The Gaulitanus Choir brought the “Year of St Joseph” to a grand ending in Gozo by putting on the oratorio “Ġużeppi ta’ Nazaret” on Tuesday 7th December at the Qala Parish Church, Gozo. The event was supported by the Cultural Heritage Directorate within the Ministry for Gozo, with the collaboration of the Qala Parish and the Qala Local Council.
The performance turned out to be a glorious night of music performed in a most wonderful setting. Indeed, the performance was highly enhanced by a visual concept created by renowned Gozitan artist, Austin Camilleri. This lended different tone colours to the various episodes, while also exposing the aesthetic beauty of the Qala Parish Church as well as Cali’s beautiful titular painting. The end result was a much-appreciated holistic experience that went beyond the normal musical execution, which was much appreciated by the audience – which also afforded a well-deserved standing ovation – led by the Honourable Minister for Gozo, Clint Camilleri, Qala Mayor, Paul Buttigieg, and Qala Archpriest, Mgr Edward Xuereb.
The title role of Joseph was very well tackled by Gozitan bass Noel Galea, for whom the role was originally conceived and who has appeared in all the three preceding performances of the oratorio, in 1990 and 2000. Soprano Nicola Said very creditably interpreted the extremely taxing and very high tessitura role of Mary. Mezzo-soprano Claire Massa reputedly re-appeared in the role of the Angel as she did in the performance given in 2000. Young Gozitan tenor Angelo Muscat appeared in the short roles of Gabriel and Jesus while boy soprano Sam Micallef completed the cast as the young Jesus. The Gaulitanus Choir was highly applauded for its heartfelt rendition of the four contrasting choral numbers, as was the performance of the Malta Philharmonic Orchestra, led by Marcelline Agius, who tackled a quite challenging score which also exposed the various sections of the orchestra. All was under the baton of the composer, Mro Colin Attard.
This production – originally intended for the 30th anniversary of the choir and the oratorio – finally permitted the Gaulitanus Choir to renew its close association with this oratorio. Truly, its official foundation in 1990 was also very much a side effect of the premiere of “Ġużeppi ta’ Nazaret” that same year. Quite significantly, three Gaulitanus Choir members who were part of the choir’s line-up in the oratorio’s premiere in 1990, Josianne Callus, Marie Louise Attard and John Mary Grima, were once again in the choir’s line-up this time round.
The oratorio, was composed in 1990 by the Gaulitanus Choir’s founder-director, Mro Colin Attard to a libretto by the late and beloved Bishop Nicholas J. Cauchi, following a commission by the Qala Parish Church for the parish’s celebrations marking a century from the arrival of the statue of St Joseph. Abounding with lyrical, yet contrasting, music, the score gives life to a very well-drafted libretto which delves into various episodes from the life of the glorious patriarch St Joseph: from his betrothal to Mary till his death. These episodes are framed within a prologue and a glorious triumphant concluding hymn in honour of “the just man given to Mary”.
(Photo credits: MGOZ)
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Meanwhile, Albert G. Storace’s online review of the performance reads:
Colin Attard composed this oratorio in 1990 or very shortly before. It was performed in il-Qala in July that year, and a few days later in Malta at the parish church of St. Joseph, l-Imsida. In August 2000 it was performed on the square outside the church where it had been premiered. Unfortunately I was abroad then, so I was glad I could hear it for the first time.
I was impressed, very much so. Very briefly: the music was excellent. The MPO was on top form. Colin Attard created a beautiful work, well-crafted and very evocative music. The libretto is magnificently woven or spun in such a way that makes a complete whole: music and words are interdependent. Either one or the other makes or breaks the work. Very rightly so in this case.
All four soloists did very well. Bass Noël Galea was the only one of them who has sung in all performances of this work while soprano Nicola Said, now a well-established and very fine singer was too young. Tenor Angelo Muscat, 21 next week was not even born! By 2000 mezzo Clare Massa was early in her career and informs me that she had taken part in the latter performance which was also recorded.
These four singers did very well and Angelo Muscat (Gabrijel/Ğesù) shows great promise while Nicola Said (Marija) is to be congratulated for the way she tackled her often difficult role. Clare Massa (Anģlu) handled her part well especially a difficult very rapid passage in which she maintained articulation.
Noël Galea’s magnificent warm, authoritative yet often mellow tender voice was another joy to hear. Plucky treble Sam Micallef had a brief role as the Child Jesus when “lost” and eventually found in the temple.
Kor Gaulitanus was very well-trained, articulate and had their big moments in the engagement scene of the Holy Couple; on the road to Bethlehem; describing the Holy Family’s domestic life and the glorious finale.
If I were to pick the most touching episodes I found them in Nicola Said’s anguish when Marija fears for her lost son and Noël Galea’s moving farewell and death of Gużeppi.
The excellent printed booklet included the text of the libretto. Yet, what was the point in having it with the nave in almost complete darkness? It was impossible to read the lyrics and in order not to disturb those around me, I could only do so hunched most uncomfortably with my mobile switched on, and safely on silent mode. I complained about this and the lame justification was that the light would hinder the filming of the performance. Come on!!! Many a performance has been filmed and screened directly on television as well as recorded in lit venues. PBS had done it before.
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