Blind pianist-singer Ibay: No word aptly describes him / Guitar recital at St. Paul U.

At Alabang’s Insular Life Theater, there was palpable suspense as the audience watched blind pianist Carlo Alberto Ibay sit before the piano without seeing the keyboard. Assuredly and confidently, he played while audience incredulity increased every second at his rendition of Chopin’s Barcarolle, not missing a single note nor striking a false one.

Spiritedly, he gave substance to the composer’s originality and creativity in the rubatos and florid passages, fluidity, fluency, and nimbleness of fingers highlighted by the wide screen above the piano.

Incredulity increased even more as Ibay interpreted with warmth, exuberance and rhythmic vibrancy Schumann’s Carnaval. Described as “a piano suite consisting of tone portraits” and as “a comprehensive musical expression”, the work was infused with tonal richness, with deep, soulful expressiveness that captured the romantic essence of Schumann. Ibay made the music of sublime beauty, particularly when it was at its most lyrical. The selections in sum were engrossingly exquisite. Poetic. Comparisons are odious, the saying goes, but an earlier interpretation of Carnaval by a pianist of normal vision was vapid and colorless as I remember it.

Thunderous applause ensued, with shouts of “Bravo!” echoing each time Ibay took a bow.

There was even greater incredulity when he rendered Mozart’s Concerto in A Major to the vigorous accompaniment of the Manila Symphony Orchestra under the authoritative baton of Arturo Molina. Again, as to be expected, with the clearest picture of the piano in his mind’s eye, Ibay did not miss a note nor strike a false one. Above all, he did not miss a beat, performing in flawless, impeccable rapport with the ensemble.

He “sneaked” in a charming cadenza, to the delight and surprise of music lovers. Further, he unravelled Mozart’s musical riches with grace and élan, infusing the slow movement with a lovely soaring quality. Under Conductor Molina, the young musicians conveyed vigor, clear intonation and dramatic contrasts, presumably drawing added inspiration from the soloist. At every opportunity, Ibay publicly acknowledged the support of Molina and the MSO.

Another distinct excitement gripped the audience as Ibay took on the role of singer. He began with the Broadway hit “Some Enchanted Evening”, following this with the light classics “Granada” and “Matinata”, and E Lucevan Le Stelle (The stars were shining), Cavaradossi’s aria in Puccini’s Tosca. Ibay stunned the listeners with his firm, focused, forceful voice which sustained the top notes at astonishing lengths.

But his feat was even more astonishing because he accompanied himself on the piano, enriching and enhancing the orchestral sounds as he did. An awesome feat, indeed! The rapturous clamor brought on Santiago’s Madaling Araw.

The electrified audience would not be stilled, however. Magnetized, it listened, forthwith, to Liszt’s Hungarian Rhapsody No. 12 with Ibay distilling from it all the spectacular and sensational bombast typical of the composer. The audience, applauding deliriously, gave the pianist a standing ovation — which he could neither see nor appreciate — but the shouts of “Bravo!” were deafening. Ibay would have gone on performing had not his mother anxiously stopped him.

Filfest president Vicky F. Zubiri told this reviewer it was the Society’s most successful concert thus far, adding that Ibay had confessed to her: “Chopin is my left hand; Liszt, my right.” Or vice-versa.

Filipinos should take immense pride in Carlos Alberto Ibay, born blind and weighing only one pound and four ounces at birth. He learned to play the piano by ear, and now performs in the most prestigious festivals and venues in five continents. Adjectives like “incredible,” “awesome,” “fantastic” and “phenomenal” do not — and cannot — fully described him.

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This year marks the centennial of the sisters’ formation of St. Paul of Chartres. Marking the milestone was the soft opening of the St. Paul U. Manila museum and archives with the premiere exhibit featuring a diorama. On Feb. 23 at 4 p.m. guitarist Richard Alcoy — professional name Ric Ickard — will give a recital, and the event will test the museum as a performance venue. Ickard is a proponent of the seven-string guitar.