Christian Holland’s witty contribution “Stage fright” (TMIS, 21 June), particularly his reference to the e90,000 loss registered in the latest BOV Opera Festival, reminded me once more of personal experiences in opera production at the Manoel, which your readers might be interested in.

The only time I was invited to sit on the Manoel Theatre Management Committee (MTMC) was in December 1996 and, after obtaining certain reassurances, which coincided with my ideas of how the MTMC should be formatted (predominantly on meritocracy and not political colour), I accepted. A few days afterwards, during a meeting with the Parliamentary Secretary in the Ministry of Culture, the MTMC Music Sub-committee, of which I was a member, was informed that the government wanted to stop opera productions at the Manoel, the reason being the huge losses it was making (e.g. I Pagliacci Lm19,108 [e44,500] in 1996) – “Malta can’t afford them” we were told.

We insisted that the new Music Sub-committee should be allowed a free hand in deciding what to put on at the Manoel, and if financial results for opera continued on the same level, then we would accept the government’s decision.

During my two years on the MTMC, I was involved in two opera, Manon Lescaut (October 1997) and L’elisir d’amore (February/March 1998). I remember with special satisfaction my production of L’elisir, particularly since it was dubbed one of the best creations to have graced the Manoel stage with a dream cast dominated by Maltese singers – Miriam Gauci, Marita Bezzina, Joseph Calleja (his operatic debut in the Manoel), Alessandro Paliaga, Alfredo Mariotti, and the Manoel Theatre Choir, the National Orchestra with Joseph Sammut conducting. The producer was Joseph Fenech and during our first meeting I asked for a production as relevant as possible to the Maltese environment using only one stage set throughout with the performance to have only one interval. What I was aiming at was a ‘modern’ production in line with what was happening in the majority of European opera theatres. Mr. Fenech surpassed my expectations by setting the opera in a 19th century Maltese piazza. The financial result – a loss of only Lm1200 (e2800) in 1998. The production had no BOV or other sponsorship.

What was the basis of our success? I believe basically four factors: an MTCM which knew what the Maltese public was interested in; a Music Sub-committee, supported by a competent and knowledgeable general manager thoroughly familiar with opera and its production; a firm belief in the validity of local stage expertise, spurning the easy option of going overseas to produce something that can be produced locally; and an appreciation of the Manoel Theatre’s (and Maltese) scarce resources, particularly financial, considering them not a limitation but a challenge to give the best possible to the Maltese public.

The high standards achieved by Manon and Elisir even drew the attention of international travel agents, who started making enquires about the possibility of bringing tourists to attend our productions. The result was the first Manoel Theatre Opera Festival, planned to showcase and widen its international appeal and not only its international repertoire, but also Maltese operas. The very successful first festival, held in March 1999, consisted of performances of Bellini’s Norma, Pace’s I Martiri, and Isouard’s Messa de Rohan.

I therefore venture to suggest it is the singer and not the song that has been mainly liable for the financial troubles currently besetting the publicly-financed cultural sector, above all opera production. I appeal to the government to consider this carefully when deciding on the future of our opera house. Future generations may rue and condemn decisions hastily taken or taken on assumptions not properly evaluated.

I also ask the authorities to consider whether it might not be in the national interest to stop paying honorariums to people sitting on its diverse cultural boards. As it is, these appointments are considered legitimate pickings for the political party faithful or friends of friends, irrespective of whether they have the required knowledge and dedication. Many of those nominated are consequently proscribing individuals who can make a real contribution not only to Malta’s culture but also to its economy.

I was not given any honorarium during the very rewarding time I was an MTMC member. Nor did the others, including the chairman. Neither did any of us expect it.

Joseph Vella Bondin

STA VENERA