Pianist Medel, 13, dazzles/Saporsantos magnetizes
Pianist Lorenzo Bueno Medel, 13, a De la Salle 7th grader, dazzled listeners at his recital in F. Santiago Hall.
In Bach’s Prelude and Fugue, briskness and utmost tonal clarity underscored the composer’s contrapuntal devices. Showing further conversance with stylistic matters, Lorenzo gave a light, airy, playful interpretation of Mozart’s Sonata in C, and a dreamy, impressionistic one of Debussy’s Girl with Flaxen Hair and Ministrels.
In the increasingly demanding program, the youngster electrified in Copeland’s “scherzo humoristic” with an even more persuasive demonstration of incredible nimbleness of fingers in the trills, and power in the thunderous chords and repeated glissandos — all these with no apparent effort!
Lorenzo fully captured Liszt’s daunting flamboyance and flair in the descriptive “Dance of the Gnomes” as he drew from his highly impressive technical arsenal.
Many older pianists have interpreted F. Santiago’s Souvenirs de Filipinas, but I was never more excited than when Lorenzo turned the work into a virtuoso piece. One held one’s breath as his fingers danced across the keyboard for the most intricate variations in rivetingly accelerated tempo.
Throughout the recital, lyrical passages were distinguished from the dramatic in brilliant fashion; finely nuanced fortissimos and pianissimos conveyed Lorenzo’s grasp of dynamics.
Mendelssohn’s Concerto in G Minor, the most convincing proof of the pianist’s exceptional gifts, reflected much more maturity than was warranted by his tender years. Indeed, his rich tonal hues, expressivity, musical intelligence and brio, especially in the cadenza, made him tower above many of his senior peers. And all the more surprising because the boy started playing the piano when he was already nine-and-a-half years old, later garnering first prize in three national tilts!
While Prof. Mauricia D. Borromeo played the orchestral accompaniment on a second piano, Lorenzo never missed a beat, anticipating entrances with the keenest musicianship and musicality.
Incidentally, the prodigy’s charming stage presence will be a considerable asset in what seems his predestined international career. That is, if he perseveres — with his hands on the piano and, as importantly, his feet on the ground despite inevitable accolades.
Soprano Katrina Saporsantos performed in the same venue, the Foundation for the Musical Filipino headed by Leonora de Jesus as sponsor.
Clarity of diction, a sumptuous, resonant, magnetic voice that soared magnificently and sustained top notes effortlessly — these the audience quickly noted.
Although the initial numbers were unfamiliar — Amy Mary Beach’s Three Browning Songs, Augusto Espino’s Borderless World both in English, and John August Pamintuan’s Ang Bilang, the audience was moved nonetheless by the soprano’s eloquent articulation, her voice growing richer and more luminous.
Wagner’s Wesendonck Lieder — Katrina will sing this with the Louisiana Philharmonic under Maestro Klauspeter Seibel when she returns to the Manhattan School of Music and the arias by Puccini, Massenet, Cilea and Catalani transported listeners to an even higher sphere of vocal and interpretive artistry. How the intense, fiery and passionate renditions arrested and compelled attention!
The rousing ovation was rewarded with Abelardo’s Ang Mutya ng
Forthcoming concerts
Tonight,
A solo piano concert marathon, “Bach to Bach 2”, set for Aug. 14 at
The Philippine Opera Co. will present at the RCBC hall on Aug. 28 at
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