Amazing Victor Goldberg, Filfest threesome at Tower / R. Peñaverde debuts in NY

Filfest chairperson Vicky F. Zubiri conceptualized a novel concert at the Tower: With cocktails followed by a gourmet dinner, food for the body was complemented by fine food for the soul.

Dena Fernandez, arguably our best marimba player, instantly impressed listeners with her superior skill and sensitive artistry. As she rendered Brahms’ Hungarian Dance, Lecuona’s Gitanerias and Buencamino’s Hibik ng Diwa, their brisk, infectious rhythms, struck with remarkable dexterity and nimbleness, generated considerable excitement, this sustained through the similarly breath-taking renditions of Scarf Dance by Chaminade, Buencamino’s Pizzicato Caprice and Sarasate’s Gypsy Air.

Dena’s mastery is not likely to be matched in the foreseeable future.

Coloratura soprano Joy Tamayo demonstrated ease and agility with top notes in Je veux vivre from Gounod’s “Romeo and Juliet”, and more particularly, in Delibes “Bell Song” from Lakme whose daunting configuration of notes approaches vocal acrobatics. Joy scaled their highest reaches without effort. But as is common with coloratura sopranos, the higher the voice goes, the thinner it becomes, thus often acquiring a steely, metallic quality.

Joy sang Ang Maya, warbling like ang maya indeed, moving her hands, however, (as she did in previous selections) too repetitively and monotonously, while drawing lusty applause nonetheless.

Pianist Lourdes de Leon Gregorio excellently assisted both Dena and Joy.

A tremendous surprise was visiting Israeli pianist Victor Goldberg — who has been compared to the legendary Horowitz — playing Scarlatti’s Sonata in F Sharp Major and Rachmaninoff’s “Musical Moments”. He was incomparable; amazing in a class by himself.

Vicky Zubiri’s unique soiree — with a raffle thrown in — attracted a sizeable crowd which included Tereret Liboro, Alice Briones, banker Maurice Lim, Minerva Tanseco, Chloe Periquet, Nenuca Blardony, Randy and Cecile Limjoco, Ping Valencia, Boysie Villavicencio and, not the least, the French and Dutch ambassadors.

Sponsors were Asian Carmakers Corporation and Insular Life which is marking its 100th anniversary.

Filfest director Martin Lopez announced future performances: “Tutti Tango” on Oct. 23 and “Tutti Opera” featuring eight sopranos on Nov. 14, both at Alabang’s Insular Life Theater. Lina Racho announced the evening’s program.

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An earlier soiree at the elegant mansion of Alice Cua had young lyric tenor Rogelio Peñaverde, Jr. singing arias from operas wherein he had starred in New York. Fluid and expressive delivery and long-sustained high notes marked his performance.

As Count Almaviva, he sang an aria from Rossini’s “Barber of Seville”. At NY’s Caramon International Festival (2008), he had agreed to do the cover role of Idreno in Rossini’s Semiramide, opera artistic director and Bel Canto authority Will Crutchfield urging Rogelio to study the role, being among the few with the voice and facility for it. Steve Smith, mentor of Met mezzo-soprano Joyce Di Dontato, is now preparing him to audition for “Barber of Seville”.

Kurt Weill’s “Lonely Home from Street Scene” was Rogelio’s next song at the soiree. The debate on whether the work is opera or musical theater still continues but what remain undisputed, contends Rogelio, are the beauty and magnitude of the song.

“For You Alone” by H. Geehl was taught him by Salvacion O. Yñiguez. His first teacher, she had laid the foundation for his operatic career. Rogelio next sang Santiago’s Madaling Araw and Angel Pena’s Iyo Kailan Pa Man. At a recital in NY, these songs earned hearty response from American musicians who asked the tenor for the scores. He proudly declared they were by Filipino composers, and that he, too, was Filipino and proud to be one.

Pianist Jonathan Coo was assisting artist for the arias; Julie Mendoza, for the native songs. After the program proper, Rogie Rama Cabreza interpreted two songs, her phrasing beautiful, her top notes firmly sustained with increasing volume.

Rogelio, who returned to New York last week, had his most recent performance in that city as Tamino in Mozart’s “Magic Flute”, a production of the Martina Arroyo Foundation. He had sung the role in 2008 at Italy’s Tuscia Opera Festival.

Shortly after Rogelio made his debut as Tamino in New York, his father introduced himself to the Foundation’s Martina Arroyo, a spinto soprano who gained prominence at the Met. She quickly told him: “I fell in love with your son; do you mind?” He unhesitatingly answered: “Not at all!”