Amazing precocity at MCI concert

The Malta Cultural Institute’s (MCI) end-of-season concert at Le Meridien St Julian’s Hotel and Spa ended with a flourish.

The little boy, whose feet do not even reach the piano pedals,performed from memory with amazing precocity- Albert Storace

It is an MCI cardinal policy to provide a concert platform, among others more experienced, to promising young musicians. This season produced another revelation with seven-year old Dmitry Ishkhan, whose debut as performer was at the MCI some months ago, an event I had missed.

The little boy, whose feet do not even reach the piano pedals, performed from memory with amazing precocity, precision, expression and fine sense of rhythm.

His concentration and obvious delight in performing could be the envy of a much older performer. His calm approach and dexterity were a joy to watch and he sailed through the four pieces he performed very smoothly.

These were Freidrich Kuhlau’s Sonatina Op. 55, N. 1, Dmitry Kabalevsky’s Waltz N. 23 Op. 39, Clockwork Doll, Op. 69 by Dmitri Shostakovich and William Gillock’s Carnival in Rio. I am told he enjoys practising at the piano and one hopes that he also has the time to live a little boy’s life.

Another pianist, 14-year old Chantal Mangion, took part in this concert. She sounds very promising, although one must say that in the second Frederic Chopin waltz she chose to perform, E minor Op. Posth., she was far more confident and fluent than in the previous Waltz in C minor, Op. 64, N.2.

She displayed a good sense of stylistic versatility when she performed Claude Debussy’s Golliwog’s Cake Walk and again in the dreamy, serene and beautifully projected Cyril Scott’s Lotus Land Op. 47, N. 1.

This concert’s vocal presentation featured soprano Louiselle Pace Gouder, accompanied at the piano by Maria Ellul.

Here was a very sound partnership with a sensitive and supportive pianist contributing in the successful projection of a varied programme of works which began with two charming ariette by Bellini: Malinconia ninfa gentile and Ma rendi pur contento.

The singer’s clear diction continued with Frans Schubert’s An die Musik, which I found superior all-round to the equally famous Ständchen. To my mind, the latter would have been more effective had the singer not lingered a shade too long at the climactic points.

Later, in Porgi amor from W.A. Mozart’s Le nozze di Figaro, the singer sang with the right restraint and pathos. She adapted to style very smoothly when she sang Cilea’s poveri fiori from Adriana Lecouvreur.

This does not mean that it was devoid of passion, but the apex in that department was reached fully in Tu che di gel sei cinta from Giacomo Puccini’s Turandot.

Concluding the evening was a very colourful display of rhythm (alegrías) and colour, mainly thanks to the mantón or shawl, expertly used in a session of flamenco gaditano by Bettina von Brockdorff. The title of the piece was in fact Con la bata y el mantón sung by Marina Herédia.