Oliver hardly looked at the keyboard while he played. Oblivious of the listeners on the front row, he was devoting his attention solely to the music, his quicksilvery changes of facial expression – he would smile, look pensive, frown slightly – seemingly suggesting a mental dialogue with himself.
Beethoven’s Sonata No. 1 in C Minor was rendered likewise with a distinctive flair, a bravura that projected an easy, effortless execution. The adagio conveyed an inherent or intuitive lyricism. In the outer (allegro) movements, nothing jauntier and livelier could have been imagined. Indeed, the young pianist was having a grand time tossing off the sonata.
His sense of drama became particularly evident in Chopin’s works: Nocturne No. 1 in F Major, Etude No. 1 in C Major and Scherzo No. 2 in B Flat Minor. Turning each into a bravura piece, Oliver was definitely virtuosic in the Scherzo. Indeed, this number often sounds commonplace in anaemic, vapid renditions. By contrast, Oliver gave a startling, brilliant display not only of astounding technical skill through rapid runs, trills, arpeggios, powerful chords, etc. but also of sensitive artistry – infused with poetry and passion – admirable in one so young.
The nuances in Debussy’s Feux d’ Artifice (Fireworks) were so descriptive, one "saw" sparks and explosions of light in the distance. As one listened, one kept asking: Is this a 16-year old interpreting Debussy’s impressionism?
Buencamino’s Larawan was converted, in the pianist’s characteristic manner, into a bravura piece wherein the melodic lines emerged, nevertheless. In the finale, Oliver "breezed" through the tremendous opening chords of Grieg’s Concerto in A Minor. Petulance, joy, defiance, even mischief were reflected in his countenance; again he became utterly absorbed in the music. Wielding the baton over the PPO, Ruggero Barbieri gave authoritative and energetic support to the pianist while complementing his verve and zest. Oliver firmly held his own even in the towering climaxes.
In conclusion, it was Oliver’s impetuous sense of drama that made his interpretations so different, so unique. One had heard the works over and over again however, although Bach, Beethoven, Chopin, Debussy and Grieg were still recognizably Bach, Beethoven, Chopin, Debussy and Grieg, this reviewer uncannily felt she was listening to them for the first time. Finally, with the lightning-swift arpeggios in a Chopin Etude (an encore piece) leaving the audience lustily applauding, Oliver graciously beckoned to his mentor, Carmenctia Arambulo, so she could share the honor with him onstage.
Indeed, she has taught him exceedingly well. But the talent, the sensitivity, the impetuosity, the sense of drama are all his own.