Coyiuto, Alton and Emery: A trio hard to supersede / Korean singer Yi: Formidable!

With the vigorous, enthusiastic, fast-evolving young members of the Metro Manila Concert Orchestra performing under the highly authoritative and dynamic conductor Josefino “Chino” Toledo, the Filfest concert at the Insular Life Theater opened with Angel Peña’s Philippine Festival Overture and ended with Beethoven’s Triple Concerto in C Major rendered by outstanding international artists Cristine Coyiuto, pianist; Anne Alton, cellist; Michael Emery, violinist, assisted by the MMCO.

To the listeners’ immense delight, Toledo clearly delineated the style and substance of each orchestral piece. He conveyed the robust, festive air in Peña’s overture, fully employing each orchestral section, with the percussions taking a dominant role.

Beethoven’s Triumphant March and Turkish March exuded a vibrant military ambiance, the dynamics widely ranging from powerful fortissimos to very soft pianissimos.

Enescu’s Rhapsody No. 1, irresistibly fascinating, abounded with exciting rhythms, charming folk tunes played in a lively, spirited fashion.

Hovhaness’ avant-garde Requiem and Resurrection/Vishnu Symphony, using brasses and a percussion, reflected - as the title implied — a strongly exotic, Oriental influence in its form and style. It seemed wanting in lyricism to those accustomed to Western modes. With its melodies sounding aleatory, its sonorities amazingly strange, the selection offered an entirely new, arresting aural experience.

The Triple Concerto was a triple treat, the three excellent performers interpreting the only concerto Beethoven ever wrote for more than one solo instrument.

In the diverse moods and tempi of the three movements, cellist Alton and violinist Emery often engaged in fast, furious, frenzied dialogue and interaction, their tones utterly luminous, refined and elegant. And whenever pianist Coyiuto joined them, her tones were sparkling yet similarly refined and elegant, and how distinctively piquant! (Alton’s countenance alternately expressed ardor, passion, pain, etc., so intensely engrossed was she in the music, her head often moving to its rhythms.)

The second movement began with the orchestra and cellist; soon the violinist and the pianist joined, and as in all movements, each player demonstrated masterful skill and sensitive artistry. In “glorious” harmony, all three pointed up Beethoven’s unequalled delicacy and fancy, while giving rare insights into these qualities.

The encore was a Piazolla piece whose weird opening was typical of the composer’s original musical devices. Its robust, brisk rendition further showed the drastic innovations of the South American composer.

Prior to the concert, Filfest President Vicki Zubiri welcomed the guests; director Martin Lopez annotated the program in his usual charming manner.

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Korean Yun-Kyoung Yi has all the attributes - both physical and vocal – of the ideal singer. She is beautiful, lithe of figure, tall (the lack of height limits the roles of Oriental women abroad). As for the vocal attributes, Yi has a pure, crystalline voice, the combined range and timber of a coloratura and a lyric soprano, an impeccable technique that sustains incredibly long fortissimos and pianissimos, a firm control of dynamics, keen musicality and sensitive artistry.

Yi’s Philamlife Theater recital had widely varied forms; songs from an oratorio and an opera by Vivaldi, arias from operas by Verdi and Rossini, vocalized songs, one by Rossini (this sung like a lullaby) and another by Pizzoli (this sung gently and calmly). There being no words, the vocalization demonstrated Yi’s admirable technique, her voice fluid and flowing.

‘Una voce poco fa’, from Rossini’s Barber of Seville’ sent the audience into uproarious appreciation, with the winsome soprano impersonating the heroine Rosina with eloquent bodily movement, facial expression, miming while singing the challenging coloratura aria with marvelous ease.

The closing ‘Concerto’ by Gliere and an aria from Thomas’ ‘Hamlet’ again displayed Yi’s rare gifts. Her performance was a great incentive for opera lovers to see the Korean cast in ‘La Traviata’ set for March 2 and 4.

La Scala tenor Arthur Espiritu sang an aria from Rossini’s ‘La Cerentola’ and ‘Il mio tesoro’ from Mozart’s ‘Don Giovanni’. He was brilliant, scaling the heights with power and deep feeling. He, too, provided a great incentive for music lovers to see the Filipino cast of ‘La Traviata’ on March 3.

No one could have been better than international pianist Raul Sunico as assisting artist.