Concert
Cliff Zammit Stevens, tenor, Louise Alder, soprano; Laïla Barnat, piano
Archbishop Square, Mdina

I first heard tenor Cliff Zammit Stevens three years ago when he performed during the Mdina lap of the Mini-Gig circuit touring Malta. Talent, no matter how raw, always stands out and so did he.

Since then, Zammit Stevens has made gigantic strides forward, as could be gauged while following other appearances, whether in recital or (locally) in secondary roles in opera.

At Archbishop Square, just round the corner from the spot where I first heard him, Zammit Stevens delighted a sizeable audience last weekend.

His performance did not surprise me but I was delighted that he did surprise his first-time listeners.

In Sérénade there was a projection of love, hope and passion not untinged with optimism

The other bright young star-in-the-making was British soprano Louise Alder.

A splendid presence, looks and voice made an even more heady combination when the two singers joined forces in a few duets. To add to this delicious mix, one should not forget the sterling contribution of pianist Laïla Barnat, already a familiar face, as she is a close collaborator of the singers.

One must say that it was difficult to pinpoint the highlights in the well-chosen and balanced programme, the first half of which was dedicated to French chanson and German lieder.

Henri Duparc’s famous songs are exquisite sources often tapped by discerning singers. Zammit Stevens started the recital with two of them, both of which centred on love which turned out to be the evening’s leitmotif.

In Sérénade there was a projection of love, hope and passion not untinged with optimism, while in Phydilé, the atmosphere was more tense and dramatic.

This was an early indication of the singer’s ability to adapt himself and his singing to the deep meaning of the text.

That was to be the hallmark of both singers: singing entirely from memory texts they learnt very well, delivered with precision of diction and underlining each changing mood and emotion.

Massenet’s well-paced Élégie terminated this ‘introduction’ and was followed by Alder who sang Bizet’s sprightly Ouvre ton coeur. She charmed the audience with her vivid interpretation and the limpid, crystalline quality… and that was just the beginning.

She too resorted to a bit of Duparc when she sang his Chanson Triste conveying a profound sense of deeply dignified sadness.

Zammit Stevens returned with a warm, moving interpretation of one of the most beautiful creations by Richard Strauss, Morgen, with its almost unbearable suspended pauses brilliantly handled by the pianist, underlining the whole course of the lied.

The two singers joined forces in Schumann’s In der Nacht, dominated by a certain melancholic atmosphere and nostalgia, ably expressing the feelings of separated lovers.

It was then back to Strauss, first with Alder singing a Ständchen (serenade), bursting with well-articulated happiness and Zammit Stevens ending the first half with Cäcilie. The latter piece was aptly rendered: written by the composer as a wedding present to his wife, it certainly needs to be performed with ardour and passion, tempered by a balanced tenderness.

The singers continued their well-planned and successful conquering strategy in the second half. Not to be outdone, so to say, Alder was the mischievous coquette par excellence in Quel guardo, il cavaliere from Donizetti’s Don Pasquale, complete with its dose of coloratura. Another tenor piece was Dei miei bollenti spiriti from Verdi’s La Traviata, rendered with all the ardour and joy of a love-besotted young man.

Puccini could not be left out of course, and Alder sang Quando m’en vo’ from La Bohème in great style. When she joined forces with the tenor in the brief duet ending the same opera’s first act, they made a beautiful and very effective exit.

Zammit Stevens then sang the brief Amore e grillo from Madama Butterfly, while Alder reached the zenith of her contribution with an effortless and truly magical Chi il bel sogno di Doretta from La Rondine.

The last two items were presented by the tenor: Leoncavallo’s Mattinata and Non ti scordar di me by Eduardo de Curtis. They confirmed an easy ability of adaptation to style and idiom.

While more consolidation work needs to be done here and there, and while claiming no second sight, I see that the banner of a worthy Maltese tenor, here and abroad, will be carried well into the next generation.

The evening ended with the very popular duet, the Brindisi from Verdi’s La Traviata.