The human voice explored

Concert
Malta Philharmonic Orchestra conductor, song cycles Joseph Vella
University Auditorium

The latest concert by the Malta Philharmonic Orchestra featured works in which the queen of all musical instruments – the human voice – was thoroughly explored.

Composer-in-residence Joseph Vella played the double role of composer and conductor on the night ably bringing to an attentive audience his mastery in the treatment of this delicate yet versatile musical medium.

Four song cycles in the form of lieder explored a vast array of the possibilities of the human voice. Soprano Maria Frendo, baritone Kevin Caruana, alto Clare Massa and tenor Charles Vincenti performed the demanding song-cycles frought with technical difficulties.

The musical expression is meant to allow the listener to immerse himself in an imaginary landscape which is highly evocative.

The role of the orchestra was not a mere background accompaniment but an integral part of the work upon which colours representing the various contrasting moods were built.

On the night, the orchestra ably adapted itself to suit the demands of the soloists resulting in an excellent performance.

The evening opened with Seħer Opus 39, five short poems by Daniel Massa scored for soprano, a work dating back to 1983.

Ms Frendo’s crisp and unique timbre characterised this cycle as she ably portrayed vocally the nuances which the composer had in mind.

The phrasing and breath control were impressive.

The orchestra and the voice merged in alternating shifting of focus from the voice to the whole ensemble, to groups or a single instrument much in evidence in the cello’s duet with the soprano in the last number.

Nisġiet l-Imħabba Opus 64, was performed by Mr Caruana, who gave a good interpretation considering that most of the time the taxing singing line is written in the middle-upper range of the register.

The deep sensuality of the text by Achille Mizzi with its turmoil of feelings of love and peaks of emotion came over convincingly.

The texture of the orchestra became purposely richer and intense to suddenly lighten up or stop abruptly making way for the voice to highlight these intense feelings.

Askesis Opus 72 based on text by Mario Azzopardi was brilliantly performed by Ms Massa accompanied by the string section of the orchestra and by the oboe.

This peculiar instrument is craftily introduced only in the last movement where the poem itself suggests a melancholic mood such as in the phrase L-obwe solitarju jilmenta… with a very effective use of word-painting by the composer.

Ms Massa’s interpretation espoused these nuances effectively bringing out beautiful dark colours in the middle and lower registers of the voice with the ease and poise that characterised her high register.

Il-Poeżiji tal-Baħrija Opus 53 is set to a text by Joe Friggieri and scored for tenor and orchestra. Mr Vincenti’s voice control is remarkable.

He uses crisp beautiful colours throughout the range reaching the upper notes of the register with ease.

The various movements of this atonal work are sharply contrasting in colour and mood.

In this work Prof. Vella makes use of highly evocative orchestral interludes to distinguish between the various sections and varying moods of the poem.

This concert was yet another success for the Malta Philharmonic Orchestra.

It should be noted that concerts in which the composer is also performing or conducting are a unique and rare opportunity for music lovers and deserve larger audiences.