Winter baroque extravaganza (1)

It has long been my dream to establish a cultural event that is not only a natural progression of the ambience and tradition that surrounds us but one that will last long after I have gone. This has nothing to do with personal hubris but it is because I firmly believe that we are a unique people formed by a history that is extraordinary and surrounded by a heritage that, for our size, is second to none.

... this festival... will fill cultural, educational and even economic gaps in our infrastructure...- Kenneth Zammit Tabona

We are a baroque country. There is no denying the fact that our popular culture is steeped in the baroque element. All we have to do is go to a festa and there we have the living manifestation of the baroque in all its splendour. There we see the titular statue on its elaborate gilt pedestal, looking towards heaven towards extravagant firework displays the noise of which competes with wild carillons of bell ringing and the strains of a brass band or two. Add the pavaljuni, the street decoration, the elaborate lighting and the ecclesiastical haute couture to the equation and one can say that throughout the year there is somewhere in Malta which, at the drop of a hat puts on a baroque extravaganza ad honestam populi oblectationem, that is, for the honest enjoyment of the people.

It was this motto that Grandmaster Anton Manoel de Vilhena, one of the two grandiloquent 18th century Portuguese grandmasters, applied to his lovely theatre in 1731, a baroque gem that today survives and thrives while fulfilling its purpose to the full. This theatre ranks 13th in the Historic Theatres of Europe Association but out of the 40 odd members it is the only one that fulfils the role of a national theatre.

When one thinks of the grand 16th century theatres like the Sabbioneta or the Olimpico, the 17th century ones like the Farnese or the Echhof at Gotha, let alone the ones the same age as the Manoel, like the Schoenbrunner Schlosstheatre or the exquisite Markgrafaefiches Opernhaus at Bayreuth, all are buildings that are treated with kid gloves. They are, in fact, very sparingly used, if at all, as they are deemed to be precious national monuments.

Meanwhile, our Manoel Theatre soldiers on being all things to all men, hosting anything from tango, classical ballet and flamenco to bands, orchestral music, chamber music, solo recitals and opera on its floorboards not to mention pantomime, musicals and plays. Nobody can accuse the Manoel Theatre of not putting on a varied programme year in year out since its re-inception in the 1960s.

It is, however, about time that for one dedicated period of the year this magically beautiful edifice hosts and organises a small festival that is in keeping with its size, style and antiquity, let alone commensurate with its courtly ambience. This is just one reason why organising a baroque festival makes such eminent sense.

With two very important national events on the horizon: the EU presidency in 2017 and the European Capital of Culture the following year, it is a logical conclusion that an established international festival will enhance Valletta’s prestige and show Europe that this small historical outpost in the Mediterranean has, over the centuries, played a vital role in European history and culturally is a microcosm of Europe.

The theatre is launching the festival 11 months in advance as it has not only to be sold overseas but, more importantly, needs the support of the public to instil a greater awareness of the baroque idiom. By January 2013, I would wish that there would be nobody in Malta unaware of the baroque sound of music in our capital city and that whether it is Charpentier’s Te Deum, the opening fanfares of which we all know as they are the Eurovision signature tune, or Bach’s Brandenburg Concertos, the third of which we endure while waiting on corporate telephonic switchboard, the distinctive sound of baroque with is scintillating harpsichord, viola da gamba or theorbo continuos would be as familiar as something sung by Lady Gaga or Justin Bieber!

What is extremely important are the potential spin-offs from this festival. The fact that it is being held in January boosts winter cultural tourism, which each year we see grow in importance all over the world.

Culturally, there are various developments that are already under discussion. These include the establishment of a baroque ensemble, a centre for the study of baroque music with special reference to these manuscripts that lie, unplayed and unsung, in our archives and even the creation of a centre for the manufacture and construction of baroque musical instruments.

Above all, it places the Manoel Theatre and our capital city on the international cultural circuit as intrinsically both are natural backdrops to performances by Bach, Monteverdi, Gabrieli or Handel, let alone Lully and Couperin.

This is why this festival is so important to Malta. It will fill cultural, educational and even economic gaps in our infrastructure and will merely enhance what is all around us with assets that have been staring at us in the face for centuries.