Olivier Ochanine, PPO deliver challenging Shostakovich Symphony No. 10

Conductor Olivier Ochanine

Concertgoers hoping for a post-Valentine’s night filled with romantic music were probably caught unaware as war music instead echoed inside the halls of the Cultural Center of the Philippines at the latest concert of the Philippine Philharmonic Orchestra that reunited them with former principal conductor/music director Olivier Ochanine.

Taking a breather from the PPO’s back to basics season, Olivier presented Pyotr Ilyich Tchaikovsky’s Marche Slave in B flat minor, Op. 31, Franz Joseph Haydn’s Symphony No. 88 in G major, Hob. 1/88, and a major work from the mid-20^th century, Dmitri Shostakovich’s Symphony No. 10 in E minor, Op. 93.

The realization came to me right after the concert that most of the night’s program was war music. I am fully aware of the circumstances that led to the composition and the nature of the Shostakovich symphony but it somehow passed my mind that the Tchaikovsky work is actually a rousing call to arms against the enemy. With the Marche Slave in B flat minor, Op. 31, Olivier wielded the orchestra to convey the primary theme’s increasing intensity. A patriotic and much romanticized take on war, this music didn’t let me feel the horrors and the grim reality of engaging into battle. No wonder it took me some moments to realize the true programmatic nature of this wok.

No traces of war at all could be heard when the PPO performed Franz Joseph Haydn’s Symphony No. 88 in G major, Hob. 1/88 which I think is a great example of what a classical era symphony is. Cheerful, light, and sweet as a cotton candy, the PPO breezed through it. Keen eared regulars would’ve noticed how the Finale theme of this symphony was used in Ludwig van Beethoven’s Symphony No. 1 in C major, Op. 21.  

The Shostakovich symphony, on the other hand, was in direct contrast with the previous pieces. Filled with tension, defiance, violence, unease, and fear, the shadow of Stalin looms over this piece, offering no sense of relief even if this was completed months after his death. I’ve listened to recordings and watched performance videos numerous times but nothing still compared to experiencing the orchestra bring out the music live. The lower strings continued their streak of sounding rich and robust heard especially during the opening measures and the contrabassoon once again was crisp. Not surprisingly, the solo horn was shaky and had a few hiccups.

Knowledge about the symphony like how it relates to Soviet/Russian history and the rest of Shostakovich’s works, and knowing the "DSCH" and "Elmira" motifs inserted in the music definitely add to my greater appreciation of the piece. Olivier touched upon these during his pre-concert that which made a return for this evening. But even if I strip away all the historical and political context, I could still see and hear the merits of the piece with its structure, the contrasts, and the mood that it communicates.

This performance of the Symphony No. 10 is Olivier’s third Shostakovich symphony with the PPO following the Symphony No. 5 in April 2010 and Symphony No. 1 back in September 2015. I personally dig Shostakovich’s works especially his symphonies, string quartets and concertos even if his music may not be everybody’s cup of tea. For me whose music tastes gravitate towards the 20^th century works and beyond, this concert was a welcome break from the current season’s focus on the classics.

The hits and misses in Aegis and PPO's #HugotPaMore! concert

A more balanced structure and an uneven program is how I describe Aegis in Symphony Symphonic Aegis #HugotPaMore!, the follow up to Aegis and the Philippine Philharmonic Orchestra's successful joint concert that rocked the Cultural Center of the Philippines back in November 2016.

Affixed with #HugotPaMore, this pre-Valentine’s Day treat directed by Ariel S. R. Yonzon dug into deep seated emotions via a mix of Aegis hits crossed over with light classical fare. A marked improvement this concert had over the previous one was that both the PPO under the baton of Herminigildo Ranera and Aegis composed of vocalists Juliet, Mercy, and Ken Sunot, guitarist Rey Abenoja, keyboardist Stella Pabico, bassist Rowena Pinpin, and drummer Vilma Goloviogo figured prominently on both halves of the concert. The first concert felt more like a back-to-back concert with the PPO performing during the first half and then Aegis at the second with their collaborations serving as bookends. Now, it felt like it was really a collaboration with both acts headlining and having their fair share of the spotlight throughout the evening.

Aegis from L. to R: Stella Pabico, Rowena Pinpin, Ken Sunot, Mercy Sunot,
Juliet Sunot, and Vilma Goloviogo

With the pre-Valentine theme ongoing, the classical portion focused on the romantic side with the PPO performing selections from the opera La bohème by Giacomo Puccini. A pleasant surprise was returning guest artist, Arman Ferrer going for the traditional route with O del mio amato ben by Stefano Donaudy accompanied on the piano by CCP President Raul Sunico. It was my first time to see and hear him sing from the standard repertoire and without amplification. Sunico later gave a solo piano rendition of Somewhere in Time by John Barry that amped up the romance that night. The music segued to the 18^th Variation of Rhapsody on a Theme of Paganini by Sergei Rachmaninoff but it wasn't smooth sailing when the orchestra came in. This probably wasn't noticed by the audience who were there primarily for Aegis, but for me who knows the RachPag like the back of my hand, it was rough.

When Aegis took over, they were at their element performing their various songs, with Juliet, Mercy and Ken showcasing their unearthly vocal range and unparalleled lung power. And once again, I became grateful for the musical Rak of Aegis for it made me more familiar with the other songs like Munting Pangarap, Ikaw, Mahal na Mahal Kita, Bakit (Ako Ngayo’y Hate Mo?), Palad, Maniwala Ka, Yun Na! and Hahanapin Ko which do not get heavy radio airplay unlike their massive hits Sayang na Sayang, Sinta, Luha, Basang-Basa sa Ulan, and Halik. It was a treat seeing Aegis themselves performing those rarely heard songs and hearing the actual arrangements which were sometimes drastically different from the musical. Aegis is primarily known for the high vocal range of Mercy and Juliet, but Ken’s solid alto register gave more depth, and richer texture which was very evident every time they sang in three part harmonies.

#HugotPaMore!

While the Aegis singing their own songs was a high point, going out of their comfort zone with songs not associated with them like Could It Be Magic and You Raise Me Up with Arman Ferrer was a lukewarm moment of the concert for me. The various dancers (pole dancers, ballroom dancers, and ballet dancers) who joined the band onstage during various parts of the concert were also a hit and miss. At times, they served as a distraction diverting attention from the band. Probably the only exception was the Philippine Ballet Theatre duo of Regina Magbitang and Ian Ocampo with their explosive Just Give Me a Reason. But this Ronilo Jaynario choreographed number has always been a hit with audiences whenever the PBT duo perform it.

Compared to the previous concert, the crowd’s reaction this time was more subdued and reserved. This was probably due to a more refined looking audience with a great number in suits and cocktail dresses as if they were at the symphony rather than a rock concert. I was initially dumbfounded upon seeing them roaming around the CCP before the concert started. But afterwards, I found it amazing that it took no less than Aegis and the PPO joining forces to gather such a diverse crowd. It only goes to show that "hugot" applies to everyone.

Ballet Philippines’ Swan Lake caps “Surge of the Swans” ballet season

The Surge of the Swans is how I describe the 2016-2017 ballet season as all three major ballet companies featured Swan Lake in their respective seasons’ line up. First, it was the Philippine Ballet Theatre’s The Great Classics that had its first half (Act II and the Black Swan Pas de deux) devoted to the said ballet. Then, it was Ballet Manila’s turn with their take on the White Swan Pas de deux for The Swan, the Fairy, and the Princess. Finally, the final surge closes the 2016-2017 ballet season with a full length presentation of Swan Lake by Ballet Philippines happening this February 24-March 5, 2017 at the Cultural Center of the Philippines’ Tanghalang Nicanor Abelardo (CCP Main Theater).

Joseph Phillips and Candice Adea

Headlining this production of Swan Lake are former Ballet Philippines’ principal dancer Candice Adea tackling the dual role of Odette/Odille and Joseph Phillips of the Primorsky Stage of the Mariinsky Theatre as Siegfried. Swan Lake sees Joseph performing with BP for the first time after a handful of guest stints with Philippine Ballet Theatre while this marks Candice’s return to BP since her acclaimed run in Sleeping Beauty back in 2011. The two guest dancers will take to the stage at the 7:00 PM shows on February 25, 2017 and March 4, 2017. Principal dancer Denise Parungao and company member Garry Corpuz, and soloists Jemima Reyes and Victor Maguad, will be the two other pairs doing the lead roles on the other performance dates.

Garry Corpuz and Denise Parungao

What appeals to me the most about Swan Lake is without a doubt, the moving music of Pyotr Ilyich Tchaikovsky. His score revolutionized ballet music with such richness, depth, and complexity that has never been heard before. This has resulted in mixed reactions from both dancers and audiences when Swan Lake was first premiered. But 140 years later, the ballet and the music have stood the test of time making it the most performed ballet of them all. One can savor Tchaikovsky’s music to the fullest during the Gala Night performances February 24, February 25 and March 3, 2017 when the Philippine Philharmonic Orchestra, under the baton of principal conductor/music director Yoshikazu Fukumura, provide live music accompaniment to the ballet.

Victor Maguad and Jemima Reyes

With 140 years’ worth of history, the Swan Lake has undergone several revisions, reductions, additions and various endings. This upcoming production, the 8^th time for Ballet Philippines and 23 years since the company’s last, will be re-staged by Nonoy Froilan, who has performed Siegfried during his days as the premier danseur of Philippine Ballet. Curiosity got me asking Sir Nonoy as to which ending his restaging will use: the cheesy happy one used by Mariinsky, the bittersweet, tragic one by the American Ballet Theatre, or possibly something else. He did give me an answer but I’m not spilling so one has to go watch the actual thing to find out how the love story of Odette and Siegfried will end.

Seated from L to R: Denise Parungao, Margie Moran-Floirendo, Candice Adea,
and Jemima Reyes
Standing from L to R: Paul Morales, Garry Corpuz, Nonoy Froilan, Joseph Phillips,
Victor Maguad, and Ohm David

Ballet Philippines’ Swan Lake

February 24-March 5, 2017 | Tanghalang Nicanor Abelardo

Gala Night ticket prices:

P3000 | P1500 | P1200 | P1000 | P600 | P500 |P300

Regular show ticket prices:

P1500 | P1200 | P1000 | P600 | P500 |P300

For inquiries:

Ballet Philippines 551-1003, info@ballet.ph

TicketWorld 891-9999

Ballet Manila starts 2017 with Spanish flair in Don Quixote

Ballet Manila starts 2017 with a lot of Spanish flair and technical fireworks as the company presents Don Quixote in a limited one weekend run this February 24-26, 2017 at the Aliw Theater.

This upcoming production sees the emergence of three new Kitris: Katherine Barkman, Pia Dames, and Dawna Mangahas. The three follow in the footsteps of Ballet Manila’s CEO and Co-Artistic Director Lisa Macuja-Elizalde who has performed the role of Kitri the most times during her illustrious dancing career. The role of Basilio will be portrayed by Rudy de Dios, Gerardo Francisco, and guest dancer Mikhail Martynyuk, principal danseur of the Kremlin Ballet Theater.

The ballet Don Quixote, based on the novel of the same name by Miguel de Cervantes, features choreography by Marius Petipa and Spanish flavored music by Ludwig Minkus. In the ballet, the focus is more on the love story of Basilio and Kitri while Don Quixote and his squire Sancho Panza are reduced to peripheral, non-dancing roles.

Quite a number of Don Quixote productions by the major ballet companies had been staged over the years and I’ve yet to start reading my copy of the novel that has been sitting on my shelf for many years now. If I start now, I doubt that I’ll be able to finish it just in time when I get to watch Ballet Manila’s staging of it. But I’m convinced that after seeing the pirouettes, double tour en l’air, jetés, and that notorious 32 fouettés, I’d have the drive to finally finish the novel.

Don Quixote wraps up the Ballet Manila’s 21^st season billed as Revenge of the Classics. Productions for this season also included the rerun of Martin Lawrance’s Rebel, a celebration of Tchaikovsky’s music in The Swan, The Fairy and The Princess, and the world premiere of Lisa Macuja-Elizalde’s Cinderella.

Don Quixote
February 24-26, 2017 | Aliw Theater

Ticket prices:
P1500 | P1000 | P500

For inquiries:
TicketWorld 891-9999