Inaugural concert (1)

As expected, a chorus has risen against Mario Calafato and in defence of Brian Schembri and his direction of the Malta Philharmonic Orchestra on the occasion of the opening of the Manoel Theatre season.

I waited until the critics had their say before writing. In her write-up (October 4) Maria Ghirlando seemed to have been conditioned by Mr Calafato's letter (October 1) going as far as to make references to the impossibility of adding anything new to Beethoven's Emperor and to the cadenza at the start of the concerto.

The impression left by Ms Ghirlando is that her review of the evening was nothing but an exercise in Mr Schembri's defence. Ever generous in her praise, she describes how the orchestra "combined exquisitely" under his direction into a beautiful development of musical inventiveness ending in gaiety and excited flurry... she might be correct in the excited flurry bit.

Ms Ghirlando must have been to a different concert than the one I attended. Had Mr Schembri's direction been as inspired as Ms Ghirlando implies, nay states categorically, his antics still would have detracted substantially from the final effect: at times he seemed to be imitating Usain Bolt's pose after the latter won the 100 metre race, other times he seemed firing arrows Robin Hood style, still at others it was only the generous expanse of the dais that prevented him from falling flat on his face, and this time literally.

As to the music, it seemed there were two orchestras. In the first part, the orchestra was ill-prepared and under rehearsed for Beethoven's demanding concerto with the consequent poor timing, dismal sounds at times not distinguishable from a cacophony of car horns, and lack of rapport between the soloist and the orchestra. In the Schubert's symphony the different instruments acquitted themselves well. It was the blending of these that was at fault. Where was the exuberance, the explosion of joy, the sheer power that makes Schubert's symphony great? These were utterly lacking. Mr Schembri used his locks to maximum effect... not so his musicianship. And all this could be felt by the audience, let alone by a seasoned critic as, I'm sure, Ms Ghirlando must be.

The public at the Manoel Theatre received both performers with warmth and affection. This is a good thing. Both performers have made a name for themselves overseas, but there are times when a performer, as befell Mr Schembri this time, does not rise to the occasion. It is unfair of Ms Ghirlando to mislead the public and come out in praise where none was merited.

I am certain that being a member of the Manoel Theatre Management committee, which recently offered a lucrative appointment to Mr Schembri and which is also the organiser of the concert, did in no way, influence Ms Ghirlando's judgment.

Just one last word lest I be accused of hidden agendas: I'm not asking where Mr Laus is. I still remember his attempt at playing and directing Beethoven's Emperor some years back.