Philippine Philharmonic Orchestra, ABS-CBN Philharmonic Orchestra and Orchestra of Filipino Youth in joint concert and conference

April 30, 2015, 6:00 PM

Tanghalang Nicanor Abelardo (CCP Main Theater)

Cultural Center of the Philippines

CCP Complex

Pasay, Metro Manila

Featuring:

Jovianney Emmanuel Cruz, piano

Chi-Ying Hung, piano

Brian Berino, piano

Thristan Mendoza, marimba

Jade Riccio, soprano

Malvin Beethoven Macasaet, tenor

Philippine Philharmonic Orchestra

ABS-CBN Philharmonic Orchestra

Orchestra of the Filipino Youth

Olivier Ochanine, conductor

Gerard Salonga, conductor

The Cultural Center of the Philippines, ABS-CBN and First Philippine Holdings present the Philippine Philharmonic Orchestra, ABS-CBN Philharmonic Orchestra and the Orchestra of the Filipino Youth under the batons of Gerard Salonga and Olivier Ochanine in Ang Sistema, in a fund raising concert and conference, or a concerence on April 30, 2015, 6:00 PM at the CCP Tanghalang Nicanor Abelardo (CCP Main Theater). Guest artists include Filipino concert pianist Jovianney Emmanuel Cruz, Taiwanese pianist Chi-Ying Hung, NAMCYA 1^st Prize Winner in marimba Thristan 'Tum-Tum' Mendoza, soprano Jade Riccio, tenor Malvin Beethoven Macasaet, and 12-year-old pianist Brian Berino.

The conference part of the concerence will have annotations as well as question and answer segments conducted by Jamie Bernstein, director of the film documentary Crescendo: the Power of Music and the daughter of the legendary quintessential Artist Leonard Bernstein, and Tricia Tunstall, author of Changing Lives: Gustavo Dudamel, El Sistema, and the Transformative Power of Music. The concert portion will feature a vast array of works written by the great classical music masters from the 18^th Century to the present, from Ludwig van Beethoven to Leonard Bernstein, from traditional to popular.

This concerence will benefit Ang Misyon, Inc. (AMI) - the non-stock, non-profit mother foundation of Sistema for the Filipino Youth (SFY) and the Orchestra of the Filipino Youth (OFY). Inspired by the global phenomenon El Sistema, SFY is an after-school music program that offers children from deprived communities the opportunity to achieve their full musical potential through the Classical Music discipline, with the ultimate hope of creating a positive impact on their respective communities. The OFY is a donor-based youth orchestra comprised of fifty five of the SFY Scholars, handpicked from various ensembles that already exist, and are spread throughout the Philippines. AMI provides the Scholars with free music education, performance allowances, transportation assistance, meals, instruments, and uniforms. AMI was born to help eradicate poverty in the Philippines through social change, simultaneously enhancing the country’s identity by creating career paths in classical music orchestral performance and redeveloping its arts and culture scene.

Ticket prices:

P1000 Orchestra Center Prime

P800 Orchestra Center

P600 Orchestra Side

P300 Balcony I

P100 Balcony II

-50% student discount

-20% senior citizen discount

+applicable service charges

For inquiries:

CCP Box Office 832-3704

TicketWorld 891-9999

CCP’s Kaisa sa Sining welcomes new regional partners

CCP officials with the new Kaisa sa Sining regional partners

The Cultural Center of the Philippines welcomed a new batch of regional partners as the CCP expands its Kaisa sa Sining Regional Art Centers. The ten new partners recently signed a Memorandum of Understanding joining the initial batch of nine.

Soprano Gereberne Lozada

The new regional partners are the following: City of Koronadal-South Cotabato, La Salle University-Ozamiz City, Ramon Magsaysay Memorial Colleges-General Santos City for Mindanao; Province of Capiz, City of Calbayog-Samar, Holy Name University Tagbilaran City-Bohol, and Cebu Arts Council for the Visayas; Developmental Initiatives for Bicolano Artists-Naga City, Heritage City of Vigan-Ilocos Sur, and University of the Philippines Los Baños-Laguna for Luzon.

Indak Bambino

The signing of the Memorandum of Understanding were highlighted by messages from CCP President Raul Sunico, CCP Vice President and Artistic Director Chris Millado, and representatives from each of the new regional partners. Numbers by soprano Gereberne Lozada from Capiz, singers Bayang Barrios and Cooky Chua, and dance troupe Indak Bambino from Batangas entertained the guests during this occasion.

Indak Bambino

One of Kaisa sa Sining’s major projects from last year was the nationwide tour of Badong: Salvador Bernal Designs the Stage exhibit. For this year, Ampalaya The Musical, a production hailing from one of the first batch of regional partners, Siliman University, Dumaguete will be brought to Manila and be staged at the CCP Main Theater.

Bayang Barrios and Cooky Chua

The specific goal of Kaisa sa Sining is to broaden public participation in the arts, promote and showcase artistic excellence and facilitate a dynamic collaboration between the CCP and among the regional centers, universities or colleges. The key areas of the said partnership includes training & apprenticeship, touring & move-over productions, sharing of relevant cultural resource materials, access to arts & cultural information, venues & facilities; and participation in major cultural events.

For inquiries:

CCP Cultural Exchange Department 832-1125 local 1708-1709

Bandoneon player Rodolfo Mederos joins PPO in concert

April 24, 2015, 8:00 PM

Tanghalang Nicanor Abelardo (CCP Main Theater)

Cultural Center of the Philippines

CCP Complex

Pasay, Metro Manila

Featuring:

Rodolfo Mederos, bandoneon

Philippine Philharmonic Orchestra

Olivier Ochanine, conductor

Programme:

Arvo Pärt

     Fratres

Antonino Buenaventura

     Mindanao Sketches

Maurice Ravel

     El Alborada del gracioso

Ottorino Respighi

     Pini di Roma

Legendary Argentinean bandoneon player Rodolfo Mederos joins the Philippine Philharmonic Orchestra's closing concert of the season happening on April 24, 2015, 8:00 PM at the Cultural Center of the Philippines' Tanghalang Nicanor Abelardo (CCP Main Theater).

The concert, to be led by the orchestra's principal conductor/music director Olivier Ochanine, features an eclectic selection of music from all over the world namely Fratres by Arvo Pärt from Estonia, Mindanao Sketches by Antonino Buenaventura from the Philippines, El Aborada del gracioso by Maurice Ravel from France, Pini da Roma by Ottorino Respighi from Italy, and various tango music from Argentina and South America to be performed by Mederos accompanied by the PPO. 

Bandoneon player Rodolfo Mederos

In 2000, Rodolfo Mederos was nominated for a Latin Grammy Award in the category of Best Tango Album for Eterno Buenos Aires (1999), which featured him performing with a quintet comprised also of pianist Hernán Posetti, violinist Damián Bolotín, guitarist Armando de la Vega, and double bassist Sergio Rivas. His successive two albums Las Veredas de Saturno (2000) won a Gardel Award in 2001 while Tangos (2000), a collaborative album with Nicolás "Colacho" Brizuela, earned a Latin Grammy Award nomination in 2001. Mederos commenced the Comunidad-Intimidad-Soledad trilogy - Comunidad (2006), Intimidad (2007), and Soledad (2007) -- the first entry in which earned him a Latin Grammy Award nomination for Best Tango Album in 2007.

Aside from being a performer, Rodolfo Mederos is also a biologist, filmmaker, carpenter, teacher and collector. According to his official website, his forceful personality has produced a profound effect on tango, developing a style fraught with popular essence and emotion, and drawing from every single note he strikes a myriad of deep roots and good taste. He has never conceived tango to be a mere local expression, unlike other genres of folk compositions. As a composer, Rodolfo Mederos covers the gamut from popular to symphonic pieces for different instrumental groups. As a performer, he expresses deep-felt musicality. In addition, he has also carved out a career as a teacher and writer of both bandoneon-related matters as well as tango composition and orchestration.

The final concert of the 2014-2015 Sound Kaleidoscope Season of the Philippine Philharmonic Orchestra is a presentation of the Cultural Center of the Philippinesin cooperation with Stores Specialist, Inc., and the Embassy of Argentina.

Ticket prices:

P1500 Orchestra Center

P1200 Orchestra Side

P800 Extreme Orchestra Side

P500 Balcony I Center

P400 Balcony I Side

P300 Balcony II

-50% student discount

-20% senior citizen discount

+applicable service charges

For inquiries:

CCP Marketing Department 832-1125 local 1806

CCP Box Office 832-3704

TicketWorld 891-9999

Coffee table book features 25 leading female Tagalog romance writers

Publishing house Precious Pages Corporation celebrates its 25^th Anniversary via the release of its coffee table book 25 Most Precious featuring 25 female authors who have made their mark at the publisher’s Precious Hearts Romances line of romance novels.

The 25 writers featured in the book are Martha Cecilia, Amanda, Maureen Apilado, Jinky Jamolin, Rose Tan, Vanessa, Elizabeth Mcbride, Camilla, Jasmine Esperanza, Dawn Igloria, Laurice del Rio, Noelle Arroyo, Sheena Rose, Claudia Santiago, Sofia, Sonia Francesca, Heart Yngrid, Victoria Amor, Dream Grace, Angel Bautista, Belle Feliz, Mandie Lee, Aya Myers, Maricar Dizon, and Luna King who are considered to be among the best-selling, most prolific, and most pioneering in the Filipino romance novel genre.

It turned out to be an unusual and interesting experience for me as I was able to get my hands on a copy of the book (thanks to Precious Pages Corporation) and read about the writers first before getting to read any of their works. For the fans of Precious Hearts Romances (and the various imprints), it is the other way around with them already reading hundreds of titles and then getting rewarded for their loyalty and unending support with the release of this 160 page, hard bound, limited edition coffee table book featuring their favorite writers.

The introductions mentioned how difficult it was to trim down the numerous writers they’ve had into just 25. But it was never a question who ended up as the first featured writer which was Martha Cecilia, dubbed as the Queen of Filipino Romance. The entry, written by her daughter Nina Martinne Cajayon, recounted her Martha Cecilia’s attempts in writing her first novel, the challenges and intrigues she faced as her career bloomed, how she treated her readers like family, and up to the time when her health declined until she passed away. It did get me curious to check out her works. I initially thought that it was going to be difficult for me to figure out where to start since Precious Pages Corporation released around 50 new titles each month. Thankfully, the book provided a perfect solution for me as it mentioned Martha Cecilia’s first novel, Dugtungan Mo Ang Isang Magandang Alaala, and it wasn’t difficult for me to find a copy for a wide selection of her novels remain in print.

A regular copy of a Precious Hearts Romances novel is inexpensive, making it very affordable to everybody across the socio-economic spectrum even if there are dozens of new titles released every month. The novels are a quick and relaxing read, very ideal for those moments whenever one finds himself/herself waiting in line (which is a common occurrence here in the Philippines). A bit of escapist fantasy with the two leads always having a happy ending (after going through some speed bumps), it wasn’t difficult at all for me to see why these novels have become popular for more than two decades.

Now, I need to finish reading Dugtungan Mo and the other random title that I’ve picked up. Then it will be time for me to get over to the next writer and eventually check out their works as well. The limited edition coffee table book 25 Most Precious, published by Precious Pages Corporation, is now available in Precious Pages retail stores.

Hanging out with Christopher Janwong McKiggan

Pianist Christopher Janwong McKiggan

Some time have already passed since pianist Christopher Janwong McKiggan had his concert here in the Philippines but I think that it would be fun to post some crazy and not so crazy stuff that he did here aside from his one night only performance.

Chris at the Steinway Boutique, Manila

Despite having some serious jet lag, Chris conducted a couple of masterclasses at the University of Sto. Tomas very early in the morning after arriving late that night before. It had been a few years since I last set foot at the campus so it took me quite a while to get used to being at the Conservatory of Music once again. It surprised me to see that some of the little piano kids from years ago are now college students already and that made me feel very old. I thought that I would nod off to sleep during the masterclass (since it was very early in morning) but I was kept awake by Chris who kept amazing everyone with his sight reading skills. He told the students that he hasn't played most of the pieces that they've prepared and yet when he took to the keyboard to demonstrate his point, he played them as if they've been part of his repertoire for years.

RAd giving Chris a headache

After the first of two masterclasses at UST, we dropped by the Steinway Boutique, Manila. I was worried that Chris would get his first taste of the horrible Metro Manila traffic getting there, but miraculously, travelling that afternoon was a breeze. Boutique Executive Joyce Tan welcomed us graciously and gave both Chris and I the opportunity to play with the Steinway grand piano that I could only afford in my dreams. Chris played as if he was already having a concert on stage while my playing probably worsened his jet lag. Chris was very amused by the numerous security guards he saw at the malls especially those who were stationed at Landmark wearing Chinese attire.

RAd, Pim and Chris

Thankfully, Thailand is very near to the Philippines so it wasn't difficult at all for Chris' girlfriend Pim to fly here to watch the concert. She was also there to observe the second masterclass at UST that happened the morning after the concert. After the masterclass, Anthony Say, the head of the piano department of the UST Conservatory, Chris, Pim and I had lunch wherein we discussed a variety of topics ranging from the history of UST to Thai actor Mario Maurer. I told Chris and Pim afterwards that the two of them, a very attractive pair, could easily pass of as celebrities in here. I really hope that the two had a grand time during their very brief stay in here.

Chris' concert was also part of his promotional tour for his recently released album Paganimania. He played two tracks from it during the concert and afterwards, he signed CD's for those who bought it. In the album, Niccolò Paganini’s very popular Caprice No. 24 in A minor was given a different spin and take by composers from different nationalities. The tracks include Pag-Rag by Robert Beaser, Scène V by Moon Young Ha, Paganini Reverie by Karim Al-Zand, Pact Ink by Narong Prangcharoen, Jade Clappers by Zhou Jing, Niccolo by S. Peace Nistades, Capricious Invariance by James Mobberley. I asked Chris if it was his deliberate choice not to have any European composers in the album. I thought that by staying away from Europe, the resulting pieces would result in a more varied output. He responded that the composers he commissioned were those he already knew and have worked with before and it just happened that there were no Europeans among them. One of his conditions was not to do variations since it’s been done many times before. Listening to the tracks in the album, there are some tracks wherein the Paganini passages are very obvious while some, I think I had to ask the composers themselves how their works ended that way. And there's also a track (I'm not saying which) wherein Chris can be heard unexpectedly. Hearing Chris in this manner for the first time caught me by surprise and I had to tell him that I was relieved that I didn't spill my coffee.

Paganimania

Tracks:

1. Pag-Rag

2. Scène V

3. Paganini Reverie

4. Pact Ink

5. Jade Clappers

6. Niccolo

7. Capricious Invariance

Clarion Chamber Ensemble ventures into bold, brash and beautiful music territory

Pianist Hyun Joo Lee and flutist David Jerome Johnson

Featuring:

Clarion Chamber Ensemble

     David Jerome Johnson, flute

     Hyun Joo Lee, piano

     Jayson Rivera, clarinet

     Dino Decena, violin

     Gerry Gonzales, cello

     Joy Allan dela Cruz, viola

     Reynato Resurreccion, oboe

     Ariel Sta. Ana, clarinet

     Noel Singcuenco, bassoon

     Jay-Ar Mesa, horn

     Ma. Lica Uson, violin

     Glober Calambro, trumpet

     Rommel Cruz, double bass

Programme:

Paul Hindemith

     Septet 1948

Dmitri Shostakovich

     Trio No. 1 in C minor, Op. 8

Joseph Reinberger

     Nonet in E flat major, Op. 139

Astor Piazzolla

     Verano porteño

The chamber music performances for 2015 kicked off as the Clarion Chamber Ensemble presented The Bold, The Brash and The Beautiful at the Cultural Center of the Philippines' Tanghalang Aurelio Tolentino (CCP Little Theater).

The concert, hosted by Bert Robledo started with a bold statement from Paul Hindemith’s Septet 1948 that was played by flutist David Jerome Johnson, oboist Reynato Resurreccion, clarinetist Ariel Sta. Ana, bassoonist Noel Singcuenco, horn player Jay-Ar Mesa, trumpeter Glober Calambro and bass clarinetist Jayson Rivera. The Hindemith piece was indeed an unusual and a bold choice for an opener as it was at times atonal and is curiously structured. The piece featured a musical palindrome in the second and fourth movement but it was almost impossible to figure that out in just the first listening. I wasn't surprised when some members of the audience didn't warm up to this opener at all.

But I really warmed up to the next one which was Dmitri Shostakovich's Trio No. 1 in C minor, Op. 8 which was the brash portion of the concert. This single movement composition was played by pianist Hyun Joo Lee, violinist Dino Decena and cellist Gerry Gonzales. An early composition created when Shostakovich was still a student, this trio is varies in pace and mood greatly while sounding at times Romantic, Impressionistic and even cinematic. Although it had some of the grotesque that characterizes his latter works, the trio wasn't quite the brash Shostakovich music that caused him much trouble with the Soviet authorities. Honestly, I would've preferred if the ensemble chose to perform the darker and the more poignant second trio instead. But it still pleased me nonetheless to have seen a performance of any Shostakovich chamber music which is rarely performed here.

The ensemble left the 20^th century atonal and dissonant harmonies of the first two pieces and stepped back in time to perform Joseph Rheinberger's Nonet in E flat major, Op. 139 with violinist Dino Decena, violist Joy Allan dela Cruz, cellist Gerry Gonzales, double bassist Rommel Cruz, flutist David Jerome Johnson, oboist Reynato Resurreccion, clarinetist Ariel Sta. Ana, bassoonist Noel Singcuenco, and horn player Jay-Ar Mesa. The piece, composed by Rheinberger who is known for his works for the organ, is basically a four movement symphony for nine musicians. With more pleasant melodies, this was indeed the beautiful part of the concert. While the ensemble was playing, I remembered my horrible experience at the recent Pasinaya when they were playing the first movement of this piece and a toddler right behind me was making a lot of noise. Thank goodness that the toddler was not present during this concert and I was able to enjoy the performance of this piece without any incident.

For the finale, the entire ensemble (sans trumpeter Calambro) along with guest artists violinist Ma. Angelica Uson and saxophonist Jayson Rivera performed Astor Piazzolla’s Verano porteño. Showing flair and swagger with all the male musicians wearing hats (with Singcuenco wearing a graduate cap of all things), this piece combining the bold, the brash and the beautiful was definitely a crowd pleaser. During the performance, I immediately wondered if Piazzolla actually wrote an arrangement of this piece specifically for that configuration of instruments. I found out right after the concert from David Jerome Johnson that he actually had Francesco Venerucci a pianist and composer from Italy, do a special arrangement of this piece for the ensemble. And that Clarion Chamber Ensemble already availed of his arrangement services a handful of times before.

I initially didn't like chamber music since I prefer the grand music that was played by symphony orchestras. But as I got older, I learned to appreciate the more intimate works by composers that I like and eventually wondered if I would ever see a live performances of said pieces. Thank goodness that the Clarion Chamber Ensemble is here since 2001 and that they had made it their mission to do regular concerts featuring music that aren't regularly performed in here.

Fukumura delights in latest PPO concert

RAd and conductor Yoshikazu Fukumura

Featuring:

Philippine Philharmonic Orchestra

Yoshikazu Fukumura, conductor

Programme:

Gioachino Rossini

     Overture from Semiramide

Franz Joseph Haydn

     Symphony No. 82 in C major, Hob. 1/82 The Bear

Maurice Ravel

     Ma mère l'Oye

Aram Khachaturian

     Waltz, Romance and Gallop from Masquerade Suite

Japanese conductor Yoshikazu Fukumura brought his A-game as he led the Philippine Philharmonic Orchestra for the third straight guesting in as many years. Fukumura, who is becoming somewhat a regular guest conductor, delighted the audience at the Cultural Center of the Philippines' Tanghalang Nicanor Abelardo (CCP Main Theater) with his boundless energy at the penultimate concert of the orchestra's 32^nd Sound Kaleidoscope season. 

Right off the bat, Fukumura demonstrated the vivacity in conducting with the concert opener, Gioachino Rossini’s Overture from Semiramide, a light yet explosive overture from an otherwise dark and tragic opera. Next, the PPO played Franz Joseph Haydn's Symphony No. 82 in C major, Hob. 1/82, also known as The Bear. The last of the Paris Symphonies to be published, the orchestra was crisp, clear and precise remaining true to the spirit of Haydn. This rendition showcased another side of Fukumura as he took on a symphony from the Classical era after doing  the Romantic era Brahms 2 and Beethoven 2 in his previous concerts here. With these two pieces that comprised the first half of the concert, Fukumura conducted the orchestra without the aid of the score.

The second half started with Maurice Ravel's Ma mère l'Oye based on various fairy tales like Sleeping Beauty, Beauty and the Beast and Tom Thumb. More flowing, subdued, and restrained compared to the previous two pieces, this suite also had more color, texture and an Eastern flavor with the contrabassoon, celesta, xylophone, and glockenspiel having notable moments. And while the earlier part may be a bit of a snoozer, it nonetheless climaxed with such heart warming and flourishing strings that I couldn't help but sigh deeply when it was all over.

After the Ravel piece, It felt as if his seemingly boundless energy was getting drained. But it looked as if he got hold of a second wind when the orchestra some selections from Aram Khachaturian's Masquerade Suite. The dark Waltz had more pronounced dynamics, with Fukumura crouching to signal piano that further heightened the crescendo. Then, the pae slowed down with the wistful Romance before picking up again with an uninhibited Gallop. It's safe to say that the audience liked the Waltz the best since Fukumura opted to play the latter part of it for an encore. This gave me an opportunity to savor his conducting which is always a delight to see.

Casa Artusi whips up a taste of Italian music and cuisine

Cooking demonstration by Chefs Margarita Fores and Carla Brigliadori

I just couldn’t pass up an afternoon celebrating Italian music and cuisine that despite having a swollen and sore left foot (and feeling dazed because of medication for that), I tossed all caution to the wind and headed over to the Gallery at Greenbelt 5 for La Cucina all’Opera: A Taste of Music.

This event, dubbed as a unique literary, musical and gastronomical journey through the taste of major Italian and other great opera composers and singers, was presented by the Embassy of Italy, Rustan’s, the Philippine-Italian Association, and the Calata Corporation on the occasion of the launch of Casa Artusi Philippines. Gracing the event were Italian Ambassador Massimo Roscigno who gave the welcome address and Casa Artusi President Giordano Conti who gave the closing remarks.

Margherita Spinazzola

The first half was devoted to the presentation of the book The Operatic Kitchen: Music and Food in Emilia-Romagna by Giancarlo Fre who unfortunately passed away back in 2013. But present instead was the book’s English translator Margherita Spinazzola who provided an extensive and insightful talk regarding the book that successfully melded the unlikely pairing of Italian opera music and food linked together by the region of Emilia-Romagna.

The book featured brief accounts, anecdotes and tidbits about various Italian opera composers like Gioachino Rossini, Giuseppe Verdi, Pietro Mascagni, Vincenzo Bellini, and Giacomo Puccini. And scattered along the pages are various traditional Italian recipes that somehow had a link with whoever musician was featured in the chapter. I initially found it odd how non-Italians Wolfgang Amadeus Mozart, Richard Wagner and Maria Callas got featured in the book, but Spinazzola told us that their musical journey included stops in Bologna, the city at the heart of the Emilia-Romagna Region. I also learned through her that the release of this book, originally titled Cucina all’Opera: Musica e cibo in Emilia-Romagna was born out of Giuseppe Verdi’s bicentennial birth anniversary celebrations back in 2013.

Chef Margarita Fores

Another highlight of this event was the cooking demonstration by Chefs Margarita Fores, Casa Artusi’s first franchisee and Carla Brigliadori, Casa Artusi’s Executive Chef. The two made piadina and pasta from scratch using the matterello, a kind of rolling pin that Chef Brigliadori joked is also used for hitting husbands. The duo prepared a duck ragout sauce for the pasta in which I, seated at the second row, was able to get a clear whiff of the aroma of the simmering sauce. And this made me and probably everybody else at the Gallery very hungry.

Patrick Pulumbarit, RAd, Emanuela Adesini, Margarita Fores

Thankfully as the evening approached, everybody’s hunger was remedied as a sumptuous buffet was served featuring what the duo cooked and a whole lot more. While everyone was feasting on the food and wine, music by Antonio Vivaldi, Wolfgang Amadeus Mozart, and Pietro Mascagni were performed by a handful of musicians from the strings section of the Manila Symphony Orchestra. Unfortunately, I couldn’t have any of the wine that was served since I was under medication. Carla Brigliadori also happens to be a sommelier and it was torture for me when she described the various notes one could derive from tasting the wine.

The Operatic Kitchen isn’t available in retail outlets but copies were given away to lucky people whose names were drawn in the raffle and for those who were able to answer questions related to Italian culture. The book in itself is an easy read and it’s not required to read it from cover to cover. One could just choose a chapter/composer like what I did when I dove straight in to Giacomo Puccini. This chapter touched upon the composer’s penchant for hunting and then quickly segued to a recipe that called for some wild boar meat. Whipping up a Wild boar stew in red wine in the near future may not be possible for me, so I just let myself be content by playing a recording of Puccini’s Turandot.