It was a humid night, with the mercury hitting 39ºC, that ushered in an evening soirée held at the historical Villa Apap Bologna - the residence of the US ambassador - last Thursday. The event saw a number of distinguished guests entertained with an evening of classical American songs by renowned Maltese tenor Cliff Zammit Stevens, accompanied on the piano by Joanne Camilleri. The performers were generously sponsored by American guests Michael and Susan Taylor and Marina Couloucoundis.
The residence in Attard, with its lovely landscaped garden, is an ideal venue and evocative of colonial times when guests would be entertained on the lush green lawns surrounded by acacia and olive trees and a number of plants in decorative ceramic containers.
Introducing the two artistes to the audience, the American Ambassador, HE Kathleen Hill, spoke about the need for Malta to have more musical soirees as befits a cultured community. She pointed out that summer is the ideal time for musical gatherings in private houses where music and art can be enjoyed and appreciated by lovers of culture. In her humble opinion, there are few venues in Malta where such gatherings can be organised but, in the absence of theatres, private houses will serve as an alternative to nurture the classics.
In my opinion, she acted like the protector of the nine Muses of ancient Greek mythology who were responsible for most artistic and cultural works of art performed by the champions of the Greek Gods in ancient Greece. The Muses, according to Hesiod, each protected a different art and symbolised a different emblem. I think we miss patrons of art and culture to sponsor similar soirées in the hot summer months, where sheltered gardens can be an ideal backdrop.
Cliff Zammit Stevens is currently supported by the BOV Joseph Calleja Foundation. He has been described as 'a revelation' by the Daily Express newspaper and has a Master's degree from the Royal College of Music. He has been a finalist in the Les Askonas, Francesco Vinas and Belvedere International singing competitions, has performed at the Royal Albert Hall in London and also participated in the Glyndebourne Festival last year.
Joanne Camilleri - the solo pianist accompanying him - is a prize-winner of the Royal Northern College of Music and has a doctorate in Performance from the University of Malta. Her specialisation in the music of the 17th and 18th centuries sees her playing the harpsichord and she often participates in international baroque festivals.
I compared the Ambassador's initiatives to patronise the arts and music to the nine Muses of Ancient Greek mythology. In Greek mythology, we read how the Muses were revered goddesses of the various arts such as music, dance and poetry and are blessed not only with wonderful artistic talents themselves but also with great beauty, grace and allure. Their gifts of song, dance and joy helped the gods and mankind to forget their troubles and inspired musicians and writers to reach ever greater artistic and intellectual heights.
The Muses were believed to live on Mount Olympus, where they entertained their father and the other Olympian gods with their great artistry. Apollo was, in a certain sense, the choir leader of the Muses, although his attachment was not limited to music as he fathered many children within his musical group.
Readers may ask how we can revive the arts and cultural evenings in Valletta, considering that we have never rebuilt the Royal Opera house, now known as the Valletta roofless theatre. The building dates back to 1896 and was a gift from the colonial powers that added a second theatre to The Manoel - itself an example of baroque splendour.
The Royal Opera house was unfortunately bombed during World War II and was never repaired, but transformed in 2012 into an open-air theatre set to the design of the famous Italian architect Renzo Piano. This structure was highly criticised by the Maltese as it did not encourage interest in artistic concerts and could not host a full-scale opera. Performers shy away from producing anything in this theatre due to its disadvantages: in the winter months, performances risk being cancelled due to rainy or cold weather, whilst in summer the intense heat makes it unbearable for performing any sort of artistic venture.
We recall how, 10 years ago, the then Prime Minister Lawrence Gonzi revived the proposal to erect a new Parliament building on the site of the ruined Royal Opera house with a budget of €80 million. Renzo Piano was engaged to submit designs but he dissuaded the Government from building a new House of Parliament on the site of the Opera House, proposing instead a futuristic design (some call it the 'cheese grater') for a new House of Parliament on Freedom Square.
It was intended to complement a re-modelling of City Gate. Art critics were furious that the ruins of the old theatre were not to be rebuilt to their glorious original colonial design. Protests came from all areas, including a petition from world-famous tenor Joseph Calleja, but they were all ignored by the Italian designer. Piano insisted on an open-air theatre. He argued that the site was too small for a Parliament Building - now required to accommodate a larger number of elected members and their secretariat staff. It was also claimed that a modern theatre of conventional size would not fit into the original site, considering today's requirements for rehearsal rooms, backstage facilities and accessibility, apart from generating exorbitant running costs.
Ignoring strong protests from nostalgic art lovers - a few of whom could remember enjoying grand opera performances in the past - Piano was not for turning. He persuaded Gonzi that "after more than 60 years of controversy, the ruins of the demolished opera have undeniably reached the status of a monument, irrevocable witness of history and the dignity of collective memory". The government capitulated to Piano's arguments and went ahead with his plans, and the open-air theatre was officially opened in 2013.
This evokes in us a sad feeling about the faith of the Nine Muses that were summarily decapitated and the dead knell sounded for cultural and artistic society. In conclusion, thank you again, Your Excellency, for patronising the arts and let us have more such initiatives in the future.
George M. Mangion
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The writer is a partner in the audit and business advisory firm PKF