I. Santamaria: Compelling/IC lecture/Christmas ballet

The indefatigable Ingrid Santamaria arrested attention again by performing two ponderous concertos: Rachmaninoff’s No. 2 in C Minor and Tchaikovsky’s No. 1 in B Flat Minor. Rendering the orchestral part was a string quartet consisting of Brian Cimafranca, violin I; Sara Gonzales, violin II; Jeffrey Solares, viola, and Gerry Gonzales, cello. Solares achieved the yeoman’s task of transcribing the scores — as commissioned by Ingrid — thus producing a new musical idiom or genre.

Inevitably, the audience missed the rich, thunderous dimensions of the orchestra. The auditory experience was altogether new, with the tiny Molina Hall suited for the intimate atmosphere created by the quartet.

Inevitably, likewise, Ingrid’s role seemed less arduous, having faced no danger whatsoever of the chamber ensemble drowning the piano — quite unlike performances wherein the orchestra deliberately or not, rises above the piano’s chordal passages, regardless of how powerful.

Rachmaninoff’s concerto is one of his greatest works, more often interpreted than any other in his repertoire. How magisterial was Ingrid’s chordal opening, increasing as it did in volume, power and resonance! The beautiful second lyrical theme was played with moving tenderness, progressing in longer and more intricate passages that left Ingrid unfazed.

Tchaikovsky’s concerto is definitely for the virtuoso. Tightly integrated like Rachmaninoff’s, it is wholly romantic in essence. Von Bulow thought it “Lofty, strong, original, perfect, mature and full of style — effort and craftsmanship are everywhere concealed.” In this regard, Ingrid’s interpretation was spontaneous, spirited yet disciplined, brilliantly combining technique with animated expression.

In both concertos, the pianist’s innate rhythmic sense kept the movements properly balanced, her resonant, warm tones predominating.

The highly cohesive quartet was vibrant and vigorous, with Cimafranca largely energizing the ensemble which enlivened the program further with Abelardo’s Cavatina and Solares’ arrangement of Cebuano Medley.

Through 14 Romantic Music Journeys with Reynaldo Reyes, Ingrid has played the two concertos several times, and at her latest engagement, she once more conveyed the qualities of excellence: strict rhythm, verve, diverse tonal colors, contrasting dynamics and emotional depth. In sum, she proved that practice makes for virtual perfection.

The prolonged clamor, applause and standing ovation led to Solares’ transcription of Mendelssohn’s Concerto No. 1 in G Minor — rendered in breathtaking prestissimo!

Alfonso Palomares will lecture on “Culture and Journalism in the Scene of Globalization” at the Salon de Actos, Instituto Cervantes, on Nov. 6 at 7 p.m.

Palomares was former president of the Spanish News Agency EFE which Jose Rodriguez, now IC director, formerly represented here. Palomares, well-known writer and journalist, is a regular contributor to major Spanish magazines through his column. Currently, he is director of the Casa de Galicia in Madrid.

The Toni Lopez Gonzalez Ballet School will recreate swirling snowflakes and sugar plum fairies, waltzing flowers and dancing soldiers in a bi-annual presentation “The Nutcracker” at the CCP Little Theater on Nov. 4 and 11 at 5 p.m.

Based on a German fairytale, “The Nutcracker” is the well-loved two-act Christmas ballet with music by Tchaikovsky. Toni Lopez Gonzalez, former principal dancer of Washington Ballet and Ballet Philippines, choreographs the numbers, with the grand pas de deux after Marius Petipa’s version.

Camille Cumagon and Mica Lee alternate as the Sugar Plum Fairy; Monica Gana and Maui Lutero, as Clara; Eugene Obile is the prince.

Toni, the school’s founder-director, is a second generation ballet dancer; her mother, Sony Lopez Gonzalez, was the first Filipino with the NY City Ballet. Toni bested over 127 contestants from 23 countries in Varna’s “Olympics of Dance.”