The 1984 LP was Licad's debut on record, and I share TH's welcome for it. Still only 24, this Manila-born pianist combines enviable fluency with true artistic insight—as might be expected from one so privileged in training (her mentors have even included Serkin). She is of course enormously helped by Abbado and the Chicago Symphony Orchestra, who carry her along in a great flood of tune like a river in full spate. I can understand why TH thought the acoustic a little too resonant. On CD the sumptuously succulent orchestral foundation does sometimes outweigh the piano's own upper register, though I much prefer this to over-forward spotlighting of the soloist. Inevitably, as yet, she has not Richter's intensity (DG)—that deep, inner conviction that compels you to accept even provocative tempos. But I'm glad she does not copy him. Both Licad and Abbado get close to the Second Concerto's romantic heart without flouting metronome markings.
Rachmaninov's own lighter, often crisper scoring helps the balance in the Paganini Variations, though again you are constantly reminded of the orchestra's wide dynamic range in this opulent recording. If Davidovich's characterization on Philips is the bolder, Licad nevertheless holds her own with her somewhat more delicate fancy and finesse. A pity though that the CBS booklet goes exclusively to the pianist's, rather than the music's, tale.'