Pianist Lorenzo “Enzo” Medel, 15, walked onstage of the Philamlife auditorium with a slight, unconscious swagger that enhanced his charming presence.
He opened the program with the “Keyboard Concerto in F Minor” by Bach who is still regarded by most musicologists as the world’s greatest musical genius. In retrospect, his piece proved to be technically the least challenging, Lorenzo conveying utmost clarity of tone to highlight Bach’s masterful structure.
Assisting the pianist was a mini-Manila Symphony Orchestra consisting of violins led by Gina Medina and two cellos under the baton of Jeffrey Solares. The dialogue between piano and strings was delightfully fluid and one particularly enjoyed the pizzicatos of the second movement.
Beethoven, along with Mozart, borrowed from Bach but as his “Rondo in G Major” demonstrates, he is richer, more florid, more expansive in style. Lorenzo’s solid technique easily matched the Rondo’s demands while reflecting the joyous vein in it.
Lorenzo’s formidable resources were evident in Chopin’s “Scherzo in C Sharp Minor” with the pianist giving a vigorous, impassioned interpretation in the swiftest rubatos. To this listener, the Scherzo seemed a fantastic combination of several Chopin Etudes: one to gain more facility in the chords; another, in the runs; still another, in the arpeggios, etc. — the pianist rendering all the Etudes with brilliance and bravura.
From the start of the concert, one could not help but marvel at Lorenzo’s keen sensitivity, musical intelligence, sureness of touch, precision, depth of feeling — the latter a rare characteristic in a pianist of such tender years. His subtle tonal gradations, cascades of sound infused poignant beauty into his performance.
Further, he had an unerring comprehension of each composer’s style. In “Reflets dans l’eau’ from Images I, Lorenzo captured the exquisite substance and essence of Debussy’s impressionism. Notes, sparse compared to their profusion in the piece by Beethoven, were played by Lorenzo with restraint, elegance and refinement. Chords seemingly floated to evoke (rather than describe) the shimmering waters.
Prokofiev’s “Sonata in A Minor”, innovative in its percussive and pyrotechnical devices, showed Lorenzo’s tremendous power; to draw maximum sounds, he would half rise, assuming an almost upright position. The sonata led the listener to imagine a volcano erupting, titans clashing, the elements raging with claps of deafening thunder.
Liszt’s “Concerto No. 1 in E Flat Major”, the more frequently played of his two concertos, was composed for the veritable virtuoso that Liszt was. In the showy, bombastic, windy piece, Lorenzo beyond doubt proved himself a virtuoso likewise, rendering Liszt’s diabolically tricky score with arresting, electrifying aplomb. The MSO under Solares performed the rhapsodic music with youthful, propulsive vigor and zest, reaching, with the pianist, a shattering climax.
Rapturous audience response was rewarded with Rodolfo Cornejo’s “Nocturne”, a quiet, lambent contrast to Liszt’s fire and brimstone.
Lorenzo becomes more startling, more astonishing with time. He studies with Mauricia S. Borromeo and has attended master classes under celebrated pianists, foreign and Filipino. The wonder is that although Lorenzo has had only a few years of training, he is already surpassing many of his older peers. If he perseveres, he will eventually stand tall in the international scene.
Cecile G. Alvarez, Actress
Last week, the drama “My Son, Jose” by National Artist for Dance Leonor Orosa Goquingco was aired over DZRH. I was able to listen to the last installment, with Cecille Guidote Alvarez as Doña Teodora and Tony Angeles as Rizal.
Years ago, the same play was staged in an open-air venue. Cecile’s portrayal of Doña Teodora was so deeply touching, I was moved to tears.
In the recent airing over DZRH, Cecile was even more moving, more compelling although I could only hear her. Cecile is among our top actresses, and acting is just one of the many talents this incredible icon has.
Jose Mari Avellana, Actor
The death of Jose Mari Avellana, actor-director of stage and screen, is cause for deep sorrow for his legion of admirers. His role as Morrie in “Tuesdays with Morrie” garnered rave reviews. I once wrote that Jose Mari can read names from a telephone directory, and make the list highly dramatic. That should prove, in brief, his superb acting skill.