Young violinist Joseph Brian Cimafranca readily captivated his listeners at the Vivere Hotel lobby lounge in a recital replete with light, familiar, lyrical pieces. Saint — Saens’ Introduction and Rondo Capriccioso and the unaccompanied Caprice No. 14 by Paganini were the technically virtuosic compositions. The bravura passages of the former conveyed vigor and intensity; its melodic lines were beautifully flowing and languid.
Musicologists generally denigrate violinist Nicolo Paganini, describing him as “satanic†and “macabre.†His performances were such incredible feats that audiences conjured images of the devil himself playing the violin. His unmelodious pieces, such as the Caprice No. 14, were composed to suit his own diabolic skill. Cimafranca, unfazed, rendered the Caprice with fiery verve and power. No one will know, however, if they matched Paganini’s own!
The rest of the program consisted mostly of well-known and well-loved works, e.g., Kabayao’s arrangement of Abelardo’s song “Mutya ng Pasig,†the Latin American Estrellita by Ponce-Heifetz, Por Una Cabeza by Perlman, Tico Tico by Abreu.
Cimafranca reveled in the non-stop, breathtakingly swift tempo of Bazzini’s Les Rondes des Lutens. In the similarly rapid Tico Tico, Badet’s He’s a Pirate and the Michael Jackson Medley, Cimafranca took the predominantly young audience on a roller-coaster ride. He never lost a beat while his listeners marveled at his exceedingly nimble, dexterous bowing.
This was to be demonstrated in the encore piece Czardas, slow and mind-boggling passages alternating in rapid pace.
Eminent pianist Josue Greg Zuniega, who was assisting artist for Saraza’s earlier recital, accompanied Cimafranca, likewise displaying the closest rapport with him as he did with the former.
Willy Cruz’s “Sanay Wala ng Wakas,†which served Saraza as his encore piece, was interpreted this time as a piano solo by Zuniega who sent its melody surfacing soulfully.
Filfest president Vicky F. Zubiri, was to have presented Cimafranca, her long-time protégé. Instead, her dedicated assistant Lina Racho served as “impresario†of the afternoon’s delightful and gratifying hour-long musical event.
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New stories of Lola Basyang will be Ballet Manila’s next presentation at Aliw Theater on Aug. 23 at 7:30 p.m.; Aug. 24 and 31, and Sept. 7 at 11 a.m, 3 p.m. and 6:30 p.m.; Aug. 25, Sept. 1 and 8 at 11 a.m. and 3 p.m.
Based on Severino Reyes’ Ang mga Kwento ni Lola Basyang published by Anvil, the enchanting tales succeed those which premiered in 2008, were applauded by over a thousand spectators.
The tales will have original choreography and Filipino music, with prima ballerina Lisa Macuja-Elizalde as artistic director. As re-told and scripted by Christine Bellen, the tales are Ang Palasyo ng mga Dwende illustrated by Albert Gamos and choreographed by Gerardo Francisco, with collaborators Naomi Jaena and Romeo Peralta, and composer-music arranger Diwa de Leon; Labindalawang Masasayang Princesa, illustrated by Abi Goy, choreographed by Lisa Macuja-Elizalde with collaborators Francis Jaena, Rudy de Dios and Sofia Peralta, and composer-musical arranger Arnold Buena; Anting-Anting illustrated by Hubert Fucio, choreographed by Osias Barrosa with collaborator Michael Divinagracia, and composer-musical arranger Juan Carlo Magsalin.
Luz Fernandez, seasoned stage and television actress, will be Lola Basyang. She and the young girl Ate, to be portrayed by Missy Elizalde, will weave the three stories together.
Stage director is Roxanne Lapus; costume designer, Michael Miguel; lighting designer, J. Villanueva; production designer, Jonathan Janolo. Co-artistic director Osias Barroso believes the timeless stories will appeal to viewers many years from now.
For her part, artistic director Lisa Macuja-Elizalde is convinced the forthcoming presentation, with its engaging characters in Philippine literature, picturesque sets and colorful costumes, will enrapture audiences, particularly, the young.