The opening concert of the 21st Bir Miftuħ International Music Festival, organised by Din L-Art Ħelwa, featured a rare and rewarding combination of voice and harp. The recital was given by mezzo-soprano Claire Ghigo at the restored church of Santa Maria ta’ Bir Miftuħ.
The concert, under the title of Beau Soir, featured songs from some well-known composers as well as some lesser known French composers from La Belle Epoch.
Two works by the French/ Venezuelan Reynaldo Hahn included Si mes vers avaient des ailes, composed when he was just 13. It is based on a Victor Hugo poem. An undulating accompaniment of the harp and the patterns derived from speech, with a sophistication and depth of feeling, was evident in this song. Triesresse by the more familiar Camille Saint Saëns, and Notre Amour by Saint Saëns’ pupil Gabriel Fauré followed.
The songs focused on love, both yearning for and unrequited. They were sung and played beautifully and with much feeling and emotion.
It was good to see the harp take an important place on the stage
The following set of songs were characterised by their melodies and word painting, characteristic of the impressionism of this period.
Beau Soir by Debussy, like Hahn composed when he was 15, paints a picture of a beautiful evening where rivers are turned rose-coloured by the sunset. The harp and the singer managed to create a sense of peace and, as the evening fades, so does the mood of the song, reaching its climax on the last syllable of tombeau.
Debussy’s Romance created a heartfelt emotion both from the voice and the harp accompaniment. Chausson’s Le Colibri (the hummingbird) captures a dreamy garden where the hummingbird floats in mid-air. This is emphasised by the arpeggios played on the harp. The hummingbird sipping nectar from the plant is likened to two lovers’ first kiss.
Pauline Viardot was better known as a singer. Her Haí Lulí was composed during her retirement. The song created the sadness of the singer awaiting her lover.
Jules Massenet’s Nuit D’Espagne employs dance rhythms with guitar-like accompaniment from the harp evoking images of Spain. Again, it is a song of longing, comparing nature as signs that the time is right for his love to appear.
Massenet’s Élégie, often better known in its solo version, followed with similar sentiments on the passing of spring.
The recital ended with Reverie by Charles Gounod.
It was good to see the harp take an important place on the stage. It is too often hidden behind the first and second violins in an orchestra, only hearing its voice far short periods or as background music for weddings. It is a beautiful substitute for the piano in these songs. It creates a depth of feeling and calmness, complementing the voice at all stages without being overpowering. In this recital, it added to the French ‘allure’ of the works. Britt Arend’s sensitive playing complemented the wonderful voice of Claire Ghigo.
The beautiful and controlled voice of Ghigo, together with her expressive presence, made this concert a joy to listen to.
A wonderful evening to capture the imagination.
The concert was supported by the French Embassy and the Alliance Française de Malte-Méditerranée. It was graced by the presence of French Ambassador Béatrice Le Fraper du Hellen.