The Victoria miracle is back again. Twenty-seven uninterrupted years which not even Covid-19 managed to thwart, when a reduced on-line version was devised.

Back with a burst of superb talent on all fronts and dedicated to the charismatic and the still very much lamented, late Joseph Vella.

Rev. George J. Frendo delivered a brief introduction in which he thanked the audience which practically packed the gorgeous basilicas. He also thanked the many sponsors as well as other sources for their invaluable support which enabled him and his team to keep alive this Festival.

The ever popular Philip Walsh then took over an MPO on splendid form in Joseph Vella’s

symphonic poem Rebbieha (“Victorious”) Op.45. It was composed in 1986 and premiered later that year by the Manoel Theatre

Orchestra under the composer’s direction.

Since then I have heard it at least three times and always with great pleasure. It is in one extended movement in three clearly defined sections. Its orchestration is marvellous and gradually it becomes a grand, polychromatic, epic and patriotic statement. The almost ephemeral few bars of our Innu Malti appearing close to the finale was very stirring. The performance augured well for the rest of the concert.

This continued with nothing but a dazzling performance of Mendeldsohn’s Concerto in E minor for violin and orchestra, Op.64. This is one of the greatest and most performed concertos for violin and with Andrea Gajic

as soloist there was a guarantee of excellence and no less. Who could not remember her magical performance of the Beethoven concerto in this very basilica? Her Mendelssohn etched another landmark in the VIAF’s hall of fame. The super Romantic work was passionate with the petite soloist mustering admirable, soaring strength. The tenderly exquisite, calmer, moments soared to heaven in a slow movement much akin to a song without words, at which the composer was so adept. The rapport with the orchestra

never flagged such that the interaction between soloist and orchestra was nigh tangible. Unsurprisingly the public’s tribute to soloist and orchestra was very warm.

The concert concluded with the Symphony n.3 in F Major, Op.90, by Brahms. One does wonder how much more Brahms could have contributed to symphonic literature had he not felt so overshadowed by Beethoven. The result

was that beginning late (1876), he composed four marvellous symphonies in less than ten years. The F Major I like most and it could be because I empathise with his personal motto “Frei aber froh”: free but happy (F-A-F). I loved this reading from beginning to end. At times its robust strength shone forth as did a certain wistfulness in others, a hard re-thinking maybe. Later peaceful and serene with a full Romantic surge sweeping the final boards.

Albert George Storace