But too much bravura would be overwhelming for me. Thankfully, Licad chose to slow things down with a tender encore which was the second movement of Pyotr Ilyich Tchaikovsky’s Piano Concerto No. 1 in B flat minor, Op. 23. This piece she dedicated to Van Cliburn who passed away some months ago. Cliburn was the first ever winner of the International Tchaikovsky Piano Competition and this victory by an American in Moscow during the height of the Cold War made headlines back then. The audience, as expected, wouldn’t settle for just one encore and Licad obliged with two fun pieces by Louis Moreau Gottschalk: Manchega, Étude de concert Op. 38 and one that I failed to recognize.

The Pianist’s Pianist was the ABS-CBN Philharmonic Orchestra’s debut performance at the CCP and also their first major concert featuring a classical repertoire. The event was well attended and well received with no other than Rep. Imelda Marcos in attendance. Her presence at the lobby after the concert almost stole the spotlight from Cecile Licad. As to what’s next for the orchestra, they will return once again to the CCP as they play The Magical Music of Disney happening on September 28, 2013. So bring the whole family as I bring out my Mickey Mouse ears for this concert.

Text by RAd

Photo by Patrick Uy

Pianist Cecile Licad joins ABS-CBN Philharmonic Orchestra at CCP concert

June 29, 2013, 8:00 PM

Tanghalang Nicanor Abelardo (CCP Main Theater)

CCP Complex

Pasay, Metro Manila

Featuring:

Cecile Licad, piano

ABS-CBN Philharmonic Orchestra

Gerard Salonga, conductor

Programme:

Ludwig van Beethoven Overture from Egmont Op. 84

Camille Saint-Saëns Danse Macabre Op. 40

Franz Liszt

     Totentanz S. 126

     Symphonic Poem No. 2 Tasso, Lamento e Trionfo, S. 96

     Piano Concerto No. 1 in E-flat Major, S. 124

Pianist Cecile Licad

Internationally renowned pianist Cecile Licad teams up once again with Gerard Salonga and the ABS-CBN Philharmonic Orchestra this June 29, 2013, 8:00 PM at the Cultural Center of the Philippines’ Tanghalang Nicanor Abelardo (CCP Main Theater). This concert, billed as The Pianist’s Pianist, is the orchestra’s first major concert featuring a purely classical repertoire.

This upcoming concert marks the third time that Cecile Licad will be collaborating with Gerard Salonga, music director and conductor of the ABS-CBN Philharmonic Orchestra. The first time that the two worked together was when Cecile performed Manuel de Falla’s Nights in the Gardens of Spain, G. 49 and Camille Saint-Saëns’ Piano Concerto No. 2 in G minor, Op. 22 back in 2010. The second time was during The Legends and the Classics show that also featured Lea Salonga and Lisa Macuja. Licad performed Frédéric Chopin’s Andante spianato et grande polonaise brillante in E flat major, Op. 22 during that event. In both of these shows, FILharmoniKA was the orchestra that accompanied her.

For The Pianist’s Pianist, Licad has prepared two pieces by Franz Liszt: the Piano Concerto No. 1 in E flat major, S. 124 and Totentanz, S.126. This will be the first time that Licad will perform the Liszt concerto here in Manila. She has been recently touring the US with this repertoire. Other pieces to be performed at this concert include Ludwig van Beethoven’s Overture from Egmont Op. 84, Camille Saint-Saëns Danse Macabre Op. 40 and Liszt’s Symphonic Poem No. 2 Tasso, Lamento e Trionfo, S. 96.

Conductor Gerard Salonga

The Pianist’s Pianist comes at the heels of the orchestra’s successful The Magic of John Williams concert that also spawned a repeat performance. This concert by the ABS-CBN Philharmonic Orchestra is presented by ABS-CBN and First Philippine Holdings Corporation.

Ticket prices:

P3500 Premium Orchestra Center/Left

P2500 General Orchestra Center/Left; Lower Box Left

P2000 Orchestra Right; Lower Box Right/Left*

P1500 Lower Box Right*

P1000 Balcony I Center

P800 Balcony I Side; Upper Box

P600 Upper Box*

P500 Balcony II

*Upper and Lower Box Seats No. 5 & 6 Restricted Viewing

For inquiries:

Karlo Cea (0927) 457-6761, karlo_cea-CTL@abs-cbn.com

TicketWorld 891-9999

The Legends and the Classics

Featuring:

Lea Salonga

Cecile Licad

Lisa Macuja

Wilfredo Pasamba

FILharmoniKA

Gerard Salonga, conductor

Ballet Manila

Up to this moment, despite the concert happening more than two weeks ago, I am still trying to sink in the fact that multi-awarded theater actress Lea Salonga, piano virtuoso Cecile Licad and celebrated ballerina Lisa Macuja managed to be in one show. And this show was aptly called The Legends and the Classics. These three women, icons in their respective disciplines have amassed numerous achievements between themselves and have served as an inspiration to numerous young artists, musicians, dancers and dreamers. When they perform individually, their respective shows have always been hot ticket items so when the three of them joined forces for what was just a one night affair, demand for tickets was at an all time high that a second night had to be put up.

I am extremely fortunate to be among those who were able to experience this concert featuring world class Filipino talents. I’ve been to numerous concerts and shows at the Cultural Center of the Philippines and I was surprised to see only a few of the regulars there during the second night and was amused as well by the newbies who had difficulty in finding their respective sections inside the Tanghalang Nicanor Abelardo (CCP Main Theater). A stellar cast, a unique concept and the festive atmosphere made me believe earlier on that this will be one heck of an experience for me.

I’ve had some clues as to how things would go since stage director Roxanne Lapus gave a brief outline of the flow of the show during the press conference. And it seemed that her vision came to fruition without a hitch starting from the opening number that featured Lea Salonga singing Nais Ko and Cecile Licad and Lisa Macuja with the rest of Ballet Manila eventually joining her on stage. The concert featured a seamless collaboration between the three, with each of them given a moment to shine and then combining to create a pretty darn good picture. Well, it wasn’t just a pretty picture since it was also easy on the ears as well with the live music by FILharmoniKA conducted by the show’s music director Gerard Salonga.

Going to the individual performances, Lea Salonga was her usual self, performing with pristine vocals and technical perfection. She managed to squeeze in some humor when handed a glass of water in between songs by a Ballet Manila danseur stating that this was in her contract. She sang a medley of Broadway songs from roles that she has portrayed (Memory from CATS, On My Own and I Dreamed a Dream from Les Miserables) before singing a couple of songs from Wicked (For Good and Defying Gravity) which is a more recent hit. She then reminded the audience that she wasn’t just a theater actress but also a Disney Princess as well as she went on to sing a medley of Disney songs (Colors of the Wind from Pocahontas, Reflection from Mulan and A Whole New World from Aladdin). I’m not a huge fan of medleys but somehow they made the solo songs As If We’ve Never Said Goodbye from Sunset Boulevard, Hahanapin Ko and I’d Give My Life for You from Miss Saigon a lot more special. And she made people note the significance of the last song not just on her career but how it tied up with the venue as well. Her Miss Saigon journey started at the CCP where the auditions were held. She said that she sang it in a concert before she left for London to star in the musical and to sing it again after more than two decades on the very same stage was just amazing. So once I heard the all too familiar opening bars of this song, I felt goose bumps all over my body fully realizing the significance of what was happening right before my very eyes. I wasn’t the only who felt this since right after the song was finished, the audience stood up to give Lea a standing ovation.

Lisa Macuja actually did a number first before Lea performing the world premiere of Augustus Admian III’s choreography of the balcony scene from Romeo and Juliet with music by Sergei Prokofiev. Ballet Manila’s principal danseur Rudy de Dios joined Lisa in this number as her Romeo. And right after Lea’s set was the Grande Divertissement from Paquita with music by Ludwig Minkus, with Lisa joined by the rest of the Ballet Manila. It’s remarkable knowing that Lisa is close to retiring and yet she can still keep up with the much younger dancers. Her chaine and piqué turns remain fast, sharp, tight and very secure. I couldn’t contain my gasp when she did what I think were eight well centered turns in an assisted pirouette during the Pas de deux in Paquita. Equally amazing was the move during Romeo and Juliet where Rudy de Dios tossed her in the air. And she quickly had to do two quick revolutions in mid-air before being caught by her partner and they immediately did the next move without skipping a beat. And the 32 fouettés en tournant at the coda of Paquita was such a sight to behold. Lisa started the turns sans the music thus setting the pace for the orchestra. It was amazing to see how focused she was during the turns despite the audience roaring in applause with Lisa still having a long way to go. As expected, a standing ovation from the audience right after this section.

I’ve always wondered if there would be an element of surprise in this show since classical concerts normally have the programme/repertoire announced in advance. And the staples of classical ballet have remained the same and it was usually up to the principal dancers, the company and the rest of the production team to come up with a show that would match up to the world standards. I initially thought that Lea would be bringing in the surprise since she did refuse to divulge anything when I asked her about her planned song selection when I met her during the Kanta Pilipinas music video shoot. Unexpectedly, it was actually Cecile Licad who gave the most unexpected performance of the evening for me. I’ve never seen her play as explosive, playful and irreverent when she did her opening number of Frédéric Chopin’s Andante spianato et grande polonaise brilliante in E flat major, Op. 22. I’ve read a facebook status of Gerard Salonga stating that Cecile wanted a bading (gay) and lasing (drunk) Chopin. I wondered what that meant at the time and only realized what it was all about when I saw the actual performance. And Gerard’s description was spot on. It felt to me like Cecile realized that this was not the usual classical concert with a more discerning audience and decided to take risks, be flamboyant, be crazy (lukaret was the word of the day during the press conference), and ultimately have fun which was how she played Pasquinade, Caprice Op. 59 and Souvenirs d'Andalousie, Caprice de concert sur la caña, Op. 22 by Louis Moreau Gottschalk that followed the Chopin. I think that if she started with the Gottschalk pieces, then I would’ve been more prepared for her unconventional and very surprising Chopin. What wasn’t surprising was yet another standing ovation once she finished her set.

RAd and Lea Salonga

Clearly, the highlights of the show were the collaborations between two of the artists. One such collaboration was Lisa Macuja dancing The Dying Swan with music by Camille Saint-Saëns while being accompanied by Cecile Licad and cellist Wilfredo Pasamba. While Paquita was a display of technical prowess and more designed to impress, this number was more subtle and was meant to move the emotions instead. Then Lea went on stage once again for a medley of Michel Legrand songs (What are You Doing the Rest of Your Life, Windmills of Your Mind and Piece of Sky) with Ballet Manila and Lisa Macuja joining her. And during the climax of this medley, when Lea sang “watch me fly”, Lisa once again showed her unmatched turning abilities with those amazing chaine turns. The finale featured all three again Sana’y Wala Nang Wakas which was how people felt at that time: that the show wouldn’t end and still go on. The show ran for two and a half hours without an intermission and yet it didn’t felt that long at all. After this number, what seemed to go on without an end was the standing ovation by the audience.

RAd and Cecile Licad

Right after the concert, I, along with a pianist friend who watched the concert with me, dashed towards the orchestra pit to congratulate Gerard and tell him how surprised I was by Cecile’s performance. After that, we waited at the lobby to see if there would be the usual meet and greet but I guessed that that wouldn’t be possible since the three would’ve been mobbed. So I decided to drag my friend near the backstage area and wait for the three there. Fortunately, our patience paid off since we were able to have photos and autographs taken with Lea Salonga, Cecile Licad, Lisa Macuja and Wilfredo Pasamba as well. This has been an exhilarating experience and very different from the usual concerts that I see at the CCP. Thank you very much to producer Lisa Macuja and Angela Blardony Ureta for this memorable experience.

RAd and Lisa Macuja

Icons Lea Salonga, Cecile Licad and Lisa Macuja join together in a legendary concert bound to be a classic

March 17, 2012, 8:00 PM

March 18, 2012, 6:00 PM

Tanghalang Nicanor Abelardo (CCP Main Theater)

CCP Complex

Pasay, Metro Manila

Featuring:

Lea Salonga

Cecile Licad

Lisa Macuja

Wilfredo Pasamba

FILharmoniKA

Gerard Salonga, conductor

Ballet Manila

Lea Salonga, Cecile Licad and Lisa Macuja are living legends in their own respective fields whose achievements here and abroad have become the measure of success for countless artists here in the country. Having just one of them in a concert or a show is already a major event in itself so when first got word that these three are actually going to join together in one show, my jaw immediately dropped and I was rendered speechless and motionless. I’ve been very fortunate to have seen these three women perform individually before numerous times and their shows are not only time and money well spent but also a life enriching experience as well. Having the three in one concert, aptly titled The Legends and the Classics is something that one can’t miss. Originally planned to happen for just one night this March 17, 2012, 8:00 PM at the Cultural Center of the Philippines’ Tanghalang Nicanor Abelardo (CCP Main Theater), a second night was put up as well on March 18, 2012, 6:00 PM due to popular demand which didn’t surprise me at all.

Lea Salonga is mostly known as the musical theater actress (although she has recorded albums, starred in television and in the movies and did the voice of a few characters in Disney animated films as well). Cecile Licad is probably one, if not the most celebrated pianist from the Philippines right now. Lisa is practically synonymous with ballet in the Philippines. It’s hard to imagine that these women have never collaborated before despite having more than two decades in the business mainly because of the difference in their fields although they are all connected through music. Speaking of music, Gerard Salonga will be the music director for this concert that also includes FILharmoniKA. Roxanne Lapus handles stage direction duties in this concert that also features Ballet Manila and cellist Wilfredo Pasamba.

Cecile Licad, Lisa Macuja and Lea Salonga

As the concert dates draw near, I can’t help but recall the last time I saw these three ladies. I remember watching Cecile Licad way back in 2010 during the Chopin Manille Bicentenarie 2010 in which she performed  in a solo piano recital and then played a concerto with the Manila Symphony Orchestra a couple of days later. I failed to see her when she performed with FILharmoniKA some months after that and I think that this was time she performed in the country. It has been almost two years since I last saw her perform and I’m glad that I will be able to see her perform again. I’ve already gotten news as to one of the pieces that she’s going to play and if I got it right, then it’s reliving those Chopin concerts once again. And when I saw her during the press conference for this concert that was held at the Mandarin Oriental Hotel, I was surprised to see her with shorter hair style which I think suits her a lot better.

Lisa Macuja’s ballet performances have been very sought after of late since she is scheduled to retire in 2014. While she might hang up her ballet shoes in the future, her support for the arts is poised to remain the same since I regularly see her at various concerts and other cultural events as a member of the audience. She was very instrumental in bringing over Russian conductor Alexander Vikulov who performed with the Manila Symphony Orchestra some months ago. I also saw her being given the Natatanging Gawad Buhay! award by PHILSTAGE for her contribution to the art of ballet and dance in the country. It has already been announced that Lisa will dance The Dying Swan set to music of Camille Saint-Saëns’ The Swan with Wilfredo Pasamba playing the cello. This number may be about dying but the music and the dance are now considered classics and will always be a part of the music/dance literature. And now, Lisa feels that it’s the right time in her career for her to dance this exquisite number.

As for Lea Salonga, I’ve had the opportunity to see her shoot the music video for Kanta Pilipinas, which is a reality talent search over at TV5. Auditions have been ongoing in various cities around the country. And as much as Lea would want to have a larger role in the competition beyond the music video, her fully booked schedule in the upcoming months doesn’t permit her to do so. But she said that if she were given the chance to mentor the finalists, she would focus on the performance aspect since that is what she can bring to the table. She also said when interviewed by the media after the shoot that when someone wins the competition, he/she can’t just relax since that’s when the actual hard work will begin. And despite whatever people have heard or read in the news, Lea didn’t diss Anne Curtis’ singing. She actually stressed that Anne right from the start didn’t brand herself as a singer so she couldn’t be angry with her. But for those who continually dish out records and considers themselves as bona fide singers while being unable to sing to save their life, Lea didn’t hold back her words in expressing her displeasure over them. While her response may sound cocky to some, I do understand where she is coming from since she is a singer by profession and she has honed and improved her craft to get where she is right now. Her professionalism did manifest during the shoot as she came in very well prepared and did her part on cue. I felt bad for the others who were involved in the shoot who kept on making mistakes since Lea was spot on. It served as a reminder for everyone that one should come on set knowing what they’re supposed to do.

Lea Salonga

These three women have achieved a lot through hard work and dedication to their respective crafts and disciplines. So one might think that they would be the most serious individuals to work with but Roxanne Lapus shared during the press conference that Cecile Licad was the total opposite. Cecile then blurted out mga lokaret prompting laughter from Lea and Lisa who tried to contain it. This incident brought some credence that Cecile was right on referring to the three of them as crazy. They said that the three of them have only met the day before during their photo shoot and yet they already looked very comfortable around each other like they’ve known each other for ages. This much rapport with each other and this was just the press conference, so I wondered how it would be when they’re already on stage come show time. Well it’s a mighty good thing that I’ve already secured my tickets to this show.

Cecile Licad, Gerard Salonga, Lea Salonga, Lisa Macuja and Roxanne Lapus

This concert is presented by Ballet Manila and Manila Broadcasting Company, with the support of Lifestyle Network, Sofitel Philippine Plaza, and Ayala Land Premier. Special thanks to McDonald’s Philippines.

Ticket prices:

P7000 Orchestra Center

P5000 Orchestra Side

P3000 Balcony I Center

P2000 Balcony I Side

P1000 Balcony II

For inquiries:

TicketWorld 891-9999