The uplifting and magnificent ambience of St John’s Co-Cathedral was ideal for the enjoyment of good and well-executed music. In this case, it was for the premiere performance of an oratorio by Hermann Farrugia Frantz, set to words by Lawrence Gatt.
Canticum Vitae is a song of life wherein librettist and composer sought to project a celebration of inclusion. This theme runs through the well-chosen texts from the Old and New Testaments with the inclusion for very last section of the non-Biblical Ubui caritas et amor, Deus ibi est.
The premiere occurred close to the conclusion of the special Jubilee Year of Mercy decreed by Pope Francis. It is all about mercy, not pity, inclusion, not just commiseration. Mgr Gatt, who was director of Id-Dar tal-Providenza for over 20 years, knows more than a thing or two about suffering, sacrifice and the generosity of the human heart that offsets the unfortunate reality of rejection and indifference.
The joy and beauty of the inner human being and the message of hope run through this work. The composer, who also directed a brilliant Malta Philharmonic Orchestra, led by Marcelline Agius, gave a performance in which these elements were fully projected very clearly.
Well-crafted and finely orchestrated, the work is very descriptive of various situations
Well-crafted and finely orchestrated, the work is very descriptive of various situations. It could be stormy at times, and at other times peaceful and redolent with hope, as when the prophet Simon lauds God at Christ’s presentation in the temple.
Aptly set to verses from Genesis and following a long, beautiful orchestral introduction, the sharing of text and scoring for the Coro Bel Canto choir, baritone and soprano was very effective and finely balanced.
A lovely moment was the chorus of the Beatitudes and the unaccompanied singing of Psalm 22, The Lord is my Shepherd, I shall not want, while one of the most touching parts was the soprano and tenor duet to words from Isaiah Non est species ei.
These are just a few examples of the care with which the text was set. The orchestral direction was fine, but one wished the brass were not so overpowering at least twice when the combined three soloists and choir were rendered inaudible.
The three soloists acquitted themselves very well and they were performing either as singing narrators or representing various characters. They were all on very good form, beginning with soprano Francesca Aquilina who, at times, was Narrator and Angel.
Tenor Charles Vincenti was Narrator and shared a lovely duet with the soprano for Caritas Patiens Est, (from I Corinthians). The very authoritative, yet frequently mellow baritone of Alfred Camilleri was heard in the parts of the prophet Simon, Jesus and God.
The finale, Ubi Caritas et Amor, Deus Ibi Est concluded the oratorio with jubilant elation, and the grandiosity of the music was further stressed with the inclusion of the organ in the scoring. This movement was repeated.
The withdrawal collection after the performance was aptly held in aid of the Id-Dar tal-Providenza.