Baroque vocal and instrumental recital

The fortnightly series of lunchtime recitals at St Paul’s Anglican pro-Cathedral in Valletta continued with a vocal and instrumental recital by baritone Kenneth Scicluna and pianist Sofiya Narmania.

It was beautiful baroque music in that splendid neo-classic space, where the only baroque touch is the beautiful organ case.

As there was no piano available, Narmania had to use an electronic instrument when she performed her solo pieces and accompanied the baritone.

Her first solo was Aleksandr Siloti’s arrangement of J.S. Bach’s Prelude in B minor, BWV 855a. Bach enthusiasts could easily recognise the original, which the composer later reused as Prelude N.10 in The Well-Tempered Clavier, Book I.

When a composer rearranges the work of another there are bound to be a few changes but what counts and what emerges in Siloti’s arrangement is the warmth and tenderness of his finished piece.

Narmania coaxed out and projected these characteristics in her stylish interpretation. For her next solo she performed J. S. Bach’s French Suite N.5, in G, BWV 816. Calling them French may be a misnomer – although claimed by some to be in the ‘French manner’, Bach still mainly resorts to basically Italianate convention.

There was style and polish, great articulation and attention to the contrast which characterises the different dance forms on which the music is based.

Scicluna is enthusiastic, serious and earnest, and I thought it a pity that he was scheduled to sing just two pieces. The first was the aria of Dardanus from Handel’s Amadigi.

Pena tiranna is a a lesser known if not completely forgotten opera; a typical da capo piece in which the singer has the opportunity to express various feelings, here mainly anxiety and anger.

This was put across well by the singer, who in the shorter and more serene Ombra mai fu from Handel’s Serse projected a warmer and more lyrical quality.

Diction was very good, and my only reservation is that more attention should be paid to opening notes in various sections of the arias. There is a slight tendency to slide up towards the beginning.

The voice has a very pleasant, warm timbre, as was proved in what turned out to be the best offering. This was Stradella’s beautiful Pietà Signore; poignant, reverential and full of penitential fervour, as well as fear of fire and brimstone: true to style and manner.

The next concert will be held at St Paul’s Anglican pro-Cathedral, Valletta, on Tuesday at 1 p.m. and features duos for viola and cello from the classical era.