Cadaques Orchestra, brilliant guitarist compel attention

The Toyota Classics concert program of the Cadaques Orches-tra, which Philippe Entremont conducted at the Meralco Theater the other week, could well have been the concluding part of the Spanish Fiesta! Why? The audience heard predominantly Spanish works, including a contemporary piece by Xavier Montsalvatge, Albeniz’s Triana from "Iberia", Joaquin Rodrigo’s Concierto de Aranjuez featuring Jose Maria Gallardo del Rey as guitar soloist, and De Falla’s Amor Brujo (Love, the Sorcerer).

The exceptions to the all-Spanish night were the opening songs from Handel’s oratorios. "Thou Shalt Break Them" (The Messiah) and "Sound the Alarm" (Judas Maccabaeus), and the aria Dies Bilanis ist bezauberna schon (O Image Angel – Like and Fair!) from Mozart’s "The Magic Flute".

Exuding poise and confidence. Gary del Rosario sang with a firm, solid, unwavering voice although this did not evidence all that much increase in volume and power since this reviewer heard him last. However, his interpretation of the selec-tions by Handel strongly conveyed through very clear articulation, vocal projection and phrasing, as well as expressive coun-tenance, the emotions suggested by the text. Gary might have infused more sparkle and brio into Mozart’s rhapsodic aria which exults beauty, fairness and light.

In any case, the young tenor did assert his presence as a highly promising singer already portraying major roles even as a student-scholar abroad, particularly in Cleveland.

The shift of pianist Philippe Entremont to conducting is a major one; indeed, he gave Manilans a tremendous impression of his pianistic gifts a few years back. The Cadaques Orchestra, consisting of some 10 members, is somewhat larger than the usual chamber ensemble, and Entremont maximizes the talent of each member to produce sounds larger than what might be expected from an orchestra its size.

There are, in fact, excellent individual instru-mentalists; e.g., the principal cellist and the principal flutist. Extremont, who is French, captured the propulsive beat, drive and rousing spirit of Spanish music in large measure.

In Rodrigo’s Concierto, amazingly and amusingly weird acoustical effects were created by the winds in the Allegro con spirito movement. Playful pizzicatos emanated from the violins in the third, allegro gentile. As for the second, a soulful, profoundly moving melody, which initially came from the oboe, was repeated by the cellos in shimmering, refined sonorities. It was then played by the strings and, finally, rendered tutti. How ineffably exquisite was that interplay!

The performance of guitarist Del Rey was brilliant. Nothing short of superb. His long fingers were agile, nimble yet strong. The cadenza was awesome. With that kind of virtuosity and artistic sensitivity, he nearly stole the show. His encore piece, Danza del Molinero, (The Miller’s Dance) called to mind the dazzling footwork – as described by balletomanes of yore – of Leonide Massine, the fantastic premier danseur of the Ballet Russe de Monte Carlo. As Del Rey increased his tempo to an unprecedented, incredible pace, so did he send the pulses beating wildly across the footlights.

De Falla’s Amor Brujo, which incorporates the pounding Danza del Fuego (Fire Dance), brought the concert to a fiery, tempestuous conclusion – and consequently to thunderous applause.

Toyota Motor Corp. executives George S.K. Ty and Fujio Cho, chairman and president, respectively, donated a million-peso check to Tabang Mindanaw III, a peace and development program for Basilan, Sulu and Tawi-Tawi.