PPO clinches a jubilant concert
There was an instant standing ovation from the rather shocked unbelievers, almost teary-eyed audience, with yells and cheers for more
Daily TribuneThere was an instant standing ovation from the rather shocked unbelievers, almost teary-eyed audience, with yells and cheers for more
Sara Sant'Ambrogio plays the cello.
PHOTOGRAPHS COURTESY OF THE CULTURAL CENTER OF THE PHILIPPINES
(FROM left) Sara Sant'Ambrogio, Grzegorz Nowak, and PPO guest concertmaster and artist-in-residence Diomedes Saraza Jr.
PPO conductor Grzegorz Nowak.
Triumph, the second of seven in the Forte series, the 40th concert season of the Cultural Center of the Philippines and the Philippine Philharmonic Orchestra, was truly triumphal!
Featuring cellist Sara Sant’Ambrogio, she boldly exuded utmost confidence with a wide bright smile, as she firmly hugged her cello towards the center of the Samsung Performing Arts Theater. At that very moment, she had instant rapport with the audience who showered her with loud applause.
The Grammy award-winning musician has captivatingly performed in most sought-after venues, from intimate quarters and concert halls, to vast arenas and wide-open spaces.
She has likewise recorded six best-selling albums, created news in internationally-distributed newspapers, graced the covers of worldwide editions of glossy magazines, and guested on global television networks.
Her choice piece for the evening was Cello Concerto, op.85, E minor by the award-winning Edward Elgar. He composed the masterpiece while physically unwell during the wake of World War I and its destruction and devastation.
Sant’Ambrogio began with an intense pensive solo Adagio-Moderato tune from the cello, which then alternated with the orchestra and created rhythms of contemplation and passion.
The second movement in Lento-Allegro molto commenced with an extremely slow pace, which eventually built up to an almost celebratory tune, as if wanting to break free.
The Adagio third movement was often hailed as the heart of the piece. During the emotional set, it seemed like the cello itself was communicating despairing words that touched our hearts with sympathy!
The finale incorporates most of the earlier movements, as it brought back a sense of nostalgia. Sant’Ambrogio appeared immersed in her own world, as if in a controlled frenzy.
I felt the concerto ended abruptly, perhaps much like the original composer intended, which left a haunting impression.
The crowd immediately roared into applause, with the loudest cheers from fellow musicians onstage — confirming the realization of a difficult piece to play!
After several curtain calls, she obliged with a brief encore performance of Gaspar Cassado’s last movement of the Solo Sonata for the cello. The audience simply froze completely, absolutely still — might even say mesmerized!
Another standout during the evening was Nikolai Rimsky-Korsakov’s Capriccio Espagnol, op.34. The composition reminded me of our recent family trip to Asturias, through its lightheartedness and do I dare to say danceable tunes?
We immediately fell in love with the piece, for we realized it was rather democratic — meaning, most instruments in the orchestra had their own time to shine under the sun. The Alborada featured a cheerful clarinet solo, while the Variaziono was a somber horn melody which ended in a dramatic flute solo.
The Alborada reprise was led by a marching theme of drums and horns, interspersed with an energizing violin solo. The Scene and Gypsy Song opened with horns and trumpets and evolved into five cadenzas, to include the violin, flute, clarinet and harp.
The ending was the Fandango of the Asturias, where trombones led an upbeat melody, while wind instruments spurred the audience to tap their feet along. The familiar opening theme returned, but this time fused with cymbals and castanets — all in a majestic finale.
The final act was Robert Schumann’s Symphony no. 2, op.61 C Major. Throughout the four movements, we were familiarized with the composer’s emotions and struggles. The starting scene opened with a slow trumpet, which blew us away with its power.
The second movement proved a stark contrast, as it presented an energetic barrage of frantic notes. The third part provided us with the calm before the storm — a moment of vulnerability for Schumann. Finally, the orchestra ended with triumphant energy, with a joyous version of the original rondo.
There was an instant standing ovation from the rather shocked unbelievers, almost teary-eyed audience, with yells and cheers for more.
Forte: Triumph was under the spell of highly-lauded Philippine Philharmonic Orchestra conductor Grzegorz Nowak, who took his series of bows through the late night.
And once again — we cannot stress this enough — it was a complete triumph!
¡Enhorabeuna!