Arriving a few minutes late, Anna Leah and I found the entrance to the Philamlife auditorium firmly shut, and the security guard refused to give an inch even as the performer, Sofya Gulyak, was already moving swiftly to her second piece, Chopin's Polonaise Fantasie in A-flat, op. 61 with hardly a pause after the Mazurkas.
We learned later that she did wait for a few seconds for the expected applause after the first piece (it would have been the cue for latecomers like us to sneak in). It didn't come, leaving her with this puzzled look but she went on with the next piece.
Although physically heavyset with a distracting tendency to take brief pauses to wave aside an errant strand of curly hair from her face, pull down her black blouse or tug at her sleeve, Gulyak showed capacities for powerful hand work in the passages that called for thundering fortes and fortissimos and delicacy, especially in her interpretation of Schumann's Abegg Variations, Kinderscenen and Carnaval.
We've often wondered why Manila remains in the radar of world-class classical musicians, considering there's a lot of marketing and promotion still to be done to fill up concert halls. In conversations with writer Pablo Tariman, I shared my observations how I see the same people at concerts, and they're mainly seniors, some with domestic helpers assisting them; they come in wheelchairs or hobble with the aid of canes or walkers.
Wonder no more. Filipinos know how to ovate to recognize an excellent performance. Last night, there were shouts of "Bellisima!", not just non-stop clapping, standing ovations and cries of "More." My teacher, Nieves Epistola, used to compare Filipino and Japanese audiences. She noticed that Japanese music students were notorious for bringing in music sheets of the pieces to be played at the concert and study the pages, trying to see if the performer missed some notes. She said they wanted to get their money's worth. Pinoys are kind in comparison.
Producer Ray Sison of ROS Music Center is an example of kindness. After the applause fades and people rise to leave, he always enjoins the audience to go up the stage to meet the artist. Normally, admirers who want their programs signed or pictures taken with the performer go backstage.
Up close Sofya's pudgy, awkward appearance dissipates to show a milk-complexioned, youthful woman who looks like she is just on her junior year at the conservatory. She is on the early side of 30 but already her accomplishments include being the first woman to win the Leeds International Piano Competition on its 16th year in '09.
I feel so blessed the past few months to have watched and listened to the likes of Sofya, Albert Tiu, Qin Li Wei, Arthur Espiritu, who wears the crown of "Prince of Cantabile" placed on his head by Pablo. On Monday, Oct. 18, another seasoned pianist, Pascal Roge will be here for a night of Chopin and French Impressionism. Lined up in the program are 18 pieces by Faure, Chopin, Debussy, Ravel and Poulenc.
This time, I have no more reason to be tardy as I have a gut feeling that we might have a full house.
Photo by Anna Leah Sarabia of blogger shaking pianist Sofya Gulyak's hand
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