The opening concert of the DVCO's 2026/27 season at the Manoel Theatre on 1 October felt different from the moment one entered the building. I had first heard the orchestra exactly a year earlier, on 1 October 2025, and had been enormously impressed. This evening marked the first anniversary of the De Valette Chamber Orchestra, and there was a sense that the occasion deserved to be celebrated.
At the door, welcoming guests, was CEO Edward Zammit and his partner, both looking quite stunning. He wore black tie and she an elegant black evening dress adorned with beautiful jewellery. An effort had clearly been made to mark the occasion, and many audience members responded in kind. The invitation encouraged guests to "dress for the occasion", with black tie optional, and there was a noticeably more festive atmosphere than one normally encounters at an opening concert.
The theatre itself seemed to revel in the celebration. Under the leadership of the Manoel Theatre team, the evening combined music, elegance and a welcome sense of occasion. Many patrons had evidently taken particular care over their appearance, lending the historic auditorium an air reminiscent of another age, when attending the theatre was itself an event.
A young singer opened the evening with the Maltese National Anthem, adding a touching local note to the proceedings. Unfortunately, the Minister for Culture was unwell and unable to attend this special occasion.
Printed programmes remain an important part of any concert experience. This beautifully illustrated programme was designed by the now widely celebrated Luke Azzopardi. I would, however, venture one criticism. Some of the text was printed unnecessarily small and would benefit from greater legibility in future editions.
I cannot help noticing what members of the orchestra wear. The blue ties worn by the male musicians, sponsored by Charles & Ron, added a subtle touch of visual unity. Many of the female players also wore evening gowns in shades not of gray but blue, creating an attractive and quietly elegant coherence on stage.
The concert featured the distinguished French cellist Julien Laferrière as soloist in Haydn's Cello Concerto No. 1 in C major. He was magnificent. We perhaps do not always appreciate how extraordinarily fortunate we are in Malta to hear musicians of such calibre, both within the DVCO itself and among its distinguished guests. The cost of a good seat at the Manoel Theatre is modest compared with what one would pay abroad to hear performances of this standard. Every concert ought to be full to the gods.
Haydn was followed by Schubert's powerful Death and the Maiden. This is one of those works that musicians and critics frequently revere, although not every listener is entirely captivated by it.
I should also mention that the guest cellist joined the orchestra for the Schubert as a mark of respect for the exceptionally high standard of this chamber ensemble.
Death and the Maiden remains one of the towering masterpieces of the chamber repertoire, admired for its emotional intensity and dramatic structure. Yet I found my attention wandering. Perhaps the contrast with Haydn's sparkling concerto was too great, but the work's relentless darkness and repeated insistence made it a challenging listen, despite the orchestra's committed and polished performance.
I am normally a devoted admirer of Schubert, whose melodies often seem to flow effortlessly from one inspired idea to another. Yet Death and the Maiden has never been among my favourites. While I readily acknowledge its dramatic power and artistic importance, I find its sombre mood rather unrelieved and, at times, surprisingly heavy-going.
What I hear is insistence, repetition and a certain monochrome quality. There is little of the sunny lyricism found in the Trout Quintet or in the songs that make Schubert so irresistible.
I found Death and the Maiden more admirable than enjoyable, however beautifully it was played by these wonderful musicians under the leadership of our very own star, Carmine Lauri. It is a masterpiece, certainly. It simply refuses to speak to me.
The work was composed in 1824 after Schubert suffered a serious illness and realised that he was dying. Small wonder, then, that it is so steeped in darkness. I certainly do not want it played at my funeral. I really must leave a note about that.
The evening set a new standard. One hopes this welcome return to formality and occasion will continue, for this is Malta's national theatre and it deserves to be celebrated as such.
The audience demanded an encore and, although the musicians must have been exhausted by then, they rewarded us with Mozart's Symphony No. 29 in A major, fourth movement, Allegro con spirito. We left smiling, with not a single morose thought of death lingering in our minds.
As for patent leather shoes, worn by some members of the orchestra but not nearly enough of them, I remain firmly convinced that they should be obligatory.
What's Next
27 October 2027 at Our Lady of Victory Church, Valletta
Classical Guitar Favourites
Presented by well-known talented Maltese guitarist Bernard Catania, this event offers audiences an opportunity to enjoy an hour of beautiful favourite guitar music by some of the world's greatest music composers, such as Enrique Granados and Isaac Albeniz.