Despite what foreigners were apt to say in the past, the Maltese are a musical people. The last few decades have seen a great increase in the number of young people who dedicate themselves full-time or part-time to musical performance, with more of them than ever continuing their musical studies for a time abroad thanks to the bursaries or scholarships awarded by generous people or foundations such as the Bice Mizzi Vassallo competition for young musicians.
An increasing number of them are deciding to spend some years, and at times the rest of their career, abroad. Singers like Miriam Gauci and Joseph Calleja, the violinist Carmine Lauri or the conductor/pianist Brian Schembri have established themselves as performers outside Malta, achieving varying, but always impressive, degrees of success. Among them the guitarist Simon Schembri also occupies a distinguished place both as a recitalist and as a teacher in Paris, his second home.
Strangely enough, success abroad very often does not suffice these performers. For them acceptance by the music-lovers of their native country is just as, or even more important than, overseas celebrity. This is understandable as well as a good thing for this country, for it would be shameful indeed if Malta were to be deprived of performances by the best musical talent it produces.
Nowadays Malta no longer has to rely on the Manoel Theatre for its prestigious concerts or recitals. Apart from the large and expensive Hall of the Republic at the Mediterranean Conference Centre, there are other venues like St James Cavalier or a number of churches, including the St Mary of Bir Miftuh church at Gudja, venue for an annual music festival.
The Manoel's prestige, however, remains undimmed. Both Maltese and foreign musicians regard a performance in that delightful old theatre as a thrill as well as an honour. No wonder then that Mr Schembri publicly expressed disappointment at the fact that a long time has passed since he was invited to perform at the national theatre and with the national orchestra.
The trouble is that the theatre has to cope with a whole range of musical and non-musical productions by a medley of Maltese and foreign artistes. Moreover, over-exposure to the few thousands forming Malta's lovers of classical music can be harmful to a performer's image.
These considerations, and the busy overseas career of distinguished Maltese performers overseas, may explain why, say, Mr Lauri and Mr Schembri have been absent from the Manoel's boards for some time. What is highly unlikely is that such absences are due to a loss of interest in these performers.
In some cases performers may not have agents efficient enough to check regularly with the Manoel about vacant dates in the coming season or two and in other cases recent performances by these artistes at other Maltese venues may deter the Manoel's management from issuing invitations to perform in that theatre.
What Malta needs just as much as their performances is their willingness to help train our most promising young musicians. A series of annual master classes given by performers of this calibre would be invaluable. Surely the Malta Arts Council could do something about it.