British soprano Katerina Mina headlines PPO Concert VII: Opera

As the ballet and opera world continue to react to Oscar-nominated actor Timothée Chalamet's now infamous remarks about not wanting to work in ballet or opera because no one cares about them anymore, the Philippine Philharmonic Orchestra gives more than enough reason to care with its upcoming opera themed concert happening on March 13, 2026, 7:30 PM at the Metropolitan Theater.

Billed as Opera, the seventh installment of the PPO's 41st season sees British soprano Katerina Mina headlining the concert performing opera arias by Giuseppe Verdi (Pace, pace mio Dio from La forza del destino), Umberto Giordano (La mamma morta from Andrea Chénier), and Giacomo Puccini (Vissi d'arte from Tosca). She will also perform Angel of Fire, which is her poetry set to music by composer Stephan Hodel.

Katerina Mina

Angel of Fire is also the title of Katerina Mina's 2018 album with the Royal Philharmonic Orchestra and Maestro Grzegorz Nowak, who is currently the PPO's music director and principal conductor. The title track and all the arias in the concert program are part of the album that has been presented to King Charles of Britain.

Born in Cyprus and based in London, Mina is a prizewinning artist renowned for her powerful stage presence and wide-ranging repertoire, from Verdi and Puccini to Wagner and contemporary works. She recently starred in the world premiere of Three Women and has performed leading roles in classic operas, including Turandot, Tosca, Brünnhilde, and Isolde.

Mina’s vocal performances through the years drew raves from various critics, citing her “deeply passionate vocal sound,” having “added layers of depth and visualisation to the work that any singer coming after her will be hard put to replicate…”, with a “mature voice that has a given place in any Music Hall. Critics praise her as “one of those clear-as-a-bell soprano voices, displayed with great charm to the top of the register, and with generous volume.”

A versatile concert performer, Mina has performed with the Royal Philharmonic Orchestra, the Cyprus Symphony, and other orchestras across Europe, Japan, and Mexico. Mentored by British dramatic soprano Susan Bullock, Mina has received the Stockholm Culture Award in recognition of her contributions to opera.

Grzegorz Nowak

The concert will also feature Verdi's Overture to La forza del destino as well as Jeffrey Ching's Ring Symphony, a large-scale orchestral work based on Richard Wagner’s The Ring of the Nibelung cycle.

The previously announced world premiere performance of Jerry Dadap's Symphony No. 5 The Wrath of Prakrti (nature) & Ragatmika-Bhakti (devotion) will be programmed for next season.

The PPO will also have an Opera Cosplay Challenge inviting audience goers to dress up inspired by any opera and/or ballet or as an orchestra musician for a chance to win merchandise and tickets to the PPO's season finale concert. Or just to let Timothée Chalamet know that people still care about ballets, operas, and orchestras. Complete mechanics can be seen at the PPO's social media pages.

A thoughtfully woven program in PPO's tribute to Hector Berlioz

Violist Rey Casey Concepcion, conductor Michaël Cousteau,
and the Philippine Philharmonic Orchestra

The Philippine Philharmonic Orchestra paid tribute to French conductor Hector Berlioz in the occasion of the French composer's 150th death anniversary through a concert led by guest conductor Michaël Cousteau.

Conductor Michaël Cousteau and the Philippine Philharmonic Orchestra

Presented by the Cultural Center of the Philippines, the Embassy of France, and Stores Specialists, Inc, the concert featured a thoughtfully woven program consisting of music by Berlioz and some of his contemporaries.

French Ambassador Nicolas Galey, soprano Rachelle Gerodias, conductor Michaël
Cousteau, violist Rey Casey Concepcion, baritone Byeong-In Park,
and CCP Board Member Baltazar Endriga

Right off the bat, Berlioz presence was felt with his orchestration of the French National anthem performed by the PPO (that included three timpanists) and sung by real life couple Rachelle Gerodias and Byeong-In Park.

The program started with Wagner's Prelude from Tristan und Isolde WWV 90. This piece is usually followed by the Liebestodt but in this evening, it surprisingly segued to Berlioz' Harold en Italie, Op.16 H. 68 instead that had me double checking the souvenir program to see if there hadn't been any mistake. The entrances and exit of violist Rey Casey Concepcion throughout the piece provided a bit of theatricality in the performance which is quite melancholic and relaxed as opposed to the explosive concerto. But Concepcion still delivered a display of technical virtuosity with his encore of Capriccio in C minor, Op. 55 'Hommage à Paganini' by Henri Vieuxtemps.

The second half of the concert consisted of Berlioz' Scène d'amour from Roméo et Juliette, Op. 17, H. 79 and Franz Liszt's Les préludes, S. 97. It was not easy listening to these pieces which aren't really my cup of tea. And being program music, it would've helped greatly knowing the context of the pieces. But I was later told Cousteau had a lecture at the Les Jeudis Culturels the night before explaining the musical connection between these pieces. It made me regret not attending the lecture so that I would've had a greater understanding and appreciation of the PPO's performance in this concert.

A joyous Beethoven, Hiyas Hila's elegant Schumann give PPO a promising start

Pianist Hiyas Hila and the Philippine Philharmonic Orchestra

The 2019 performance season is off to a promising start as a noticeably larger number of audience members attended the resumption of the Philippine Philharmonic Orchestra’s subscription concert series at the Cultural Center of the Philippines.

It looked like people, myself included, were eager to go back to the symphony after the holiday season. I, for one, was eager to see the PPO’s Music Director/Principal Conductor Yoshikazu Fukumura at the podium once again since the last time he led the orchestra back in October 2018 felt like ages ago.

Pianist Hiyas Hila

The opener, Richard Wagner’s Prelude to Die Meistersinger von Nürnberg, had the orchestra sounding crisp very much helped by the clear structure of the piece. Pianist Hiyas Hila gave an elegant and bright rendition of Robert Schumann’s Piano Concerto in A minor, Op. 54. This piece gave her more range and depth compared to the Mozart she performed during her previous collaboration with the orchestra. But the intricate weaving of the piano and the orchestra especially during the first movement caused for some slight timing hiccups. For an encore, Hila delivered Frederic Chopin’s Nocturne Op. 15 No. 1 in F major, eloquently highlighting the contrasts between tranquil outer sections and the fiery middle part of this piece.

Yoshikazu Fukumura and the Philippine Philharmonic Orchestra

The symphony for that night, Ludwig van Beethoven’s Symphony No. 7 in A major, Op. 92, is a favorite and I was kept on the edge of my seat to hear if the tempo would be to my liking. The joyous piece, made popular over a decade ago by the drama series Nodame Cantabile, could be performed at blistering pace especially when excitement takes over. Thankfully, Fukumura took control of the reigns never letting the tempo go haywire. It was almost a moment of pure joy had I not been jolted by the horn section’s wild moments a handful of times. Also, there were parts when I struggled to hear clearly the middle strings especially during the build-up before the finale of the symphony.

This concert, my first for 2019, was still a promising start to the year despite the slight stumbles which may be due to some dulling brought about by the long holiday break. I hope that the PPO will be at their sharpest in future concerts and one, touted to be a major music event, is just around the corner.

PPO, pianist Hiyas Hila reunite in January concert

Pianist Hiyas Hila

The Philippine Philharmonic Orchestra with music director and principal conductor Yoshikazu Fukumura welcomes the New Year with the return of pianist Hiyas Hila in a concert this January 18, 2019, 8:00 PM at the Cultural Center of the Philippines (Tanghalang Nicanor Abelardo).

The music lined up for this concert includes Richard Wagner’s Prelude to Die Meistersinger von Nürnberg, Robert Schumann’s Piano Concerto in A minor, Op. 54 with Hiyas Hila as the featured soloist, and Ludwig van Beethoven's Symphony No. 7 in A major, Op. 92.

Hiyas Hila performs regularly as a solo, orchestral and chamber music artist. She has been featured in concerts in the United States, Spain and the Philippines. Her orchestral appearances include performances with the Manila Symphony Orchestra, University of Minnesota Symphony Orchestra, and the Metro Manila Concert Orchestra. She currently teaches piano, chamber music and piano ensemble at the East Bay Center for the Performing Arts in Richmond, California and at Saint Brigid Catholic School in San Francisco, California. She previously taught applied piano and class piano at the University of Minnesota in Minneapolis.

Hila made her debut with the PPO and Fukumura at an all-Mozart concert back in June 2017.

Kanngiesser's mature, mellow Dvořák cello concerto in Manila Symphony Orchestra's season opener

Cellist Claus Kangiesser and the Manila Symphony Orchestra

A mellow take on Dvořák’s well-loved cello concerto by German cellist Claus Kanngiesser highlighted the Manila Symphony Orchestra’s 2018-2019 Year of the Titans season opening concert held recently at The Theatre at Solaire.

Kanngiesser showcased a more refined and introspective rendition of Antonín Dvořák’s Cello Concerto in B minor, Op. 104, B. 191 that probably left some audience members wanting a little more bite and aggression especially on the main theme of the first movement. But this refinement served him well during the second movement and also with his encore which was Gavotte I & II from Johann Sebastian Bach’s Cello Suite No. 6 in D major, BWV 1012.

Overall, his performance left me an impression of a journeyman whose edges got rounded off as time went by as his Dvořák had a more leisurely pace and a weathered feel to it than being outwardly flashy. It is fascinating to see a veteran play with an orchestra like the MSO that has several very young players in its roster.

Conductor Arturo Molina and the Manila Symphony Orchestra

Prior to the Dvořák, the MSO, under the baton of Arturo Molina delivered lush rendition of Richard Wagner’s Prelude and Liebestod from Tristan und Isolde. The first time I heard this piece performed by the MSO, I was still coming to terms on how different Wagner’s operas are compared to the Italians and not just in the language of the text but also in the music context. For this latest performance, the only thing I could’ve asked for was for a Wagnerian soprano singing during the Liebestod.

The final piece, the one that gave the concert its title The Color of Music, was Modest Mussorgsky’s Pictures at an Exhibition and they showed a marked improvement since I last saw them tackle this piece some years back. Commendable for me are the alto sax and tuba solos and also the strings’ rich and full lower registers during the Samuel Goldenberd.

The MSO was such a sight to behold especially during tutti passages due to the spiffy Theater at Solaire with its optimum view from where I was seated up in the balcony. And I couldn’t pass up mentioning that the ample back and neck support made the seats very comfortable. But the acoustics still left something to be desired. The amplification volume of the harp and the keyboard was too much and disrupted the balance for me.

Claus Kanngiesser and Arturo Molina during the meet and greet

I hope that by the time the MSO delve into symphonic rock with Rockestra 2018 on July 29, 2018 and film scores with Silver Screen Symphonies on September 16, 2018, The Theatre at Solaire’s much touted Constellation Acoustic System will be en pointe and let the audience hear the MSO at their finest.

German cellist Claus Kanngiesser guests in Manila Symphony Orchestra season opener

The Manila Symphony Orchestra welcomes German cellist Claus Kanngiesser as its guest artist in its 2018-2019 Year of the Titans season opening concert happening this June 3, 2018, 6:00 PM at The Theatre at Solaire.

Cellist Claus Kanngiesser

The concert, billed as The Color of Music, will feature performances of Richard Wagner’s Prelude and Liebestod from Tristan und Isolde, Modest Mussorgsky’s Pictures at an Exhibition and Antonín Dvořák’s Cello Concerto in B minor, Op. 104, B. 191 with Claus Kanngiesser as featured soloist. MSO Artistic Director and Principal Conductor Prof. Arturo Molina conducts.

Manila Symphony Orchestra

Claus Kanngiesser, born in Oldenburg, Germany, has studied with Heinrich Schüchner in Hamburg and with Zara Nelsova at the Juilliard School of Music in New York and gained further artistic inspiration from Gaspar Cassado, Pablo Casals, Yehudi Menuhin and Rudolf Serkin. He enjoys a rich musical life as soloist, chamber-music player, teacher, director, juror and advisor.

Conductor Arturo Molina

Raul Sunico concert in the spirit of Philippines-Germany friendship

Pianist Raul Sunico

Featuring:

Raul Sunico, piano

Programme:

Robert Schumann

     Fantasiestücke, Op. 12

Isaac Albéniz

     Iberia Suite, El puerto and Triana

Richard Wagner/Franz Liszt

     Liebestod from Tristan und Isolde

Nicanor Abelardo

     Nocturne in C sharp minor

Antonio Molina

     Malikmata

Franz Liszt

     2 Légendes, S.175

Johann Strauss/Adolf Schulz-Evler

     An der schönen blauen Donau, Op. 314 The Blue Danube

World renowned pianist Raul Sunico showcased his vast repertoire at a concert held recently at the residence of German Ambassador Thomas Ossowski. Less than a month after setting a record by playing three Tchaikovsky piano concertos in a single concert, Sunico performed a totally different lineup of solo piano pieces in front of an intimate audience of selected guests.

German Ambassador Thomas Ossowski and Raul Sunico
Photo courtesy of the German Embassy

After welcome remarks by Ambassador Ossowski, the concert commenced with Sunico performing Robert Schumann’s Fantasiestücke, Op. 12. A suite made up of eight short pieces that made for quite a hefty concert opener as the music journeyed through the realm of dreams and possibly nightmares. Sunico followed it up with two pieces from Isaac Albéniz’ Iberia Suite which were El puerto, a lively depiction of a busy fish port and Triana, named after a gypsy quarter in Seville and infused with the dances paso doble and the sevillana. There was no mistaking the Spanish character and flair of the Albéniz’ music. It was indeed a revelation to hear these Albéniz pieces performed by a solo pianist since the more often performed orchestral arrangement is more familiar to me. A soaring Franz Liszt transcription of Richard Wagner’s Liebestod from Tristan und Isolde was brilliantly rendered by Sunico right from the unsettling “Tristan chord” at the beginning up to the piece’s stirring climax with the piano resonating as if there was a symphony orchestra inside the living room.

DTI Secretary Gregory Domingo and wife Rowena, Raul Sunico, and Luisa Zaide

Filipino music was also represented that night through Nicanor Abelardo’s sublime Nocturne in C sharp minor and Antonio Molina’s mysterious Malikmata. Sunico was able to conjure images with his rendition of Franz Liszt’s 2 Legendes, S.175.

The lightness of St-François d'Assise La prédication aux oiseaux made me imagine that it was the small, friendly birds and not the birds of prey that he was preaching to. But the weighty and grand chords of St-François de Paule Marchant sur les flots brought imagery of turbulent waves that he was able to sail through via an improvised raft and sail after getting denied by a ferryman to carry him.

Diether Ocampo and Raul Sunico

For the finale, Sunico went for the crowd pleasing Adolf Schulz-Elver’s transcription of Johann Strauss’ An der schönen blauen Donau, Op. 314 more popularly known as The Blue Danube. While the popular waltz melody takes centerstage, 20^th century harmonies and dissonances included by Schulz-Elver gave it modern sensibilities. Not wanting the concert to end, one of the guests requested a certain Franz Schubert piece which Sunico unfortunately didn’t know. To satisfy the lady’s Schubert request, he played the composer’s lyrical Impromptu in G flat major, Op. 90 No. 3 instead for an encore.

RAd and Ambassador Thomas Ossowski

Raul Sunico’s concert was organized by Ambassador Thomas Ossowski and the German Embassy to promote cultural dialogue and also to celebrate the friendship between the Philippines and Germany. Among the guests in this evening included NCCA Chairman Felipe de Leon Jr., DTI Secretary Gregory Domingo, Swiss Ambassador Ivo Sieber, Monaco Consul Fortune Ledesma, eminent music critic Rosalinda Orosa, actor Diether Ocampo and equestrienne Michelle Barrera, and of course, members of the German community residing/working in the Philippines.

PPO VI: Romantic Brahms

Violinist Odin Rathnam

Featuring:

Odin Rathnam, violin

Philippine Philharmonic Orchestra

Olivier Ochanine, conductor

Programme:

Pyotr Ilyich Tchaikovsky Romeo and Juliet Fantasy Overture

Richard Wagner Prelude and Liebestod from Tristan und Isolde

Claude Debussy Clair de Lune from Suite bergamasque

Johannes Brahms Violin Concerto in D major, Op. 77

The Philippine Philharmonic Orchestra welcomed violinist Odin Rathnam during their Romantic Brahms concert held at the Meralco Theater. For this evening, the orchestra led by its principal conductor and music director Olivier Ochanine, prepared a lineup that brought out the romantic in everyone.

The first two pieces performed that night were inspired by tales of ill-fated lovers. First was Pyotr Ilyich Tchaikovsky’s Romeo and Juliet Fantasy Overture which was based on the William Shakespeare’s Romeo and Juliet and the second one was Richard Wagner’s Prelude and Liebestod from the opera Tristan und Isolde. This opera was inspired by Gottfried von Strassburg’s tale of Tristan which was adapted from the Tristan and Iseult legend. The Tchaikovsky really set the mood for the night as Ochanine deftly weaved the themes, making the violent section of the Montagues and Capulets seem as if swords were actually clashing before things eventually lead to the climax of the extremely popular romance theme. But everybody knows how Romeo and Juliet ends and the music reflected that, with a funeral march almost at the very end before the romance theme took over telling everyone that love conquers all, even death. While the Tchaikovsky piece was more accessible and familiar, Richard Wagner’s Prelude and Liebestod was more esoteric. I think that one had to know what a Tristan chord is and to put it into context on how revolutionary that ambiguous chord was at the time of the work’s premiere to fully appreciate the music far beyond of what one just hears. But for me, the piece sounds incomplete without a soprano singing the Liebestod.

Claude Debussy’s Clair de Lune from Suite bergamasque was a nice and fitting, late addition to the evening but the theater’s acoustic inadequacies didn’t bring out the brilliance of the piece’s orchestration by André Caplet. The beauty of the melody as it gets passed on from one solo instrument to another was lost in the dryness of the theater.

Odin Rathnam and conductor Olivier Ochanine

Then, it was time for Odin Rathnam to take to the stage with Johannes Brahms’ Violin Concerto in D major, Op. 77. Odin, an imposing figure, made a full sized violin look like a ¾ model in his hands. And probably also because of this, it looked like he made easy work of the Brahms concerto which is known as one of the war horses in a violinist’s repertoire. And his performance of this concerto gave me another opportunity to deconstruct the work’s complex first movement. As expected, the audience seeing how Odin made a concerto performance look like a walk in the park, showered him with thunderous applause which were actually calls for him to do an encore. And Odin obliged with the Sarabande from Violin Partita No.2 in D minor, BWV 1004 by Johann Sebastian Bach and the Allegro from Sonata No. 1 in A Major, Op. 7 by Francesco Maria Veracini.

During the meet and greet after the concert, I asked Odin if he performed with the now infamous Bartolomeo Calvarola violin, worth around $100,000 that he had lost (and was eventually recovered) in a bar almost a decade back. He said in good humor that he brought a different and less inexpensive violin with him this time. But the way he sounded that night didn’t betray any signs that he played with a lesser valued instrument.

Master pianist Sofya Gulyak returns to Manila for solo concert

May 31, 2014, 8:00 PM

Francisco Santiago Hall

South Tower, BDO Corporate Center

Makati

Featuring:

Sofya Gulyak, piano

Programme:

Richard Wagner transcribed by Franz Liszt Pilgrim's Chorus from Tannhauser, S. 443

Franz Liszt Transcendental Études No. 12 in B flat minor Chasse-Neige, S.139

Frédéric Chopin Andante spianato et grande polonaise brillante in E flat major, Op. 22

Modest Musssorgsky Pictures at an Exibition

Russian pianist Sofya Gulyak returns once again to Manila for another concert happening this May 31, 2014, 8:00 PM at the Francisco Santiago Hall located at the South Tower of the BDO Corporate Center in Makati.

In this concert, Sofya Gulyak will perform Franz Liszt’s transcription of Richard Wagner's Pilgrim's Chorus from Tannhauser, S. 443 and Transcendental Études No. 12 in B flat minor Chasse-Neige, S.139, Frédéric Chopin Andante spianato et grande polonaise brillante in E flat major, Op. 22, and Modest Musssorgsky Pictures at an Exibition

It’s been more than a year since Gulyak, the 2009 Leeds International Piano Competition winner last performed in Manila. This upcoming performance will be her third solo concert. She has performed both piano concertos of Brahms with the Philippine Philharmonic Orchestra back in 2012 and 2013.

Ticket prices:

P1000 Orchestra

P600 Balcony

For inquiries:

ROS Music Center 440-1021, (0906) 523-2421

TicketWorld 891-9999

Pianist Albert Tiu channels the four elements in MCO Foundation's 2014 Season opener

June 6, 2014, 7:00 PM

Makati Avenue corner De La Rosa Street

Greenbelt Park, Makati

Featuring:

Albert Tiu, piano

Programme:

Franz Liszt Waldesrauschen from Two Concert Études, S. 145

Sergei Rachmaninoff Lilacs, Op. 21, No. 5

Roger Quilter arranged by Stephen Hough The Fuschia Tree

Leopold Godowsky The Gardens of Buitenzorg from Java Suite

Claude Debussy Les collines d’Anacapri from Préludes Book I

Franz Liszt Transcendental Étude No. 11 in D flat, Harmonies du Soir, S.139

Claude Debussy Le vent dans la plaine from Préludes Book I

Charles Griffes The Night Winds from Three Tone-Pictures, Op. 5

Jacques Ibert Le vent dans les ruines

Olivier Messiaen Prélude No. 8 Un reflet dans le vent

Claude Debussy Reflets dan l’eau from Images 1, L. 110

Federico Mompou Paisajes II. El Lago

Luciano Berio Wasserklavier

Franz Liszt Les jeux d'eaux à la Villa d'Este from Années de pèlerinage III, S.163

Maurice Ravel Jeux d’eau

Richard Wagner transcribed by Louis Brassin Magic Fire Music from Die Walküre

Claude Debussy Feux d’artifice from Préludes Book II

Erik Satie Sports et divertissements No. 20 Feu d'artifice 

Alexander Scriabin Vers la flame, Op. 72

Manuel de Falla Ritual Fire Dance

The MCO Foundation’s 2014 Season, in celebration of their 29^th year opens with a performance by pianist Albert Tiu in a concert entitled Four Classical Elements – Earth, Wind, Fire and Water happening on June 6, 2014, 7:00 PM at the Ayala Museum in Makati.

Tiu will present an adventurous concert representing the four elements namely air, wind, water and fire through the works of Franz Liszt, Sergei Rachmaninoff, Roger Quilter, Leopold Godowsky, Claude Debussy, Charles Griffes, Jacques Ibert, Olivier Messiaen, Federico Mompo, Luciano Berio, Maurice Ravel, Richard Wagner, Erik Satie, Alexander Scriabin and Manuel de Falla.

One of the most highly respected Filipino pianists today, Albert Tiu is a winner of numerous high profile piano competitions including the Honens (Calgary), the Paloma O’Shea (Santander), Maj Lind (Helsinski) and UNISA (Pretoria). He was the first Filipino to be invited to perform with the St. Petersburg Philharmonic in Moscow.  Some of the orchestras he has performed with were the Hamburg Symphony, Finnish Radio Symphony, Northern Sinfonia, and Baden Baden Philharmonic. He has performed in major music halls including Carnegie Weill Recital Hall in New York, Finlandia Hall in Helsinski,  Hamburg Musikhalle, Lincoln Center Tully Hall, Great Philharmonic Hall in Moscow; and his performances have been broadcast on WQXR New York, CBC Canada, BBC, ABC Australia. Albert Tiu along with cellist Li-Wei Qin has also released recordings of Beethoven and Rachmaninoff cello sonatas under Decca Classics label.

The Manila Chamber Orchestra Foundation, Inc. is a non-stock, non-profit institution first established in 1985 dedicated to the promotion of classical music and the cultural arts. Four Classical Elements – Earth, Wind, Fire and Water is made possible in partnership with Ayala Museum, Lyric Piano, BusinessWorld, HerWord, and HighLife. Proceeds from this concert will benefit a church-based foundation for abandoned and abused children.

Four Classical Elements – Earth, Wind, Fire and Water is the MCO Foundation’s first Great Performance Series for their 2014 Concert Season. The series continue with Mostly Mozart 2014 this July 11, 2014, 8:00 PM at the Tektite Tower Auditorium. This concert will feature Singaporean conductor Darrell Ang, tenor Arthur Espiritu, pianist Christine Coyiuto and the Manila Symphony Orchestra. Then it’s the young ones’ turn for the Young Artists Series. This year’s line up includes Filipino-American violinist Bradley Bascon on July 28, 2014, soprano Stephanie Aguilar on August 20, 2014, pianist Gabriel Allan Paguirigan on September 17, 2014 and clarinetist Andrew Constantino on October 8, 2014. All performances will be held at the Ayala Museum at 7:00 PM.

Ticket prices:

P2000 Orchestra Premier

P1000 Orchestra

P800 Regular

For inquiries:

MCO Foundation 750-0768, (0920) 954-0053

CAEO 782-7164, (0918) 347-3027

TicketWorld 891-9999

Romantic music in Philippine Philharmonic Orchestra’s post-Valentine concert

Violinist Odin Rathnam

February 21, 2014, 8:00 PM

Meralco Theater

Ortigas Avenue

Pasig City

Featuring:

Odin Rathnam, violin

Philippine Philharmonic Orchestra

Olivier Ochanine, conductor

Programme:

Pyotr Ilyich Tchaikovsky Romeo and Juliet Fantasy Overture

Richard Wagner Prelude and Liebestod from Tristan und Isolde

Johannes Brahms Violin Concerto in D major, Op. 77

The Philippine Philharmonic Orchestra, led by its principal conductor and music director Olivier Ochanine, presents Romantic Brahms, a post-Valentine concert featuring music about love and tragedy happening this February 21, 2014, 8:00 PM at the Meralco Theater. American violinist Odin Rathnam will be the evening’s guest soloist.

The romantic music for this evening includes Pyotr Ilyich Tchaikovsky’s Romeo and Juliet Fantasy Overture that has a popular love theme commonly used in movies and even in the PC game The Sims. Also included is Richard Wagner’s revolutionary Prelude and Liebestod from Tristan und Isolde. The ambiguous Tristan chord, heard in this piece and confounded earlier listeners, paved the way for music to break away from the tried and tested harmonic tonalities of that time. Lastly, guest violinist Odin Rathnam will be the soloist for Johannes Brahms’ Violin Concerto in D major, Op. 77, considered as one of the top concertos in the entire violin repertoire.

The Philippine Philharmonic Orchestra

According to the press release Rathnam has established himself as one of the most passionate and versatile artists of his generation since his critically acclaimed Lincoln Center debut in 1993,. He has received unanimous praise from critics and audiences for his "captivating temperament," "brilliant technique" and “recalling the legendary violinists of the past.” He is a veteran performer at many major European and American festivals including the Algarve International Music Festival in Portugal, Denmark's Tivoli and Vendsyssel Festivals, Deia International Festival in Mallorca, Boswil Festival in Switzerland, Aspen, Caramoor and Endless Mountain Music Festivals. He has also appeared in recital on the Market Square Concerts series, Lincoln Center's Alice Tully Hall and Carnegie Recital Hall, where he first appeared at the age of 15. As a soloist, he has performed with the Baltimore Chamber Orchestra, the Colombian National Symphony, the Harrisburg Symphony, the Lancaster Symphony, the York Symphony, the EMMF Orchestra, The New Amsterdam Symphony and the Randers Chamber Orchestra, to name a few.

Rathnam is extremely committed to the development of young musicians, and his numerous students have been accepted at major conservatories throughout the United States and abroad, several going on to win prizes in national and international competitions. Rathnam performs on a late 19th century violin crafted by an unknown maker, in the manner of Guarnerius Del Gesu’s middle period, and on an Italian violin by Bratolomeo Calvarola, built in 1755.

He received his early training at Juilliard Pre-College and Mannes College of Music with Sally Thomas.  He continued at Juilliard School as a scholarship student of Dorothy DeLay and Masao Kawasaki.

Conductor Olivier Ochanine

Ticket prices:

P1500 Orchestra Center/Loge Center

P1200 Orchestra Side/Loge Side

P500 Balcony

-50% student discount

-20% senior citizen discount

For inquiries:

CCP Marketing Department 832-1125 local 1806

CCP Box Office 832-3704

TicketWorld 891-9999