PPO in ‘Drama Unfolds’ under Eugene Castillo / J. Velasco in ‘Requiem’

With his wide, eclectic musical background, PPO music director-conductor Eugene Castillo invariably gives CCP audiences excitingly innovative programs that include both the contemporary and the traditional.

At his latest concert, entitled "Drama Unfolds", he wielded the baton over two ballet numbers: Ravel’s Daphnis and Chloe Suite 2 and Copland’s Concerto for Clarinet and Orchestra. For the former, no less than the Ballet Russe’s Nijinsky and Karsavina danced to Michael Fokine’s choreography in 1912. The latter was adapted in 1951 into a ballet, The Pied Piper, with Jerome Robbins as choreographer.

The evening closed with Brahms’ Symphony No. 3 in F Major.

In Copland’s Concerto, which fuses elements of American jazz with a Brazilian melody, New York clarinetist Jay Hassler demonstrated absolute mastery of his instrument, particularly in the cadenza, playing with remarkable ease and fluency. Castillo, thoroughly familiar with the style of the composition, guided the orchestra through the melodious first movement, the second, and the final rondo with zest and bounce. Both soloist and orchestra infused an infectious spirit into the jazzy Concerto.

Musicologists have long wondered whether Strauss (Richard), Respighi, Sibelius and even Stravinsky possessed Ravel’s knowledge of instrumentation – "his bold and adventurous harmony, extraordinary skill and workmanship, delicately projected moods and their enchantment."

All these qualities characterized the Daphnis and Chloe Suite No. 2. No music could have been more programmatic or descriptive. Both as composition and orchestral interpretation, it was the ultimate expression of impressionism.

The woodwinds – the flutes and piccolo – depict the murmuring rivulets while Chloe is at rest, the harp glissandos completing the picture of idyllic rusticity. The pianissimos are almost inaudible. Slowly, tension and agitation creep in, and the tremendous tutti passages shatter the stillness while a bacchanal-like climax is reached for the sensuous encounter of Daphnis and Chloe.

The opening of the Brahms’ Symphony No. 3 was clean, straightforward and clear. The first movement, Allegro con Brio, seemed a trifle slow in tempo, the Andante Moderato was rightly andante moderato. The exquisite melody before the last movements, begun by the cellos, then taken up by the violins, then played by the rest of the orchestra, and repeated over and over again, was interpreted so ineffably that it was rendered as the encore in response to tremendous applause.

In the final Allegro energico e passionato, Conductor Castillo exhibited exemplary, indeed superb command, with the orchestra scaling heights of (romantic) grandeur. The climax was of great moment.

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In writing on Mozart’s Requiem, one must disassociate one’s self from the controversy surrounding its authorship. Most of the portions, particularly the best of them, have been generally attributed to Mozart, and one should leave it at that.

Requiem, recently presented by the US Embassy and the Union Church of Manila, was a huge success. The staging was highly organized, with the Union Church altar reserved for the two choirs – the Ateneo Chamber Singers and the Union Church of Manila Chancel Choir – the orchestra (strings from the Manila Symphony Orchestra, brass and woodwinds from the Manila Philharmonic Orchestra), organist Armando Salarza, and not the least, the soloists.

On the upper portion on either side of the altar was a screen which projected the words, both in the original Latin and in English.

The eminent Jonathan Velasco conducted with unwavering authority, infusing the work with his interpretative insights and vision. The orchestra was in fine fettle. Although the two choirs were disparate, they emitted solid, unified, cohesive sounds that soared, filling the venue.

The soloists were Rachelle Gerodias, arguably the most sought-after soprano these days, alto Agnes Barredo, tenor Ervin Lumauag and bass Rainier Pagcaliwagan. They drew and compelled attention, their voices powerful and resonant – the tenor’s slightly less so – as they dramatized the text, articulating the words clearly and expressively. The audience focused intently on Gerodias, especially in her solos, her voice rising with intensity and passion.

The impressive over-all auditory effect of the performance drew reverential awe.

Special credit was given pianist Carminda de Leon Regala, Chancel Choir director for the last 20 years.

Opening remarks were delivered by Chargé d’Affaires Paul W. Jones who observed that the Requiem was a tribute not only to the victims of the 9/11 terrorists but also to victims the world over regardless of race, nationality and creed. Senior Pastor Rev. Steve L. Ruetschle welcomed the guests and said profoundly meaningful opening and closing prayers. Among other official welcomers were Counselor for Public Affairs Lee McClenny and Cultural Affairs Officer Bruce Armstrong.

‘Journeys for the Spirit’

Just received is a copy of a 120-page volume "Travels for the Spirit" by distinguished veteran journalist Alice Colet Villadolid.

Herewith are excerpts from the news release. Dr. Dennis T. Gonzalez, chair of the National Book Development Board, wrote in his foreword: "Many of our travels in time and space have been undertaken to satisfy an acknowledged or unacknowledged spiritual craving."

Some of the journeys described by the author were those she took as correspondent of the NY Times from the 1970s to the mid-1980s, including her sailing for ten days aboard the USS Kitty Hawk before writing about the rescue of the Vietnamese boat people.

In her characteristic feature style, Villadolid describes places in the Philippines ‘close to her heart’ because she or her ancestors lived, loved and worshipped there.

For spiritual uplift, Villadolid describes houses of worship in Italy and Germany she and her family visited in the 1990s when her husband Oscar was RP envoy to the Vatican and the Order of Malta.