Marc Anthony, Chayanne And Alejandro Fernandez
As Latin American flags, and the occasional pair of panties, sailed past their heads, singers Alejandro Fernandez, Chayanne and Marc Anthony performed for a gigantic shrieking mass of female fans at Nissan Pavilion on Saturday night. The trio served up the smoldering gazes and air kisses required of male pop stars, but didn't let their dreamboat duties get in the way of a dynamic three-hour show.
Dressed in a mariachi outfit, Fernandez began the show with soft ballads and songs dedicated to his native Mexico, such as "Guadalajara." But the singer switched to leather pants and pop tunes, including last year's "Canta Corazon," midway through his set.
Dishy platinum-selling star Chayanne couldn't match Fernandez in belting out ballads, but his choreographed routines spiced up dance hits "Torero," "Caprichosa" and "Boom Boom."
Although headliner Anthony long ago abandoned his spectacles, and his wife, Jennifer Lopez, is working to fatten up the skinny salsero, he isn't as hunky as Fernandez or Chayanne. But his incredible voice more than makes up for what he lacks in muscle mass. The Puerto Rican singer kept the crowd enthralled with hits such as "Nadie Como Ella" and "Te Conozco Bien," both from 1995's "Todo a Su Tiempo," that mixed powerhouse vocals and salsa rhythms. The audience became restless and distracted during "I Need to Know," the performance's only English tune, but not because Anthony dropped the salsa: When a well-manicured hand appeared from behind a curtain off the main stage, the crowd began trying to link the extremity to Lopez.
Anthony squelched speculation by pulling Lopez onstage for just a moment, but her brief appearance upstaged the heartthrobs. Lopez's tiny wave got louder cheers than Fernandez's sexiest stare, Chayanne's most complicated dance move and even Anthony's longest held note.
-- Sarah Godfrey
Pallavi Mahidhara's piano recital on Saturday at the F. Scott Fitzgerald Theatre in Rockville was satisfying for any number of reasons. The program included the Mozart Fantasy in C Minor, K.475, and Sonata in C Minor, K.457, all 16 of the Brahms Op. 39 Waltzes and three of Liszt's more thoughtful smaller pieces. But there was also a wonderfully playful and intricately structured sonata by George Walker, a piece that ought to be performed more often. All of this was played with a technical assurance that kept the focus on the music and not on the notes, and the program's very differing idioms were drawn subtly and with imagination.
Most satisfying, however, is that fact that Mahidhara, who just graduated from Walt Whitman High School in Bethesda and is enrolled at the Curtis Institute in Philadelphia, is where she ought to be at this stage of a career headed for artistic significance.
She has developed the ability to play with balance and a remarkably even touch. Her runs and arpeggio passages are light and sound effortless. She can bring out inner voices without their sounding premeditated. The polyphonic lines of the fifth of the Brahms waltzes, for instance, were convincingly lyrical.
Her powers of concentration are prodigious; she seemed as focused through to the end of the concluding Liszt "Mephisto Waltz" No. 1 as she did in the Mozart sonata.