A Little Night of Concertos /Ochanine’s PPO goes pop!

The international, relatively young cast in “A Little Night of Concertos” was excellent. Led by Belgian conductor Cedric Lachenal, the child violinists in Paganini’s Moto Perpetuo never missed a beat, their non-stop bowing producing 2,900 notes!

The closest dialogue between violinist Alfonso “Coke” Bolipata and pianist Harold Galang in Mendelssohn’s Concerto (1st  movement) was fascinating, particularly in its exquisitely glowing lyricism, each playing his solos masterfully.

Brilliant Georgian clarinetist Sergo Mamoradze shifted, with astounding versatility, from Mozart’s classic Concerto (2nd movement) to Bela Kovac’s quirky, pop-jazz “After You, Mr. Gershwin”, his brio and dexterity dazzling.

“Torrential spontaneity disciplined by an entirely adequate technique”, Tchaikovsky’s  Concerto (3rd  movement) was interpreted by Galang with rousing gusto and skill of a high order.

“Happy Birthday Variations for Strings” by P. Heinrich constantly changed rhythms and forms, ending in a minor key. The youthful AUP String Ensemble, refined, cohesive and spirited, obviously enjoyed playing, as did the audience listening.

Sarasate’s Tarantelle asserted more than ever Bolipata’s amazing, mind-blowing virtuosity and wizardry in the rapid, fiery Italian dance of dizzying turns and twirls.

Drawing as much applause was the encore, Liszt’s stirring, propulsive Hungarian Rhapsody No. 2 arranged for violin (Bolipata), clarinet (Mamoradze) and piano (Galang) interpreted rapturously, flawlessly, effortlessly.

“The Little Night” was most certainly “A Big Night” at St. Cecilia’s Hall!

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Constancia Lichauco and Teresa Colayco presented before a packed Salcedo Village Park “The PPO Goes Pop!”.

Rendered were Broadway songs, Cayabyab’s Eraserheads Medley, F. Aguilar’s Anak, The Pink Panther by H. Mancini, the semi-classic Blue Danube Waltz by Strauss, La Gaza Ladra Overture by G. Rossi, Danza No. 2 by A. Marquez.

Vitality, vivacity, vigor, vibrancy characterized the over-all interpretation, Maestro Olivier Ochanine drawing overwhelming volumes from the PPO, his flamboyance and flair through the widest spectrum electrifying listeners.

Paolo Ocampo spiritedly sang songs from “The Sound of Music”; two remarkable brasswind soloists played in Foster’s “Prayer”.

Ochanine’s baton was expressively eloquent in Marquez’s Danza with its propulsive rhythms, steadily increasing tempo and volume turning briefly into a slow pianissimo, growing in sound and volume again for a thunderous climax. How arresting were the pauses in Gardel’s Tango!

Despite somewhat diffused sounds in the open-air venue, Ochanine indeed went pop — and how!