A rollicking opera; Enzo’s arresting concert

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Rosalinda L. Orosa

Rosalinda L. Orosa

Gilbert and Sullivan’s rollicking one-act opera “Trial by Jury” was presented at the RCBC Theater by the WILOCI headed by Diane Franco, the UP College of Law, and the Zonta Club of Manila headed by Nila Vibal Mata.

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The highly experienced and authoritative Floy Quintos directed an outstanding cast of principals: Camille Lopez Molina as the plaintiff’s counsel, Kay Bajaladia/Anna Migallos as the bride, tenor Nazer Salcedo as the groom, bass baritone Noel Azcona/Ronald Migallos as the Usher, baritone Greg de Leon as the judge—each in fine vocal from.

The bridesmaids, the public, the gentlemen of the jury quickened the already brisk pace of the production. To quote a cliché, “There was not a single dull moment;” the judge mischievously flirts with the bride, the groom is momentarily consoled by the bridesmaids before he finally envelopes the bride in his arms.

The opera is a logical choice of the legal groups, involving as it does a lawsuit; a breach of promise to marry.

Ohm David’s set design was imaginatively appropriate; John Abdul’s costumes, particularly Camille’s, enhanced the comical portrayals adopted to suit the local Filipino scene with the injection of the different dialect intonations of the Philippine Islands.

Pianists Molinder Cadiz and Farley Asuncion accompanied the singers in the opera which sent the audience rolling in the aisles. The sponsors were Belmont, Greta Go, Ramon Arnaiz, Burlington, San Miguel Foundation and PAGCOR.

Meanwhile, former prodigy Lorenzo “Enzo” Medel recently played at La Salle Greenhills auditorium familiar, highly admired selections. Scarlatti’s Sonata in E demonstrated the pianist’s tonal clarity, precision and lucidity demanded by the Baroque, pre-classical period.

The first movement of Beethoven’s Moonlight Sonata was a soft, lambent, pianissimo throughout—reflecting a luminous moon—thus lending a dramatic contrast to the sparkling second movement, and an even more striking contrast to the fiery third.

Chopin’s Etudes explore and vastly extend the range of the piano technique: musicologists aver that anyone who can render the Etudes can play anything technically and artistically.

Enzo startled the audience with his extraordinary dexterity and fine sensitivities in Chopin’s unique, original, innovative devices. In the Revolutionary Etude, he declared his own revolution, his bravura awesome, just as it was in the Winter Wind and Black Keys Etudes.

Sparkling explosives and blinding streaks of light characterized the interpretation of Debussy’s Fireworks, setting the audience ablaze. Enzo turned most virtuosic in the relatively unknown finale, N. Miyaskovsky’s Sonata in F Sharp Minor, its overwhelming challenges and demands leaving him unfazed, his masterful strokes sending pulses beating rapidly.

As Enzo, only 20, takes a leave from NY Eastman School, he shows increasingly amazing progress at each performance, which indicates future international engagements.

The program’s second half had the proficient, promising violinist Maria Jeline Llorin Oliva interpreting in a robust, lively, spirited manner Vitali’s Chacone, Vivaldi’s Summer and Winter Concertos and De Falla’s Danse Espagnole. The most lyrical piece, Massenet’s Meditation, seemed rather wanting in feeling.

Assisting artist Enzo Medel had seamless rapport with Jeline, impeccably reflecting her every accent, staccato, sforzando, legato, etc.

Another facet of his talent as superb chamber music player was thus manifested.

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