Rev. John Galea, director, Catholic Institute, Floriana
The orchestra at the Catholic Institute
Kenneth Zammit Tabona's contribution (October 23) seems mainly to be targeted against the establishment's negative attitude towards culture as one can clearly conclude from its title, citing some examples to prove his point, among which the decision of the National Philharmonic Orchestra to hold one of its concerts at the Catholic Institute auditorium. According to him this was a "cataclysmic plunge in the decline of Maltese cultural life".
The auditorium underwent a major refurbishment programme two years ago, a move which attracted new patrons to the place. The outcome seems not to suit Mr Zammit Tabona's refined and elegant tastes, as it transpires from the disparaging tone he uses to tell us how he felt "in this dull, drab and featureless theatre", assuring us at the same time that he means "no disrespect to the building and its auditorium".
The logic behind his conclusion that this theatre is "categorically not a suitable place for an orchestra of the Malta Philharmonic Orchestra's calibre to play Schumann, Mozart and Schubert" is really beyond my comprehension. It seems to surmise that this delicacy is reserved only for the privileged elite who can either afford to pay high prices or are fortunate enough to have friends who can offer them complimentary tickets to have "full houses" (this should not be a revelation to Mr Zammit Tabona).
Otherwise, why should the patrons of the Catholic Institute auditorium be deprived of such a treat? Relatively cheap prices, which according to his informers attracted the National Philharmonic Orchestra to this venue, can be the result of a deliberate choice to respect social dimensions, and does not automatically oust refined productions.
Mr Zammit Tabona assures us that what he wrote is not prompted "out of any personal interest". I take his word. But flagrant inconsistencies and contradictions contained in his article belie a confused agenda. He would send the orchestra to the playgrounds and squares in summer, wishing more people "from all walks of life" to enjoy and love orchestral music and at the same time harshly criticises the initiative to hold a concert at the Catholic Institute auditorium, which from the feedback I had from some of the musicians themselves, they enjoyed doing, praising the logistics, facilities and the acoustics of the place.
The refined performing level the orchestra has reached, for which he is rightly full of praise, is the result of an enormous effort, both monetary and artistic, which the establishment has invested in this institution over these last years, surely not an indication of "institutionalised philistinism".
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J. Schembri
Oct 28th 2009, 19:12
Obviously Mr Pace Gouder did not read KZT's article ,let alone understand what were'talking about.
KZT is suggesting that the orchestra performs in open spaces for the public, in other words an outreach. I like the idea , it's like The Proms , it attracts the people to culture.
Anthony Pace Gouder
Oct 28th 2009, 18:18
Quoting Rev. John Galea.,with referance to KZT ... " he would send the orchestra to the playgounds and squares in summer "... IS DEFINATELY where the NATIONAL PHILARMONIC will be relagated , if Lawrence persists on R .Piano's roofless , steel & glass cum glorified ruins Opera / operetta .
Franco Farrugia
Oct 28th 2009, 17:52
KZT is well-able to defend himself, and I have no intention of doing so myself.
Yet, I still think you have all misunderstood him. KZT is right to rebuke the Govt for its 'plans' towards the un-roofed theatre-of-sorts which will be no theatre at all, mark my words.
His remarks towards the auditorium of the C.I. were not disparaging enough, in my humble opinion.
What is wrong with KZT having 'high standards'?
@ Mr Huber: If by heaping praise on the Piano plans, you are referring particularly to the proposed plans of the theatre, then, ... sorry, I don't think you have any idea what a theatre is about, nor do you have any idea what this country needs, as far as theatre and culture are concerned.
M Attard
Oct 28th 2009, 15:33
I went once to that place and if Kenneth described this place as 'dull,drab and featureless' then he was truly echoing my exact sentiments. I remember leaving that place rather depressed and it had nothing to do with the performance I had just attended.
Short of knocking it down,rebuilding and handing it over to new management,nothing would ever make me go there again. Apart from all the above,anything I would see there would have had the heavy hand of the Church censor all over it, examining it for 'good taste'
J. Huber
Oct 28th 2009, 13:38
What does all this have to do with music????? KZT should not have used the situation to heap insults at the venue for the simple reason that he is against the Renzo Piano plans. If KZT thinks that such strategies will alter the plans he is completely mistaken. He can rest assured that there are people like the undersigned who view the plans as a breath of fresh air and an artistic accomplishment. So much so that it prompted Joseph Calleja to claim the privilige of inaugurating the open air theatre.
I have a question to ask: did KZT attend the concert to enjoy the music or to stay staring at the walls of the Catholic Insitute auditorium?
J. Schembri
Oct 28th 2009, 12:22
@ Franco Farrugia :What do you expect for five euro?Mr Zammit Tabona's contribution was only chastisng the government for not building an opera house.
His remarks towards the Catholic institute were disparging. That's why he called the event "a cataclysmic plunge in the decline of Maltese cultural life".
Fr Galea is telling us his version of the story.
One assumes that if the venue satisfied Mr Zammit Tabona's high standards the article would not have been written.Or ....?
Franco Farrugia
Oct 28th 2009, 09:47
I don't think that Fr Galea has understood what KZT wanted to mean. I agree and stand by what KZT stated in his original article, even though, unfortunately, I am not one to patronise such cultural events very much. I still believe, as KZT does, that the National Orchestra was out of synch in a theatre of the likes of the Catholic Institute's. To add more details would be both superfluous and would only hurt those who try to work within the limitations of the Institute.