DZFE’s 60th anniversary concert at the CCP main theater featured Maestro Olivier Ochanine and baritone Andrew Fernando.
The multi-awarded international singer justifiably regarded Dvorak’s Biblical songs (in English) as sacrosanct. He thus conveyed a reverential, prayerful air devoid of histrionics, his soaring voice reaching the heavens, his phrasing and articulation remarkably clear.
Ochanine’s tempestuous and tumultuous Finlandia had the Philippine Philharmonic Orchestra vibrantly reflecting Sibelius’ expression of Finland’s revolt against Russian oppression, its piercing cry for freedom and liberty. The percussions in the tutti passages led to a tremendous finale signifying Finland’s triumph.
In Hebrides Overture, which rises above most of Mendelssohn’s compositions, Maestro Ochanine’s delicate instrumental balancing created a phantasmagoric scenery.
Musicologists doubt that Brahms’ Variations on a Theme by Haydn are actually on Haydn’s theme. Although not matching Brahms' symphonies, the work is one of his most successful, the orchestra vigorously projecting unified form and colorful tonal hues enriched by horns, trumphets and kettledrums.
Near the finale, the winds, among the sections, luminously illustrated Brahms’ lustrous creativity.
Mendelssohn’s Symphony No. 1 in D Minor opened in a languid, gently gliding manner, followed by stirring passages and a playful scherzo. Ochanine has always excelled in projecting dramatic and arresting contrasts between pianissimos and fortissimos, these contrasts abounding in the Symphony which the Maestro ended in a shattering climax.
Concert organizers were station manager Tiffany Liong-Gabuya, president Dan Andrew S. Cura and anchorman Bert Robledo.
Started in 1993, the Bel-Air Village Pasinaya’s Festival Committee headed by chairperson-punong barangay Constancia Q. Lichauco, presented in music, song and dance some one hundred residents ranging from toddlers to young adults.
Hosts were Jian Miranda and Kaila Dionisio; executive director was Susan Calo-Medina. Floy Quintos directed and conceptualized the program based on themes of popular songs. The diverse, imaginative, modern velada had a ballerina’s fouettes; an exotic number was heavily influenced by Indian (Hindu) dancing. The richly talented Gabi Panlilio and Paolo Ocampo sang.
Dominating was the lively community spirit of those onstage, with their vibrant, propulsive performance, and of those offstage with their overwhelming response. Their bonding, their common love for song and dance, and their over-riding desire to uplift village life are indeed worthy of emulation.