Judd: Dynamic baton-wielder / Israeli sings 'Pinoy' songs

What was immediately discernible in British-born conductor James Judd was his dynamism. As he wielded the baton over the Philippine Philharmonic Orchestra at the Philamlife Theater, his dynamism was persistent and dominant throughout the concert.

Bernstein’s ‘Overture to Candide’ is described as “a cornocupia of riches, overflowing with all kinds of delightful tunes, tender and gay – a waltz, mazurka, ballad, tango, gavotte and sundry other aural delights.”

An infectious, spontaneous gaiety fascinated the audience as Judd mightily drew from the entire resources of the orchestra, his vigor and energy making it sound almost twice as large as its actual size.

Strikingly big volumes characterized the various dances as well as the musical forms parodied by Bernstein. The fortissimos were thunderous – the vigor and vitality persisted as Judd set and sustained the lively, rapid pace.

The audience might not have heard as robust, lusty opening of Beethoven’s Concerto in D Major for Orchestra and Violin as it did that evening. The composer had established a fine, delicate balance between orchestra and violin, here played by Finnish soloist Vesa-Matti Leppanen. Owing to the intense, almost unrelieved dynamism of the conductor, the ensemble occasionally over-powered the violin. However, the youthful-looking Vesa, with an engaging presence, conveyed utter sensitivity and artistry, the deep beauty of the larghetto surfacing through the refined timbers of his instrument.

Against Judd’s overwhelmingly forceful outer movements, the allegro ma non troppo and allegro, the violinist sometimes seemed rather wanting in fire and spirit. But his exceptional, skill and dexterity, as well as his subtle nuances, garnered fervid, prolonged applause.

In Mendelssohn’s Symphony No. 4 in A Major, known as the Italian, Judd expectedly exuded unflagging, rousing impetuousity in the first and last movements – allegro vivace and presto – the latter, the dance saltarello, giving the symphony its Italian flavor.

In the inner movements – andante, a processional, and the molto moderato, the conductor might have worked toward more finely grade dynamics to enhance and enrich the interpretation. But the frenzied, fiery quality that characterized and defined the over-all rendition won the listeners’ hearty approbation.

There were repeated curtain calls for both the British conductor and the Finnish violinist. Theirs was a most triumphant Philippine debut.

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The Israeli embassy appears to be the most active in sending its artists here for performances. Deputy Chief of Mission Yaniv Revach graciously sent me a CD titled: “Tal Kravitz: From the Holy Land to the Pearl of the Orient”. The CD contains Israeli and the following Filipino songs – Pasko na Sinta Ko by Francis Dandan, Pagdating ng Panahon by Edith Gallardo, Dahil sa Iyo by Mike Velarde, Sa Ugoy ng Duyan by Levi Celerio and Anak by Freddie Aguilar.

Kravitz does not have problems with diction or expression. Indeed, his renditions, charming and moving, are a distinct compliment and tribute not only to the talented composers but also to the Filipinos as a whole.

In Dahil sa Iyo and a few other songs, Kravitz is given background vocals by Lorelei Halili, Abigail and Ding Pionso.

In the mini-pamphlet accompanying the CD, Kravitz writes the following letter: “To all my dear sisters and brothers in the Philippines, The first place I performed out of Israel is in the Philippines!

“This is such a great honor to perform here for the fourth time, and most certainly not the last. I have no words to describe how thankful I am for the great love, warmth and wonderful energy that I received from you, my dear Filipino audience.

“I want to HUG TIGHT all of you friends, and all the dear angels, Filipinos and Israelis who have taken part to realize this album project.”

Further, Tal Kravitz gives thanks to the Embassy of Israel, particularly to Ambassador Menashe Bar On and his wife Eli, Deputy Chief of Mission Yaniv Revack, as well as to Consul Yifat Shriki, Grace Garcia, Edgar Mangahas and Manong Edwin Fadriquela for making the project possible, and to Gagay who initiated the idea of recording the songs.