Treasures of Malta is not aimed at the coffee table - not that I dismiss coffee-table books, they have their place in our lives as well. Treasures has its own ambition, which is to reach real people. The Christmas issue, No 73, is a handsome issue of some 100 pages and more with beautifully illustrated articles enticing us to read them. It includes an insert made up of four photos: one by J. Conroy, two by Leandro Preziosi and one by G. Micallef from the Giovanni Bonello Collection. Inside there is a long, well documented article by Caroline Tonna on Leandro Preziosi.
The editorial itself contains a wealth of information. It is quite amazing the amount of work that is going on behind the scenes to preserve our heritage. This year we are in for another treat as the Fondazzjoni Patrimonju Malti is working on another of its 'great' exhibitions, this time it is on 'musical instruments and culture' and planned for 14 April to 16 June later this year. It is to be held at the Cathedral Museum in Mdina. The exhibition is going to spawn a number of publications and events which should keep us all, but especially music lovers, happy.
Apart from the publication of a number of books Patrimonju is also working on a digitisation project. As Judge Bonello writes in his editorial: "Saving our heritage underpins the core element of Patrimonju's mission statement." And "Initiatives of high cultural worth are buzzing all over Malta and some are very close to the finishing line."
And so to the contents of this Christmas issue of Treasures. I went straight to the article on Princess Nathalie Poutiatine, written and researched by Dr Kathrina Farrugia-Kriel who is Head of Research at the Royal Academy of Dance in London. In this article she retraces some of the seminal steps in the life of Princess Poutiatine (1904-1984) and pieces together surviving programmes of the several forgotten ballets from the 1930s. Many of the photos come from Tanya Bayona's collection - Ms Bayona, as we know, had taken over Princess Poutiatine's mantle and ran the ballet school for many years.
Princess Poutiatine is part of our childhood and one of those hazy memories which come back to us from time to time. Like Dun Karm Psaila, a couple of priests from St Patrick's and others we used to see her pass by with her husband, both of them tall and stately. That same street now bears her name even if this was done in error as it is in the street where her dance studio was that should have been named after her.
Her story, like those of so many Russian émigrés is fascinating. It is a tale of survival and the triumph of the human spirit against all odds. As we know her contribution to ballet in Malta was enormous. The author writes: "Poutiatine's first appearance on the stage of the Royal Opera House, in 1929, was the catalyst for change for the Island that had minor connections with concert ballet."
The first concert of 'Russian Ballet' was given on Friday 30 May 1930, "in aid of the refugees and under the patronage of the then Governor of Malta, John Philip du Cane. The audience included Lord Strickland, Sir Ugo Mifsud, her brother-in-law Sir Arturo Mercieca, and their spouses. "A handful of Maltese young women, including Lola Francia and Ella Zammit Cutajar from Ms Jackson's Dance Troupe, Amy Lowell and Poutiatine's niece Mari Mercieca, took part in this first ballet concert. There are other familiar names who participated in other performances: Robert Borg Olivier, Mary Scicluna (daughter of Sir Hannibal), Tancred Mercieca (the second born son of Sir Arturo Mercieca), the Micallef Eynaud sisters. It is interesting to note that it was Dr Giuseppe Pace who commissioned the building of Poutiatine's studio in Tigné which is so familiar to many students of ballet, including one of my daughters, and which was taken over by the talented Tanya Bajona.
Many of the ballet costumes were made by the well known Madame Manfré "a former assistant to Madame Patou in the Gowns Department at the New York Hudson stores and later 'an accomplished courtier in her own right.'
Princess Poutiatine commissioned costume designers and couturieres by Ballet Russes companies: "Poutiatine paid significant attention to costume design." According to the programmes costumes were also in the hands of Miss Borg Bellizzi for several years.
The Notes, at the end of the article are in themselves full of interest. For example: "The majority of young women performed in Poutiatine's productions until they got married. The exception was Mary Scicluna (later Mary Arrigo). However, Lola Francia performed until 1947 and died unmarried. She was also the younger sister of Lady Mifsud."
From the Notes we also learn that Mary Scicluna "studied ballet in Paris in 1935 and subsequently returned to Malta later that year or in 1936. She married in 1937 and unlike many of the other dancers, she returned to perform with Poutiatine's productions in 1939 as Mary Arrigo."
This is a most interesting article and should be read by every ballet student.
Caroline Tonna who is now curator at Palazzo Falson Historic House Museum - Francesca Balzan is at head office as Senior Executive at Fondazzjoni Patrimonju Malti - writes about Leandro Preziosi: Pioneer photographer in Malta and his connections with Istanbul. Ms Tonna tells us that Leandro is the brother of the famous and talented Orientalist artist Amadeo Preziosi (1816-1882) and grandfather of the ophathalmologist and politician Sir Luigi Preziosi (1888-1965). Their Corsican ancestor, the author tells us, was the corsair captain, Giuseppe Preziosi (c.1658-1730). This article is another fascinating read about a man who was talented to start off with, but who pursued his interests with great passion. Amadeo moved to Istanbul in 1842 "a city that at the time had become a popular destination for many European travellers who went on tour of the Orient." Amadeo and Leandro worked closely to the benefit of both. Although the artist is far better known than the photographer, Ms Tonna assures us that "Leandro Preziosi deserves to be given credit in his own right for his bravura in photography... Leandro set high standards in studio photography, development and printing, elevating photography in Malta to an appreciated art form."
I shall only write a few words about the rest of the articles as space does not permit me to do otherwise. This does not mean that I did not find them interesting although I have to say that I am less fascinated by medallions than I am by stories of people's lives.
In Music and the Illuminated Book in Malta, Martina Caruana provides a brief overview of the relationship between music and illumination in books in various collections throughout Malta. My reaction upon reading this article was to admire the author for her meticulous work but also those who must have spent many lonely hours decorating these works of art, among them local craftsmen.
Prof. William Zammit writes about Melitensia Curios while Maria Cassar in Willie Apap (1918-1970) Spirituality in Art writes with great enthusiasm and love of the artist and his art. "Apap's figures... breathe wistful melancholy. Their youthful bodies often express an imponderable fragility, longing for a satiation which they cannot reach in the face of destiny."
Willie Apap is the brother of the sculptor Vincent Apap. Among his sitters were the last King of Italy, Earl Mountbatten and even Princess Anne at Windsor. I am so sorry I missed the temporary exhibition curated by Ms Cassar and organised by Patrimonju at the Victor Passmore Gallery. This was probably the only chance for me to see some of his works. The article is very well illustrated.
In the series My Favourite Object, the curator of The Malta Postal Museum in Valletta, Lara Bugeja, writes about Maiolica. Obviously in love with her subject and highly knowledgeable Ms Bugeja rewards us with a fascinating read. Syrup jars, flower pots, pilgrim flasks, I shall never look at a piece of Maiolica with less than enthusiasm again.
Prof. Arnold Cassola in Luigi Capuana's Connections with Malta unfolds the story of "the most famous exponent of the Italian eighteenth-and nineteenth-century Italian realist movement known as 'Verismo.'" A most enjoyable article, I will end with the menu served at the Casino Maltese where Capuana was invited to lunch and where the guests expected a polished speech. Instead he rose: "Gentlemen, I am a writer, not an orator; therefore, thank you, thank you, thank you."
The rich meal consisted in 'Hors d'oeuvre; Dental sauce crévettes; Côtelettes de veau à la Bourgignon; Entrée de volailles; Gateau à la Malta; Bombe Melita Dessert. He was also invited to another lunch organised on the initiative of the editor of The Malta Herald, Giovanni Muscat...but that is another story...another menu.
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