As part of their celebrations of the 50th anniversary of the crowning of the titular painting of Our Lady of Graces by Erardi, the Zabbar parish council invited a number of parish choirs to participate in a three-day choir festival. This provided to be a most rewarding experience which revealed how much sense of commitment and enthusiasm exists in various localities throughout the island, that so many of us are not aware of. These groups are often only known in their respective locality and often hardly appreciated even there.

The programmes  presented by the various choirs were varied and ranged from classical works by Bach and Mozart to contemporary works by the respective maestri di cappella of the various parish churches; from pieces sung a cappella to folk songs.

The quality of the performances as well as that of the works presented varied from the indifferent to the very good, but without exception all the groups showed a great sense of discipline that did not, however, act as a pall for their enthusiasm.

The choirs that took part in the festival belonged to the parishes of Attard, Cospicua, Zurrieq, Fgura, Luqa, Safi, St. Gregory - Sliema, St. george - Qormi and Zabbar. An interesting development was the great number of female conductors.

This was an extremely praiseworthy initiative that should perhaps become an annual event and be extended to include a bigger number of choirs, with possibly shorter programmes.

Despite the discrepancy between the Julian and Gregorian calendars, the Russian Centre for Science and Culture rightly insists on celebtating the Russian Yuletide festivities in the traditional Russian manner. There was even a charming little Snegorouchka or Snow Maiden at the centre during the Russian new year celebration: none other than eight-year-old Valentina Cassar, in Russian costume. Dr. Liza Zolina, her ‘grandmother' (for the evening), said she looked so authentically Russian that the child could have fooled anyone. The centre's director stressed the intimacy, easy atmosphere and friendship which were to underly this pleasant evening. The centre's Tchaikovsky Hall lends itself well to such occasions and this well-attended event was no exeption.

Co-hostess, so to speak, was Marie Therese Vassallo who, with the members of her Voice Studio, presented a varied mix of vocal and instrumental music, main accent of which was on Russian and Maltese works. There was also a lot of poetry reading, works by poets from both countries. Charles Abela Mizzi read John Mizzi's translation of  Pushkin's Winter Morning as Ghodwa Xitwija followed by English translations of two poems by Alexandr Blok: I believe in the glory and It happened late on crimson evening. Achille Mizzi later recited Gorg Pisani's poem l-Ghid taz-Zghozija. As regards to music, the Maltese contribution to it was not only the singers but also Frank Vassallo's songs, such as Lil Missieri, l-Ewwel Imhabba, Inhobbok b'qalbi kollha, u Dejjem nibqa' nhobbok. they are all romantic and poigant works which came as a tribute to her late father by Ms. Vassallo and three of the singers. The only other Maltese work was R. Sciberras's Omm beltna sung by the promising Maria Esmeralda Galea, who also sang one of Russia's most beautiful (anonymous author) folk songs, Priyaha.  Jonathan Sciberras sang Lil Missieri and the traditional Kalinka, the latter with Ms Vassallo at the piano. Otherwise all piano accompaniment was Cynthia Genovese's. I noticed a marked improvement in soprano Joan Camilleri's singing when she interpreted l-Ewwel Imhabba and Mokrousov’s Odinokaya Garmon; and Claire Caruana was in her usual good form in the penultimate Vassallo song, and, equally convincingly in Gurilyov’s Grust’devushki.

Marie Therese Vassallo sang the evening’s lastsong by her own father, and continued with Anton Rubmstien’s splendid Noch’; and what a moving interpretation that was. All the Russian pieces were sung in Russian and, judging by Dr. Zolina’s approving expression, the singers were doing their best. Another participant was guitarist Stephen Pulis who not only delighted the audience with Tarrega Recuerdos de la Alhambra, but also accompanied the readers during the poetry recital.

The grand finale was a collective effort in which all singers taking part were joined by other members of the Voice Studio... and the audience in singing Blanter's Katyusha and Solovyov-Sedov's Podmoskokovnye vetchera, better known, as ‘Moscow evenings’, or even 'Midnight in Moscow’. These were sung in transliterated Russian and Maltese.

Great fun was had by all, little Snegorouchka helped her 'grandmother' distribute mementos, after which followed a reception where vodka was served, and typical Russian fare with it.

The concert hall of the Le Meridien Phoenicia was gaily decked for Christmas when the MCI presented its Decemnber concert.

The spirit of Christmas was to reign supreme during the closing stages of the evening which began with a recital by young Karen Polidano, accompanied by pianist Cynthia Genovese. While having a lot of personality and conridence, this singer does not possess a mature voice, one which would do full justice to Gounod's Serenade. Frank Vassallo's charming Ave Maria and Adam’s O Holy Night, albeit the latter being the best of the three as regards interpretation and technique.
Also having some way to go but showing considerable promise is young clarinettist Michael Bonannn, who, accompanied by Ramona Formosa, performed the autumnal Sonata op. 167 by Saint-Saens.

As usual with the MCI concerts, the second half was devoted to dance, this time featuring the Ballet School of Mary Jane Bellia and Ray Mamo. It was a pity that the quality of recorded music used in most numbers was rather clouded and often loud; rather unusual during MCI concerts. Several numbers were presented, giving dancers of different ages the opportunity to show their worth. As usual, the young ones made up for their immaturity with the sheer, endearing and sense of fun with which they went through their paces. The solo passages were also well rendered. Music utilised included Khachaturian, Vivaldi and Britten/Rossini. Absolutely great fun and very colourful was the last number, Praetorius's Dances from Terpsichore.

Towards the end, concert coordinator and presenter Marie Theresa Vassallo had a few surprises up her sleeve. Out came her Voice Studio students in full force, with candles aglow and Christmas wreaths. They sang a number of popular carols, including Silent Night in many languages. There was a lot of audience participation as well and a young little miss, Valentina Cassar, sang Mary’s Boy Child much to everybody's delight.

This event was really one with a difference because in collaboration with Dame Francoise Tempra there was an exhibition of paintings, sculptures and litographs in hall and on stage - works by Giacomo de Pass, Chrisiane Peugeot and Guy Lemesre (who was present). The theme was "France pays tribute to the performing arts" and as both Ms Vassallo and MCI director Chev. V Ciancio said, the event proves that the MCI is open to the fostering and dissemination of all art foim, as its very name implies.

As with many churches, Holy Week is a busy time all round. It includes and calls for opportunities to provide and produce sacred music, either as part of the religious rites or independently as concerts or recitals.

St. Gregory's parish church in Sliema encourages sacred music. It was news to me when at the end ofd the concert presented by the Marie Therese Vassallo Voice Studio, parish priest Can. Vincent Demicoli said that the Studio choir had been appointed the official parish choir.

The programme was pretty long and varied, consisting of short pieces which included solos, a duet ans a sprinkling of ensembles. As could be expected, the level of achievments varied too. I did like very much the opening choral piece, Mozart's Ave Verum and a selection of negro spirituals: 'Kimbaya', 'Amazing Grace' and 'It's Me Oh Lord!' The medley also provided an opportunity for some choir members to sing brief solo passages, in which cases these were sung by Stephania Agius, Valentina Cassar, Hilda Cumbo, Ivy Fleri, Stella Falzon and Maryanne Frendo. Stephania Agius later doubled as organist in Handel's 'Fantasia in C'. Another organ piece was performed by Noel Gallo. Otherwise, all accompaniment was in the hands of Cynthia Genovese who had very little time to relax and did a great job.

Well, I would have preferred a slightly faster pace to Vivaldi's 'Domine Dues' from the Gloria RV589, sung by soprano Calire Caruana. To my mind this young lady is Ms Vassallo's star student: sings beautifully, has a fine, well-rounded voice, judicious and spare with her body movement, achieves effect with little effort. Her Vivaldi was fine and equally accomplished was the beautiful duet 'Quis est Homo' from Rossini's 'Stabat Mater' which she sang with Marie Therese Vassallo.

Karen Polidano and choir sung the pleasant and devotional work 'Ave Maria' by Marie Therese Vassallo's late father Frank. Other solos were tenor Aldo Busuttil's 'Ave Maria' (Bach/ Gounod), Acton's Parola Prima op. 30 sung by tenor Vincent Farrugia, soprano Joan Camilleri's singing Stradella's Pieta Signore, and mezzo Vanessa Magro's singing of Handel's 'Ombra mai fu'.

The recital was rounded off with two choral pieces: Palestrina's O Sacrum convivum and J.S. Bach's 'Jesu, dulcis memoria', in which the much outnumbered male section showed up the unfortunate current weakness of this choir, one which does not, however, dampen enthusiasm.

A concert of vocal and instrumental works was held at the "Isouard Hall" of the Manoel Theatre on October 26th. This event was one of a series of concerts and other activities being organised in aid of the Anglican Chaplaincy`s Restoration Appeal.

Soprano Arleen Barlow and mezzo-soprano Marie-Therese Vassallo, accompanied by Lydia Ellul Buttigieg, performed songs by Rossini, Saint-Saens, Handel, Vaughan Williams and Ivor Novello. Pianist Lydia Ellul Buttigieg performed solo works by Beethoven, Chopin, Sinding and Tschaikovsky.

And an instrumental trio of flautist Nathalie Fenech, violinist Stephen Debattista and Lydia Ellul Buttigieg, this time playing the harp, accompanied soprano Arleen Barlow in works by Henry Wood, Goddard and Jenkins. The programme was concluded with the vocal duet Pie Jesus by Andrew Lloyd Webber.

Following the concert there was a pasta buffet at the Manoel Theatre Restaurant.

A concert of vocal and instrumental works was held at the Sala Isouard, Manoel Theatre on Friday 26 October at 7.30pm. This was in the series of concerts and events being organised in aid of the Anglican Chaplaincy’s Restoration Appeal.

Soprano Arleen Barlow and mezzo-soprano Marie-Therese Vassallo, accompanied by Lydia Ellul Buttigieg, performed
songs by Rossini, Saint-Saens, Handel, Vaughan Williams and Ivor Novello.

Pianist Lydia Ellul Buttigieg performed solo works by Beethoven, Chopin, Sinding and Tschaikovsky and an instrumental trio of flautist Nathalie Fenech, violinist Stephen Debattista and Lydia Ellul Buttigieg, this time playing the harp, accompanied soprano Arleen Barlow in works by Henry Wood, Goddard and Jenkins.

The programme was concluded with the vocal duet Pie Jesus by Andrew Lloyd Webber.

Arleen Barlow originally studied music in England and continued her studies in Malta with Mro Paul Asciak and presently studies with Marie-Therese Vassallo. She won various solo awards in England and in Malta has taken part in many concerts.

Marie-Therese Vassallo originally studied music with her father Mro Frank Vassallo and travelled extensively on singing  engagements. She currently runs the Marie-Therese Vassallo Voice Studio. In 1994 she was awarded the Premio Citta di      Valletta in recognition of her outstanding work in the field of music in Malta.

Lydia Ellul Buttigieg began piano lessons at a very young age and has taken masterclasses in technique and interpretation with Mro. Michael Laus at the Johann Strauss School of Music. Her second  instrument is the harp and she is a part-time harpist with the  National Orchestra in Malta.

Nathalie Fenech began flute lessons at the age of seven and continued her studies with Mro Silvio Zammit. After winning
various competitions she won First Prize in the National Competition for the flute in 2000 and has been chosen to go to
Germany to continue her studies. She is an active flute and theory teacher at the Euro Institute of Music and also gives various flute recitals.

Stephen Debattista started studying the violin under the tutorship of Mro. Callus at the age of 8. He then furthered his studies under Mro. Mario Bisazza and passed examinations of the London College of Music. He has worked for the past 11 years as a full-time violinist with the National Orchestra.

The seventh concert in what has been an extremely full MCI season, held at the Casino Maltese, included the performance of the able and virtuosic Mediterranean Brass Quintet, alongside such respected stalwarts as Marie Therese Vassallo and Joe Huber.

However the concert began with a pleasant surprise as the young harpist, Cecilia Sultana DeMaria gave splendid renditions of three works, Ground in F By Purcell, 'Little Fountain' and the rather complex 'Chansons de la Nuit' by Salzedo. Although she is still young and delicate, there is certainly much talent ready to bud and flourish.

The Mediterranean Brass Quintet are five young soloists taken from the 12th of May Zebbug Band. In their first intervention they played an interesting medley of pieces such as some Catalan Dances by Morera and 4 American Dances which showed their splendid ensemble and virtuosity. Grieg's fabled 'Peer Gynt' also came to succinct life whilst a medley of popular Viennese waltzes was despatched with almost effortless panache. An aptly titled 'Flamingo' sequence concluded the quintet's contribution and this was also heavily flavoured in Iberian sauce!

Next on the agenda was a vocal presentation featuring baritone Joe Huber, mezzo-soprano Marie Therese Vassallo and pianist Cynthia Genovese. Huber was his usual delectable self in 'Finche' Han Del Vino' and 'Deh!, Vieni Alla Finestra' from Mozart's Don Giovanni. Schubert's tearful 'Lied der Mignon' was also splendidly sung by Marie Therese Vassallo who also imparted great intensity and beauty to Bulahov's 'Nye Probugday', an interesting Balkan folksong. Both soloists then joined forces in Frank Vassallo's 'Laudate et Benedicte' from the 'Cantico delle Creature', a charming piece that was also extremely well sung and acted.

The young Ian Borg then played two pieces by Carl Nielsen, Romance and Humoresque for oboe. Although still very young this talented chap showed an understanding and affection for his instrument and the haunting music. He certainly is going places in the future.

The Mediterranean Brass Quintet were back on stage for another magnificent medley of pieces. Suitably attired in black shirts and flashy ties they played the famous 'James Bond Theme' with admirable swagger and 'Stars and Stripes Forever' was truly
memorable for its attack and drive. The same sense of purpose was imparted to 'Puttin' On The Ritz' whilst Bratton's arrangement of 'Elvis in Concert' also brought out some very beautiful tunes and effects. However the show stopper was the famous 'Pink Panther' theme by Henry Mancini with all five members bringing the house down towards the end with some really punchy noises!

Finally Joe Huber and Marie Therese Vassallo gave splendid renditions of 'Shenandoah', 'All I Ask of You' by Andrew Lloyd Webber and the delightful duet from Rossini's 'Il Barbiere di Siviglia', 'Dunque Io Son'. The evening was also made very
special by the launch of a CD of duets with both soloists accompanied by the same pianist. A memorable evening then, and one that continues to confirm the success of these MCI concerts.