The magnificent Cruz/FEU dramatic readings

These days, Jiovanney Emmanuel Cruz rarely performs in public, but whenever he does, he overwhelms his listeners. According to the program notes prepared for his Saturday concert at Alabang’s Insular Life Theater (for the benefit of the St. John Ma. Vianney Association), Cruz is the country’s most internationally awarded pianist; indeed, his performance readily gave credence to the claim.

His interpretation of Rachmaninoff’s Rhapsodie on a Theme by Paganini electrified the audience with its fire, grandeur and magnificence. How arresting, how compelling, how absorbing it was! His tremendous technical skill produced rippling runs and thundering bass chords. The lyrical variations were ineffably exquisite, and one fervently wished there had been more of them. The tonal colors were rich, the dynamics greatly controlled. Cruz’s impeccable rendition, replete with the subtlest nuances and the most moving emotional impulses, had the Metro Manila Community Orchestra as accompanist under the admirably authoritative baton of Josefino “Chino” Toledo. Its assorted members — ages 15 to 60 and recruited for their passion for music — gave truly inspired, vibrant, expressive support. Rapport between conductor and pianist was seamless.

Cruz’s adoring fans who loudly clamored “More!” were immensely enthralled by Liszt’s Liebestraum (Dream of Love), Prokofieff’s Tarantelle and a Chopiniana waltz after which Cruz mischievously closed the piano lid, leaving behind remembrances of a mesmerizing concert.

Earlier, Toledo elicited sensitive response from the orchestra. Highlights in the overture to Bizet’s Carmen were vividly conveyed; Buenaventura’s “By the Hillside” was poetically descriptive; “Prairie Nights and Celebration Dance” from Copland’s “Billy the Kid” began lambently and ended with dramatic outbursts depicting the cowboy’s adventures; Stravinsky’s sparkling “Circus Polka” dazzled listeners with its dizzying rhythms and booming circus sounds from the animal kingdom.

As an assurance of consistently substantial programs, the FEU President’s Committee on Culture has appointed Martin Z. Lopez as its executive director, replacing Dr. Rustica Carpio who leaves a hard act to follow. However, Mr. Lopez is thoroughly conversant with the performing arts, and is in close touch with performing artists who count. He also draws valuable counsel from Dr. Carpio who now serves as consultant.

Although FEU’s cultural offerings are primarily meant for students, their high quality makes them worthy of sophisticated audiences.

Mr. Lopez announced forthcoming presentations, among them “Panalangin” featuring the Douglas Nieras Powerdance. The event is for Aug. 9.

A short documentary on correct theater deportment preceded the dramatic reading of “Driving Ms. Daisy” and “Sorry, Wrong Number”, both directed by Segundo Dizon. The former by Alfred Uhry is about a Jewish widow too old to drive. Despite her protests, her son hires an elderly driver who, in the end, becomes Ms. Daisy’s good friend.

The play seemed rather trivial for the talent of Rustica Carpio, a superb actress, indeed one of our best. Director Dizon was the endearing driver; Bely Ygot, Ms. Daisy’s son.

Written by Lucille Fletcher, “Sorry, Wrong Number” involves a woman invalid who inadvertently learns by phone a murder being plotted. She calls various places, including a police station and a hospital from which she requests to be given a nurse for the night. All calls prove futile, and her husband won’t be home till next day! As she sits in her wheelchair, a figure stealthily enters her room.

Mila Canares was excellent as the invalid. However, her start on high gear prevented a gradual build-up that would have created an even more shattering climax. Operators were Amalia Rosales and Belen Bucao; Sgt. Duffy was Joel Reyes; the nurse, Kathy Arguelles.