As with every VIAFestival edition, a concert is dedicated to promising young musicians in various fields, in some cases absolute newcomers or some could already have some kind of performing experience.

In some cases such as this evening’s concert, the15th in this year’s edition another formof art is presented. In this case it was a late insertion after one of a young pianist’s injury forced him out of the reckoning. This other form of art is acting.

Elisa Vella and Giorgio Anici Camilleri are both 12 years old. The follow courses at the Visual and Performing Arts School in Gozo, tutored by Jamie Camilleri. They alternated in four monologues beginning with Elisa Vella in Kellie Powell’s “Dogface”. Giorgio S

Anici Camilleri followed with “Opening Night” by Catherine Petherbridge. Elisa returned with “Almost”, by Gabriel Davis. Giorgio’s second monologue was Clarissa Aykroyd’s “Running”

Both youngsters proved to have a very good memory. They were undoubtedly very well-prepared and went into their parts very whole-heartedly. At a point or two in her first monologue Elisa did not project fully whereas in her second her projection was flawless. She showed a very clearly disturbed state of mind In both monologues Giorgio acted with utter convicition especially in his reaction to two very serious stressful situations: opening night jitters in the first one, and, his father’s gruesome murder in the second. It would be of great benefit to both aspiring actors to perfect their diction especially where the “th” is concerned and not to roll central and terminal “r” s.

The musical part of this concert was a performance of pieces for clarinet and piano by various composers. Clarinettist Colette Attard is also 12 years old and turns out to be a performer with a sound clear tone, tapping smoothly the wide range offered by the instrument. She had solid and reliable support from the pianist in clear abundance.

First example was when they performed the second movement marked Lebhaft, Leicht fromDrei Fantasiestücke, Op.73, by Robert Schumann (1810-56). That is how it was: lively and light.

In the next piece the duo performed the brief Romance by British composer Sir Edward German (1864-1936). Colette’s cantabile tone snd legato stood her well because the work relies on the clarinet’s singing tone.

An even shorter work but no less delightful one was On Frensham Pond, by William Lloyd Webber (1914-82), father to Andrew and Julian. The pond in question is part of a nature reserve where birds thrive and rippling water are evoked by both instruments. Then from Four Short Pieces, Op. 6 by Irish composer Howard Ferguson (1908-99), the duo performed the last movement marked Burlesque, con spirito, in F Major. It was performed according to it’s clear description.

Interesting to note that Colette Attard’s tutor is Noel Curmi, who studied with Godfrey Mifsud.The latter in turn had studied with Ronnie Debattista. This makes her a 4th generation link in her musical geneaology, a very good link too.

The last performers this evening were not exactly lacking in performance experience. Maria-Elena Farrugia us an established concert pianist and accompanist. In a way focus was more upon bass Joseph Cutajar who is in his mid-20s. On a few occasions I have heard him singing solos and duets He takes great interest in singing and works hard at it. He is tutored by well-known soprano Miriam Cauchi.

Joseph Cutajar began his series of six pieces with what must be at this stage, his “cavallo di battaglia”. This is the admonitory telling off of the mischievously page Cherubino in Non più

andrai. It must have been the third time I heard him singing and this time it sounded the best.

Even though without a reluctant stand-in as Cherubino as he had some weeks ago in Malta he comes up with the appropriate acting skill.

The second piece was the gorgeously typical bel canto aria Vi ravviso, o luoghi ameni, from La Sonnambula by Vincenzo Bellini (1801-35). Here more work is needed to refine the necessarily flowing melodic line and also mastering and delivering a soft yet strongly sustained low register.

Turning to the Baroque idiom Joseph Cutajar sang Quia fecit mihi magna from the famous Magnificat BWV 243, by J.S. Bach (1685-1750). I felt he was more comfortable in the parts where the upper register prevailed. His diction was good and he sang with a certain authority.

A welcome rarity in any programme is something by Giovanni Sgambati (1841-1914)

who shunned the obsessive opera domination of Italian musical life prevalent in his youth and middle-age. True to its name his classical song Separazione is a melancholic reflection the the pain caused by separation (partial or total). Here the singer sang with convincing feeling, during which for a a brief few seconds his pitch wavered a bit but he quickly regained control.

Joseph Cutajar has a particular liking for Lieder. He as an immense source to tap in view of the vast Lieder heritage left by Schubert, Schumann, Mahler, Brahms, Richard Strauß and Hugo Wolf. He could spend a life -time in such company.

His first choice fell on Liebesbotschaft, from the Schwanengesang cycle, D.927, by Franz Schubert (1797-1828) . Here it is not only the words by Ludwig Rellstab (1799-1866) that convey a message of love, of hope of future reunion, hoping the beloved is thinking of the poet, who writes the lyrics. The piano here evokes the rippling watering of the brook which is the presumed messenger. The singing was warm and diction generally clear with some more attention needed when vowels are topped by an umlaut. (Here and in the following Lied).

Although he had a score in front if him, Joseph Cutajar barely looked at it and fully delivered. He devoted the same kind of committed feeling and projection often in tender tones Schumann’s Der Nußaum, from the cycle Myrthen, Op 25, n.3 and set to lyrics by Julius Mosen (1803-67).

The poet and the composer describe the symbolic importance of a walnut tree in front of a house, musing about the whispering leaves and branches and a maiden’s dreams of love, asleep in the house.

So ended this concert which by now is just past the half-way point of this Festival.

Albert George Storace.