Our mission is to collect and disseminate information, and to assist with research into the culture and historic heritage of Malta ~ to organize in Malta and overseas, independently or with others, exhibitions, seminars and other activities with the aim of promoting and spreading knowledge of the cultural heritage of Malta ~ to produce publications, catalogues, books, documents and other material that reflect the aim of our Foundation.
· Treasures of Malta 93, Summer 2025
FONDAZZJONI PATRIMONJU MALTI
10 The Ceremony for the Making of a Knight
Through a series of illuminations found in a manuscript held at the Museum of the Order of St John, Clerkenwell, London, Emanuel Chetcuti describes the ceremonies which were performed for the admission of a knight in the Order of St John of Jerusalem, Rhodes, and Malta
20 The Maria Lactans Panel in Mdina: Rediscovering a Painting at St Peter’s Monastery
TAMEN
PERITIORES: The Curious ‘Natural Phenomenon’ at Villa Frere
Edward Said sheds light into an obscure natural wonder discovered during the creation of Villa Frere, Pietà, almost two centuries ago
38 My Favourite Object
Reuben Ellul Dimech
44 An Art-Historical Consideration of the Sanctuary and Painting of Our Lady of Tal-!erba
Nicholas Joseph Doublet
52
Charles Thomas Newcombe Tracked Down to Malta
Charles Paul Azzopardi reconstructs the timeline of events leading up to the surprising establishment of a once-celebrated London photographer in Victorian Malta
Gabriel Caruana (1929–2018), from a series of lino prints called My Visit to Venice, signed and numbered, c. 2001–2003. (Victor Pasmore Gallery Collection / Photo: FPM Digitisation Studio – Chiara Tosolini)
Arthur Muscat; Richard England
compiled by Antonia Critien
78
A Nation at the Movies: Cinemagoing in 1950s Malta
Petra Caruana Dingli explores the iconography of an old panel painting at a monastery in Mdina 64 From Our Digitisation Studio
90 Bookshelf
Stefan M. Attard
72 Remembering Maurice de Giorgio (1924–2015)
Christopher Borg presents an insightful snippet into the social history of cinemagoing in post-war Malta 30 DUBITANT
91 The Cover Antonia Critien
92
Cultural Review
Cecilia Xuereb
94
Calendar Highlights
Antonia Critien
from the Editor
This year marks the tenth anniversary from the passing of our institution’s founderpresident, Maurice de Giorgio—a man whose vision, velvet-coated determination, integrity and organisational skills were only matched by his aesthetic Everests. Every achievement by Fondazzjoni Patrimonju Malti (FPM) stands as another memorial to his unforgettable monumental figure. This issue showcases a throwback feature about what the nation owes to this humble giant of culture.
FPM still basks in the afterglow of its latest major exhibition—Emvin Cremona’s revolutionary Glass Collages, which again brought together many major creations from the artist’s breakthrough 1969 event, now mostly secreted in private collections and for the first time re-exposed for public admiration. A splendid and lavish catalogue of the exhibits, with supporting critical essays, ensures the perpetuation of those unique, nothing short of magic, moments. The exhibition proved to be a stimulating occasion for people to get together, follow motivating curatorial tours, discuss, and immerse themselves in contemporary aesthetic experiences. These included a custom-made workshop for children.
Next on the agenda of our Valletta venue will be a new installation about visionary dialogues between Caravaggio, Victor Pasmore, and the more contemporary Arcangelo Sassolino. Planned to run from 9 October 2025 – 3 January 2026, this exhibition, curated by Professor Keith Sciberras, is organised with Arts Council Malta (ACM) as part of the Retold project, commemorating the tenth anniversary of the ACM’s operations. The project is supported by the Ministry for Culture, Lands, and Local Government.
Next in our major exhibition and publication initiatives: a re-evaluation of the islands’ prehistory, mainly through its artefacts. Malta stands out among a myriad of other islands mostly because of two serendipitous happenings: the astounding, but still very mysterious, neolithic builders and the presence of the Hospitaller knights with their fortification compulsions and their baroque extravagancies. New archaeological discoveries, pushing prehistoric dates further back, render the secrets and skills of Malta’s first inhabitants yet more wonderous and captivating.
On the publication front: the third volume in the series of More Histories: Made in the Image is out for grabs. It compiles new researched stories on the lives of the famous and the infamous who have left footprints on the nation’s history. Incidentally, these include my father, Vincenzo, whose persistent obstinacy saved Gozo’s Banca Giuratale from a greedy and vandalic determination to demolish it in 1950. A marble memorial inside that unique baroque building in the sister island recently commemorated his success.
This is soon to be followed by Charlie Cauchi’s volume on the history of film, motion pictures, and movie-going in Malta—subjects about which very little systematic and researched information has been published so far. Together with fellow artists Raphael Vella and Adrian Abela, Charlie will be representing Malta at the 61st edition of the Venice Biennale next year.
In parallel, work progresses steadily on the first truly comprehensive history of our distressed opera house, relentlessly plagued by devastating fires, destruction by enemy action, political scandals, and financial setbacks. Some laudable studies about that fragile institution have been published over the years, but Vicki-Ann Cremona’s new in-depth research and discoveries will now afford new and often unsuspected perspectives on this tormented cultural icon.
Palazzo Falson continues spicing up its normal everyday activities with a new series of informal conversations, Dusk Dialogues, based on the question of the place of museums—in particular historic houses—within society, on their role, their challenges and evolving nature. This series kicked off in late May following the end of a packed week in celebration of ICOM’s International Museum Day, this year focusing on the future of museums in rapidly changing communities. Palazzo Falson aims to continue exploring this theme by offering up its spaces to opportunities for dialogue and creativity. We augur such to all.
Treasures of Malta is published three times a year, at Christmas, Easter and in the Summer
General Editor: Giovanni Bonello
Senior Editor: Giulia Privitelli
Creative Director: Michael Lowell
Publisher / Editorial Office Fondazzjoni Patrimonju Malti
APS House, 275, St Paul Street Valletta VLT 1213, Malta tel: (356) 21231515
All material, pictorial and/or editorial, published in Treasures of Malta is the property of the respective author and/or photographer. Reproduction without the necessary permission in writing from the rightful owner is strictly prohibited.
issn 1028-3013
Fondazzjoni Patrimonju Malti
VO/1762
Conseil d’Honneur
Her Excellency the President, Ms Myriam Spiteri Debono
The Hon. Prime Minister, Dr Robert Abela
His Grace the Archbishop, Mgr Charles J. Scicluna
Hon. President
The Hon. Dr Owen Bonnici
Minister for National Heritage, the Arts, and Local Government
Hon. Life Founder President
Dr Michael Frendo
Life Founder Members
Rita Flamini, the late Maurice de Giorgio
Founder Members
John Lowell, the late John Manduca
Nicholas de Piro
Board of Go!ernors
Joseph Grioli, Chairman
Giovanni Bonello, Deputy Chairman
Joseph V. Bannister
Max Ganado
Michael Grech
Lawrence Pavia
Matthew von Brockdorff
Michael Lowell, Chief Executive Officer
FONDAZZJONI PATRIMONJU MALTI
%e Chairman and Board of Governors of Fondazzjoni Patrimonju Malti would like to thank the following donors for their support
ASSOCIATES
THE MARTIN LAING FOUNDATION
BENEFACTORS
CORPORATE SUPPORTERS
MR JEAN CLAUDE GANDUR
FONDAZZJONI PATRIMONJU MALTI
%e Chairman and Board of Governors of Fondazzjoni Patrimonju Malti would like to thank the following donors for their support
PERSONAL SUPPORTERS
Francis Miller Memorial Fund
PATRONS
PERSONAL
Simon Abrahams & Francesca Del Rio
Mr Neville Agius & Dr Sabine Agius Cabourdin
Mrs Janatha Stubbs
Aviaserve – Mr Kenneth De Martino
Camilleri Paris Mode – Mr Paul Camilleri
Forestals Group of Companies – Mr Tancred Tabone
Gasan Group Limited – Mr Ian Sultana
Gianpula Village – Dr Roger de Giorgio
GVZH Advocates – Dr Michael Grech
Healthcare Logistics Limited – Mr Ian Galea
IIG Bank (Malta) Ltd – Mr Raymond Busuttil
Lombard Bank Malta plc – Mr Joseph Said
Mapfre Middlesea plc – Mr Martin Galea
Miller Distributors Ltd – Mr Malcolm G. Miller
CORPORATE
O. F. Gollcher and Sons Ltd – Mr Karl Gollcher
PwC – Mr David Valencia
RiskCap International Ltd – Dr Paul Magro
Rizzo, Farrugia & Co. (Stockbrokers) Ltd – Mr Vincent J. Rizzo
Satariano – Ms Natasha Chapelle Paleologo
Shireburn So&ware Limited – Ms Yasmin de Giorgio
Sigma Coatings (Malta) Ltd – Mr Anthony Critien
%e Alfred Mizzi Foundation – Mr Julian Sammut
Tug Malta Ltd – Dr George Abela
Virtù Steamship Co. Ltd – Mr Charles A. Portelli
Zammit Pace Advocates – Dr Roderick Zammit Pace
Fig. 1
(Detail) The Giver showing the eight-pointed cross of the habit to the postulant, illumination from Profession des Chevaliers de S. Iean de Hierusalem, c.1600–1635. (Courtesy of the Museum of the Order of St John, Clerkenwell, London / Source: Shelfmark H2.6 / Photo: Matt Spour)
The Ceremony for the Making of a Knight
Through a series of illuminations found in a manuscript held at the Museum of the Order of St John, Clerkenwell, London, Emanuel Chetcuti describes the ceremonies which were performed for the admission of a knight in the Order of St John of Jerusalem, Rhodes, and Malta
The origin of the Sovereign Military Hospitaller Order of St John of Jerusalem, Rhodes, and Malta1 may be traced to the beginning of the eleventh century when merchants from the Republic of Amalfi obtained permission from the Caliph of Egypt to build a hospice in Jerusalem.2 Their mission was to provide care and shelter to the large crowds of pilgrims of all ages, sexes, and status travelling to the Holy Land. The rector of the hospice was Gerard Sasso3 who, together with several knights that had remained in Jerusalem after its conquest in 1099,4 formed a self-governed religious order which was, in 1113, officially recognised by Pope Pascal II.5
Emanuel Chetcuti is an independent researcher with a keen interest in maps relating to Malta from the sixteenth to the nineteenth centuries. He has contributed articles to Melita Historica, The Journal of the Malta Map Society, The Journal of Maltese History, an online publication of the University of Malta, the IMCOS Journal, and Maps in History of the Brussels Maps Circle.
(Courtesy
The Maria Lactans Panel in Mdina
Rediscovering a Painting at St Peter’s Monastery
Petra Caruana Dingli explores the iconography of an old panel painting at a monastery in Mdina
An intriguing old painting has survived behind the cloister walls of St Peter’s monastery in Mdina. It features a representation of the Virgin Mary known as Maria Lactans, or the Virgin Nursing the Child (Figs 1-2), depicted in a vernacular style.
Until recently this painting hung on the landing of the principal staircase inside the monastery, and it was rarely seen by outsiders. It is now on display at the monastery museum. It was first noted by Mario Buhagiar and Stanley Fiorini in their seminal study of Mdina in 1996,1 there referred to as the Virgin of Graces, and they dated it as likely to be early sixteenth century. However it is still not widely known and to date it has not been well studied.
This work of art first hung in the old church of St Peter in Mdina. In 1510, the nuns acquired a new and superior painting for the main altar by Salvo d’Antonio, one of the artists of the Messina school.
Petra Caruana Dingli is an associate professor at the Edward de Bono Institute at the University of Malta, and also lectures within the Faculty of Arts. She holds a doctorate in literature from the University of Oxford. She is chairperson of the Mdina Cathedral Archives and a long-standing council member of the heritage organisation Din l-Art !elwa. She has authored and edited several publications. In 2023, she edited the book The First Church of Valletta: Our Lady of Victory.
Fig. 1
(Detail) Unknown artist, Maria Lactans with St Raphael the Archangel and St Paul the Hermit, tempera on wood, 77 x 91cm, St Peter’s Monastery, Mdina.
of St Peter’s Monastery, Mdina / Photo: Daniel Cilia)
Fragments of the marble plaque in a cabinet of curiosities at the gardens’ small museum.
(Courtesy
DUBITANT TAMEN PERITIORES
The Curious ‘Natural Phenomenon’ at Villa Frere
Edward Said sheds light into an obscure natural wonder discovered during the creation of Villa Frere, Pietà, almost two centuries ago
Twelve years back, Villa Frere was presented in a first-ever dedicated article in this periodical.1 The intention then was to provide readers with an overview of the origins and evolution of this remarkable property famous for its ‘paradise of gardens’, as well as to announce the mission embarked upon by the author and a brave group of heritage enthusiasts in saving what survives. Since then, the voluntary organisation Friends of Villa Frere has striven to recover, conserve, and reaffirm a myriad of qualities, both tangible and otherwise, exuded by this enchanting place.
Edward Said is a practicing architect specialising in conservation, a keen researcher in Maltese built heritage, and is actively involved in the voluntary project currently overseeing the preservation of the historic estate of Villa Frere in Pietà.
Fig. 1
of the Friends of Villa Frere)
Reuben Ellul Dimech is an economist specialising in macroeconomic analysis, forecasting, and data-driven policy research. He holds degrees in economics from the University of Malta and the University of Edinburgh. His research work includes various studies on business conditions, price inflation, and labour markets. Ellul Dimech contributes regularly in European working groups on economics. He is also a keen enthusiast of Maltese history, art, culture, and music, and is an avid collector of books and antiquities in these fields.
My Favourite Object
Reuben Ellul Dimech
opposite: Fig. 1
overleaf: Fig. 2
e Journey of a Book:
A copy of Q. Sectani Satyrae in Phylodemum
Books have always fascinated me as they are more than just collections of words; they are vessels of history, culture, and human connection. Some books, through their rare content and the lives they have touched, go beyond the role of simple literature and become artefacts of cultural or national signi'cance. One such book is this copy of the 1698 edition of Q. Sectani Satyrae in Phylodemum, a remarkable work of neo-Latin satire by Lodovico Sergardi, better known by his pseudonym (uintus Sectanus. When published, these satires caused an uproar in Roman society for nearly ten years.1 Yet, the value of this particular copy of the book is not just about its literary merits but also about the fascinating lives of some of its previous owners, notably Count Saverio Marchese and John Hookham Frere.
e literary work
For modern readers, the book is an obscure collection of poems. Published in 1698, this edition of Satyrae is part of a long-standing tradition of neo-Latin literature. Sergardi’s satirical poems, modelled on the works of Horace and Juvenal, were aimed at the Roman Curia, at Roman society, but primarily at his rival Gian Vincenzo Gravina, a co-founder of the Accademia degli Arcadi.2 %is Roman literary group aimed to revive classical simplicity and elegance in Italian poetry.3 Sergardi, adopting the pen name (uintus Sectanus, placed himself as the '&h in a lineage of satirists a&er Lucilius, Horace, Persius, and Juvenal.4 His satires were deeply embedded in the cultural and intellectual disputes of his time, and o)er a fascinating look into the literary quarrels of the late seventeenth century.5
Title page of Q. Sectani Satyrae in Phylodemum (Cologne: Apud Joannem Selliba, 1698).
Short summary about the book and its author, probably written by Count Saverio Marchese, one of its previous owners.
Fig. 1
St Paul’s Church, lithograph, mid-nineteenth century. (Courtesy of the National Library of Malta)
Charles Thomas Newcombe Tracked Down to Malta
Charles Paul Azzopardi reconstructs the timeline of events leading up to the surprising establishment of a once-celebrated London photographer in Victorian Malta
Victorian Malta was not immune to the craze for the acquisition of photographic copies of one’s likeness, termed ‘cartomania’, which washed over England, France, and the whole globe in the 1860s. With the demand for the production of cartes de visite fuelling the development of photographic businesses in Malta, such as the studios of Dr Giuseppe Micallef (1833–1888), Leandro Preziosi (1830–1869), Michele Zahra (1838–1915), Ardoino & Schranz, Corani & Labruyere, and James Conroy (1818–?), recently discovered evidence points to a new British photographer having established a photographic studio in Malta in Piazza Celsi, in Valletta, in the early 1870s— but why and how would a celebrated British photographer end up in Malta?
Dr Charles Paul Azzopardi is a photohistorian. His research area delves into the photographic practices of the nineteenth and early twentieth centuries in Malta. He has made significant contributions as a curator and photographic cultural heritage consultant at the National Archives of Malta and the Richard Ellis Archive. Azzopardi’s research and photography have been published in over forty monographs. He is also the founder of the Malta Image Preservation Archive, a non-governmental organisation aimed at preserving and digitising Maltese photographic cultural heritage.
· Treasures of Malta 93, Summer 2025
A set of rare photographs show the display of Emvin Cremona’s 1969 exhibition at the National Museum, in Valletta. Arthur Muscat (AM) re ects on his youth—a time when he was still discovering the power and beauty of art—and recounts some of his earliest memories of Emvin leading up to the exhibition. Meanwhile, Richard England (RE) gives an account of his relationship with Emvin, his collaboration, and views on the 1969 exhibition.
From Our Digitisation Studio
View of the 1969 ‘exhibition of paintings’ by Emvin Cremona, held at the National Museum (now the Archaeology Museum), in Valletta. %is photograph was probably captured by Gino %euma (1935–2020), who worked for the Times of Malta and was one of the founding members of the photographic section of the Malta Tourism Board. %is photograph, along with others showing the individual works on display, formed part of his personal archive. (Courtesy of Charles Paul Azzopardi / Digitised by MIPA – Malta Image Preservation Archive)
· Treasures of Malta 93, Summer 2025
Remembering Maurice de Giorgio (1924–2015)
compiled by Antonia Critien
%is year marks ten years since the passing of Maurice de Giorgio, founder and 'rst Chairman of Fondazzjoni Patrimonju Malti (FPM), which together with Rita Flamini he had set up in 1992. A charismatic, dedicated, hard-working gentleman who showed us that manners never go out of fashion and that perseverance for the cause is always worth undertaking no matter how great the obstacles seem.
Over the years he gained nothing but respect from the FPM committee members, the employees, and most importantly the art lenders from the public, without whose trust the state of the art exhibitions, held over a period of so many years, would not have been possible. Always ready to push for the awareness of cultural preservation, to listen to new ideas, and to crack a joke at the end of it, Maurice le& his mark on those who knew him, as well as an outstanding contribution to the island’s cultural heritage.
In the excerpts below, friends and colleagues all have a story to tell, an anecdote to remember, a moment to cherish as they express their admiration for Maurice de Giorgio over the years, providing a wonderful tribute for the 10th year anniversary without him.
Francis Vassallo – Times of Malta, 7 June 2015
I got to know Maurice personally way back in 1994. He had come to see me when I was governor of the Central Bank of Malta. With a smiling face and cap in hand, he asked for a sponsorship for the Silver in Malta exhibition, which he, as Fondazzjoni Patrimonju Malti president, was organising at the Palace the following year. His charm
and gentle approach, his enthusiasm for the project as well as his love of Malta’s heritage all made for a very convincing argument for the sponsorship, and for this he was extremely pleased and appreciative.
I fully understand how one could easily become a)ectionate to Maurice, as he had a great sense of humour and enjoyed a good clean joke, a naughty one as well. In fact, I spent quite a few years, even until recently, sending him jokes by e-mail, to which he always responded with a very witty comment.
Michael Refalo – ‘Ambling down Memory Lane’, A Timeless Gentleman (FPM, 2014)
Maurice’s most outstanding gi& to the nation is undoubtedly the rescue and revival of the Norman House in Mdina and the painstaking cleaning, restoration, cataloguing and display of the works of art, collections and memorabilia owned by the Gollcher Foundation. Maurice con'ded that the 'rst time Fondazzjoni Patrimonju Malti was allowed access to the Norman House he was shocked to see the appalling state of neglect and decay. Nowadays, visitors cannot imagine, let alone believe, the state of Palazzo Falson Historic House Museum before Patrimonju began the long process of restoration.
During my stint as High Commissioner for Malta to the United Kingdom, I organised a long weekend’s visit for colleague diplomats and made sure Palazzo Falson was in the itinerary. Maurice was at the door to welcome us. He showed us round, gave an interesting account of the building’s history and restoration, and highlighted the most unique items and curios of Captain Gollcher’s collections. On our way out, I was approached by a visiting diplomat who handed me an envelope and said: ‘ % is is for the excellent guide’. A&er
Fig. 1
Maurice de Giorgio enjoying a ride on his boat, Paċikka.
(Courtesy of the de Giorgio Family Archive / Photo: FPM Digitisation Studio)
A Nation at the Movies
Cinemagoing in 1950s Malta
Christopher Borg presents an insightful snippet into the social history of cinemagoing in post-war Malta
For over a century, cinemas have woven themselves into the fabric of public life and culture across the globe. These vibrant venues are far more than mere spaces for viewing films; they are dynamic social spaces where individuals meet, sharing laughter, tears, and moments of collective experiences. The allure of cinema has grown immensely over the years, leading to descriptions of cinemas as the grand cathedrals of film.1 Devoted fans often revere movie stars, elevating them to the
Christopher Borg is a PhD candidate in Sociology at the University of Malta. His research examines how young adults in Malta engage with film as a social and cultural practice. He investigates how film consumption fits into everyday routines and how it reflects and contributes to broader patterns of meaning, identity, and social connection.
Fig. 1
Old photograph of the Embassy Cinema, in Valletta, inaugurated in 1954. (Courtesy of Petra Baldacchino)
Bookshelf
Dun Karm’s Beyond Self as a theology of the Mediterranean
reviewed by Stefan M. Attard
Author: Jean Claude Attard
Published by Kite Group, 2024
88 pages
ISBN 978-9918-23-149-2
+18
Available from www.kitegroup.com.mt and other local and online bookstores
Jean Claude Attard’s book has appeared during an exciting time in the development of theology, particularly in the Mediterranean basin. Spurred on by Pope Francis’ desire to have us focus on a theology that is not abstract but contextual, and that takes the narratives and wounds of the peoples inhabiting this region as the starting point of theological discourse, Attard was quick to hear that clarion call and to act on it. He is among the first of the local scholars who are laying the foundations, giving shape to the notions, and constructing the language needed to engage in a theology from the Mediterranean.
Il-Jien u Lilhinn Minnu (Beyond Self ) is a vital tool or building block in this enterprise, and Dun Karm himself would never have imagined that his Beyond Self would lead to new and exciting avenues in theology that would, like his own poem, pulsate with life and promise to yield a rich harvest.
This is not a book that deals with complex theological or philosophical thoughts, though it pertains to these disciplines. Its square focus is the human being as shaped by his or her natural, social, religious, and cultural milieus. It deals with the complexities and absurdities of life, not from a theoretical point of view, but as lived in the flesh of an eminent son of Malta, one who could express through poetry what otherwise would have remained unspoken. As Attard states: ‘The work is multidisciplinary in nature; the aim is to integrate theology with literature, anthropology, and philosophy in a way that contributes to a better understanding of what Dun Karm writes and how he was influenced and how he, in turn, helped shape a distinctively Maltese mindset’ (p. 22).
Rather than being a literary analysis of Beyond Self in terms of poetological features, it exemplifies an effort to place this profound poem within the broader context of the various influences upon Dun Karm’s life, such as Ugo Foscolo’s Dei Sepolcri (1936), leading to an appreciation of the poem’s invaluable contribution to an analysis of
human thought and feelings within a specific geographical region.
Theology is not an enterprise undertaken in libraries, but in such important loci as the kitchen, the home’s hearth. Nor is it representative of static, unchanging realities. Rather, it takes form on the journey of life, a theme so central to Beyond Self. The journey is a profoundly biblical theme and an existential one too. The Bible itself is a window on the mystery of human existence, which one must journey through.
It is a happy coincidence that this book was published a short time before archaeological findings about the history of Malta hit the headlines. It was discovered that hunter-gatherers travelling on canoes arrived in Malta at least 1000 years earlier than humans were originally believed to have inhabited the island. Indeed, the beginnings of our local history can be traced back to a journey undertaken in the distant past.
At times, the author gives the impression of shifting his focus away from Beyond Self as such, venturing into rich discourse on Mediterranean culture as far back as ancient times. Yet, only by doing so can he put Dun Karm’s work into context and prove its eminently Mediterranean imprint. The process of meticulously dissecting Dun Karm’s poem is, at the same time, one whereby Attard himself gives shape to the building blocks of a new language of Mediterranean theology that is contextual, fresh, and urgently needed. In the local scene, Attard’s is the first book of its kind, and it will be remembered as a seminal work that shines a light on the journey that lies before each one of us as we engage in theological discourse that is relevant to our lives.
In Chapter 3, the author’s favourite one, Attard boldly navigates the interface between existential and Christian approaches to life, showing that a deep sense of absurdity can mark both. Despite connections made between Dun Karm and the Danish philosopher Søren Kierkegaard on matters
related to faith and human limitations— reflecting St Augustine’s thought—the author does not shy away from comparing Albert Camus’ piercing thoughts about the absurdity of life with Dun Karm’s own existential problems.
The biblical figure of Job is used as a starting point, but the reader is quickly made to realise that Dun Karm himself had a couple of losses in his life, particularly his mother’s, which left a deep void in him. Only in this light can one understand the darkness he refers to in his Il-Jien u Lilhinn Minnu. The text is further enriched by the mythological figure of Sisyphus which Camus wrote about. The man grappling with absurdity, such as Sisyphus, is not different from the mystic—both need awareness and acceptance of the inevitable.
Anyone acquainted with the sapiential literature of the Bible cannot fail to make a connection between Dun Karm and Qoheleth, the sage who questions the meaning of life in the face of a world that seems to be governed by chance, as opposed to the more harmonious world view found in Proverbs. Yet, as is the case with Qoheleth, hope is not lost. Dun Karm still considers prayer as the task of the Christian even in the face of meaninglessness, much like Sisyphus must unendingly push the boulder up the hill. The difference is that the ‘absurd man’, as the author calls him, absolutises absurdity whilst the Christian dares to hope in the attainment of Truth.
The book draws to a close with a heartwarming theme, namely that of the kitchen. Given that this book is a modified version of the author’s dissertation written for a postgraduate degree at the Faculty of Theology of the University of Malta, the dedication of a chapter to ‘a theology of the kitchen’ thus becomes as testament of his daring. Here, we are not taken through some culinary journey, but are instead presented with deep anthropological insights where the mother is portrayed as that special person who animates life in the kitchen—the heart of the home and
The cover image is a detail taken from a linocut print by Gabriel Caruana (1929–2018). It is signed by the artist with ‘Malta’ written beneath his name, and numbered 5/15. It forms part of a series of six monochromatic yellow-and-white prints and two black-and-white ones that were found in Victor Pasmore’s home, Dar ,amri, in Gudja, Malta, and which now form part of the archival collection at the Victor Pasmore Gallery, in Valletta.
Caruana and Pasmore became close friends and artistic inspirations to each other. They spent hours discussing the progression of their art—discussions which Caruana certainly found to be invaluable. At the back of one of the black and white prints from this series, Caruana has written ‘My Visit to Venice’, though it is difficult to say whether he is referring to that singular print or to the lot as a set. Although not all are dated, the ones that are indicate they were made between 2001 and 2003, in which case it is possible that Caruana may have gifted these to Pasmore’s wife, Wendy, as Victor had already passed away, in 1998.
This print displays a combination of swirls and jagged lines creating decorative patterns. The lines on both sides of the print seem to be radiating from what could be a central Picasso-esque figure—it is possible to vaguely see a pair of legs in a seated position on what could potentially be blades of grass, and an arm and hand on the left. This is purely speculative, of course, though the border around the work certainly draws attention to the centre. The choice of yellow here gives the work a light, playful impression, barely contrasting with the white of the paper. Caruana’s love for colour, especially the bright colours observed in a sun-drenched Maltese landscape, becomes as important as the medium he worked with, in all of his art.
The linocut technique involves engraving images into a block or sheet of linoleum which is then covered in ink and printed. This creates sharp, bold results, often executed in black ink to give a strong contrast against the white paper. Caruana, a master ceramicist, left these incised marks on many of his ceramics too, as he pressed, scratched, and molded his works, leaving so much of his energy in every piece.
Gabriel Caruana (1929–2018), from a series of lino prints called My Visit to Venice, signed and numbered, c. 2001–2003.
the place of rest and regeneration. The reality of the death of Dun Karm’s mother, something that left the poet deeply wounded, imbues the notion of the kitchen with a sense of nostalgia. However, such nostalgia must be qualified. Though Dun Karm had to suffer the pain of his mother’s loss, he felt that she was still present to him, though in a different form. In this respect, her lasting impact on him cannot be overstated.
The book adopts anything but a moralistic approach or one that attempts to give a simplistic and fideistic explanation to human angst. Nor does it offer a type of candy-coated Christianity. Rather, it throws light on our national poet’s interior turmoil despite his faith. It is encouraging to read a text about such an eminent poet who, though a priest, was also assailed by struggles that, nevertheless, did not break him.
In many ways, Dun Karm’s state of being is beautifully reflected in the self-description given by St Paul in 2 Corinthians 6: 9-10: ‘… dying, and yet we live on; beaten, and yet not killed; sorrowful, yet always rejoicing; poor, yet making many rich; having nothing, and yet possessing everything’. Indeed, the paradox of Christianity, so skilfully articulated by Jean Claude Attard, is a reality we must all grapple with if our faith is to make sense at all.
Entry by Antonia Critien
Cultural Review
Cecilia Xuereb reflects on the Spring opera season in Maltese theatres—a particularly atmospheric celebration of Rossini
March is opera time at the Teatru Manoel. Annual opera productions at the Manoel started with the new millennium with the launch of the Bank of Valletta Opera Festival, in March 2000, that ran for a week. The last edition of the Festival was held in 2012, but the Manoel continued to present at least one opera production every March. This year’s production was an opera that has probably seen the greatest number of productions in Malta and Gozo: Rossini’s Il Barbiere di Siviglia—one which is still very popular with Maltese opera-lovers, as witnessed by the box office sales for the four performances that were held during the first week of March.
However, instead of focusing exclusively on the opera, the Manoel highlighted other aspects of Rossini, presenting him as a composer of sacred works and of a large number of instrumental and vocal pieces which he wrote to be performed in nineteenth-century musical salons. In this way, a more holistic picture of a composer, best known for his operas, especially his opere buffe, was presented.
In the intimate setting of the Sala Isuoard, pianist Caroline Calleja and soprano Andreana Yordanova re-created the atmosphere of the salons musicales of Rossini’s times, and particularly of those that were organised by Rossini himself after he had settled in Paris.
By that time, Rossini, who had gone through a period of ill-health, had recovered both his health and his joie de vivre, and started composing again, though not opera. His Saturday musical salons were renowned and were regularly attended by musicians and the artistic and fashionable circles of Paris. During these evenings, works by other composers were performed, but Rossini also produced more than 150 chamber pieces to be included in the programmes. These were charming witty salon miniatures that he called Sins of Old Age, which gave the title to the recital.
A selection of these pieces—songs with piano accompaniment—as well as solo piano pieces along with others that he had composed earlier in his career, made up the programme for the evening’s recital.
The four piano solos performed by Caroline Calleja all had piquant titles that reflect the composer’s jovial character as much as his music. They may not all be the greatest piano pieces ever written but they certainly served the purpose for which they were written: to impress the guests with the pianist’s virtuosity and to entertain them with their melodies. Rossini’s writing for the piano
is highly idiosyncratic. It requires a first-rate technique that pulls all the stops of pianism, a sure sense of style, and an ability to bring off all kinds of effects. The organisers found such a virtuoso pianist in Calleja. In her performance one could easily hear the composer of the opera aria and the master of orchestral writing. Prélude Inoffensif started off as a colourful opera aria for the piano, eventually building up to orchestral proportions. The Tarantelle pur Sang was a joyous ride over the keyboard, while in Theme the composer built an elaborate set of variations out of a simple fivenote motif. The composer’s boisterous and jocose character was mirrored in Spécimen de mon temps
More at home when writing for the voice, the pieces sung by Yordanova during the second part of the concert could very well have found a place in his operas. They were miniature masterpieces, witty, charming, and tuneful, with very florid vocal lines and further evidence of his genius as a melody composer. These fitted very well Yordanova’s bright luminous tone that she projects effortlessly in all its ranges. She obviously gives great importance to the words which decide the emotions that she wants to convey. Her clear tones combined with her clear diction are bolstered by a superb control of dynamics. With Yordanova the audience went through the excitement of the maiden as she watched her beloved taking part in the Venetian regata, and the gently elegiac bel canto aria of Adieux à la vie! La Promessa, from the Soirées Musicales, was enchanting. The only work from Rossini’s last period that was meant for public performance was what he referred to as ‘the last mortal sin of my old age’, his Petite Messe Solennelle. Although he had not been writing ‘serious’ works for some time, this composition does not show any ebbing of musical inspiration. This Mass, the second of his sacred works, was in fact an
astonishing finale to his astonishing career. Rather ironically, Rossini called his Mass petite, but it is by no means ‘petite’. Though scored only for two pianos and a harmonium, besides the chorus and four soloists, it is definitely operatic in spirit with music that is beautiful, original, and innovative in its harmonies. Its fourteen sections offer music of a melodic vitality, an unerring sense of proportion, and unforced grandeur—very similar, in fact, to those which characterise his operas. A performance of the Mass held at the Teatru Manoel was the last item on the programme of the Rossini Week.
Soprano Gillian Zammit, mezzo Claire Massa, baritone Louis Andrew Cassar, and tenor Eduardo Hurtado Rampoldi, were the four soloists, all of them in excellent form. Rossini’s composition gave each one of them extended solo movements—opera arias in all but name—while the soprano is also given an extra coloratura aria, O Salutaris Hostia, which does not really form part of the text of the Mass. There is great variety in the writing for the chorus, which was equally well sung by The New Choral Singers. The multi-layered opening, the ‘Kyrie’, was a truly spiritual introduction to the performance. The chorus sounded lyrical when interacting with the soloists in the ‘Sanctus’, while the two extended fugues that conclude the ‘Gloria’ and the ‘Credo’ were real tours de force, for both soloists and choir. The final ‘Agnus Dei’, sung by Massa and the chorus, was a moving moment in the performance.
Michael Laus conducted from the piano. Both he and Joanne Camilleri, who played the harmonium, have their showpieces in the extended piano solo that followed the ‘Gloria’, performed by Laus, while the ‘Ritornello’ that preceded the ‘Sanctus’ was played by Camilleri. This was a bright, tuneful, and rhythmically alert performance that matched the character of the music—a
The Petite Messe: a more solemn occasion. (Photo: Kevin Kiomall)
work which is not of profound religious insight, but of delightful, life-enhancing musical experience.
Yet, the main item of the week was without doubt Il Barbiere di Siviglia, a work that strangely enough, for many years outside Italy, was considered as simply providing pretty, agile sopranos with another pretext for enjoyable fioriture, and tenors with an opportunity to display heart-twanging tones in cantilena, while other assorted singers had the established license to overplay their roles. However, Il Barbiere is much more than that.
The production at the Manoel was a very fine one on all scores: musically, dramatically, visually—a production that, while following tradition in many ways, was also innovative.
Il Barbiere di Siviglia has a very silly plot and is in no way realistic. From start to finish Paul Carr, the artistic director, aided by the set and costume designers, underscored this fact by presenting it as a broad comedy with farcical elements.
The curtain opened on a straggly bunch of very somnolent musicians who are to accompany the Count’s serenade to Rosina. Fiorello has quite a task to wake them up. The set, designed by Adrian Mamo, was in the nature of a monochrome woodcut. It represented a street scene but the same structures, with some variations, also served to represent the interior of Don Bartolo’s house. Against this, the brilliant costumes were more impressive. The style of the acting, a mixture of the stylised and the natural, set in the very first scene with the entry of Almaviva, was
retained by all the characters throughout the production. The teamwork and timing were impeccable with very fine, acting not only from the main characters but also from the chorus—KorMalta—and the extras.
Following a rather sleepy black-andwhite opening, the production brightened up with Denise Mulholland’s costumes, all brightly coloured and, in the case of the main characters, all sporting a rose motif, even as the plot became more incredible. It was one of those rare moments in opera when all four singers as well as the two comprimari were very convincing actors besides being very fine singers.
Though the plot may be ridiculous, the music is certainly not: engagingly stylish, witty, and abounds with character portraiture. The very first note of the overture revealed Michael Laus’ feeling for Italian opera with all its nuances. This is not the usual opera overture; it has nothing to do with the everready Figaro, the coquettish Rosina, or the sentimental Almaviva. Yet, it still reflects the sparkling spirit of the opera and its characters. Here and throughout, Laus conducted with extraordinary authority, always in command of the grand sweep of the comedy and the characters. The Malta Philharmonic Orchestra and the singers were all well under his control without, however, stifling the individuality of the latter.
Figaro, sung by André Morsch, established his prominence in the opera with his bravura aria Largo al Factotum in Act I. He is always in command of the events, even when these do not go according to plan.
Figaro’s character demands a vocal agility and clear articulation similar to that of Don Bartolo (sung by bass baritone Felipe Oliveira) and Rosina (sung by soprano Heather Lowe), whose vocal zest never faltered. Adornments and fioriture were present to show off the singers’ virtuosity, but they were neither overdone nor did they obscure Rossini’s writing for them. Tenor Leonardo Ferrando started off as a rather effete Almaviva, but he eventually warmed up to the part. Equally effective was the singing of bass Pavlo Balakin as Don Basilio. His rendering of the famous aria La Calunnia was highly comical in a new kind of way. Finally, the Malta Philharmonic Orchestra and KorMalta, both in top form, were an integral part of the production.
The 2024–2025 opera season was rounded off with another favourite, Verdi’s Nabucco, which was staged at the Aurora Theatre, Gozo, in April. Gozo will once again inaugurate the 2025–2026 season this October with the performance of two more favourites: Verdi’s La Forza del Destino, at the Aurora Theatre, and Puccini’s Tosca, at the Astra. Arguably more interesting for their novelty will be two productions in October and November. In October, Opera Nova—a project for training professional opera singers—will be presenting Mozart’s Magic Flute, sung exclusively by local singers, apart from the role of the (ueen of the Night. Following this, in November, the Early Opera Festival will feature two one-act productions by Gluck: Il Parnaso Confuso and La Corona, composed to be performed by the daughters of the Hapsburg emperor.
Il Barbiere di Siviglia: fun at the opera. (Photo: Kevin Kiomall)
Calendar Highlights
A selection of upcoming events happening around Malta and Gozo over the next few months
Performing Arts
DANCE PICK
Puerto Flamenco
Teatru Salesjan, Sliema 3–4 October 2025
The stage will ignite with the power and passion of dancer Francesca Grima ‘La Chica’, percussionist Andrej Vujicic, and the remarkable talents of the ‘young guns’ of flamenco: dancer Miguel El Rubio, vocalist Manuel Niño de Gines, and guitarist David Caro. Joining them is the rhythmic powerhouse, dancer Abel Harana. Together, this ensemble will deliver a show that blends the emotive depth of traditional flamenco with the thrill of spontaneous artistry. www.tsmalta.com
La Forza del Destino
Giuseppe Verdi’s opera where everyone’s hiding and disguising. The nobleman disguises himself as a student; the South American dresses up as a Spanish fighter; the Lady walks in male attire and, more poignantly, as a hermit. They all try to be someone else, to escape their own fate. Colin Attard conducts the Malta Philharmonic Orchestra, the Aurora Opera Chorus, and an international cast of opera artists.
Teatru Aurora, Gozo 11 October 2025 www.teatruaurora.com
What the Dickens!
With an original orchestral score by Maestro
Mark Agius and the artistic direction of Louie Noir, this production is gearing up to be a breathtaking fusion of literature, music, and theatre. Expect drama, emotion, and a masterful retelling of some Dicken’s best-loved works.
Mediterranean Conference Centre, Valletta 18–19 October 2025 www.mcc.com.mt
Music
Valletta Waterfont Jazz Series
These intimate concerts feature popular works from Broadway musicals and movies penned by world renowned composers of the genre. This series of concerts is aimed at introducing the Great American Songbook, the canon of the most influential American popular songs and jazz standards from the early twentieth century, with a jazz adaptation of cultural phenomenon ‘The Beatles’ thrown in for good measure.
Sagrestia Vault, Valletta Waterfront Select Thursdays; June – November 2025 www.vallettawaterfront.com
MUSIC PICK
Opera in the Capital
St George’s Square, Valletta 6 September 2025
This year’s edition features the voices of tenors Alan Sciberras and Cliff Zammit Stevens, joined by renowned vocalist Nadine Axisa, who will perform operatic arias, film music, and musical theatre classics. www.vca.go!.mt
original West End orchestrations of Sir Andrew Lloyd Webber’s masterpieces for stage, including Jesus Christ Superstar, Joseph and the Amazing Technicolor Dreamcoat, Phantom of the Opera, Beautiful Game, Sunset Boulevard, Evita, Cats, Tell Me on a Sunday, Song and Dance, Starlight Express, and Whistle Down the Wind.
Grandmaster’s Suite, The Hilton, St Julian’s 24 September 2025 www.showshappening.com
Broadway Bound
From beloved classics to modern masterpieces, Broadway Bound showcases the very best show-stoppers of musical theatre, performed with the grandeur and brilliance of a full symphonic orchestra. Featuring the Malta Philharmonic Orchestra, conducted by Ryan Paul Abela, and some of Malta’s finest musical theatre talents.
Mediterranean Conference Centre, Valletta 27 September 2025 www.mcc.com.mt
Visual Arts
Emvin Cremona Retrospective
Widely acknowledged as one of Malta’s most prolific artists, Emvin Cremona supplied over 170 designs for 62 sets of stamps. Inspired by everyday life, Cremona’s designs cover a wide range of subjects including historical events and personalities. They explore the introduction of abstraction in postage stamp artwork and illustrate his interpretation of the human figure and our rich cultural landscape.
Malta Postal Museum, Valletta 25 July – 6 October 2025 www.kreattivita.org
Tuitio Fidei
Titled after the motto of the Sovereign Order of St John of Jerusalem—‘Defence of the Faith’—Tonio Mallia’s new series of paintings doubles up as a meditation on the Great Siege of Malta of 1565 and a lament for the sieges of our present age. Indeed, that defining siege of 460 years ago still today offers us the occasion to reflect on loss and the defence of what each considers most precious, perhaps, sacred.
The Music of Andrew Lloyd Webber The Gozo Youth Orchestra under the musical direction Maestro Joseph Grech will perform
Camerone, MU- A, Valletta 4 August – 28 September 2025 www.muza.mt
Still Life | Life, Still
Malta Society of Arts, Valletta 28 August – 18 September 2025
In this exhibition of natura morta paintings, Ryan Falzon enters into a visual dialogue with Giorgio Preca (1909–1984). Works which are often considered to be without narrative are here presented in such a way so as to guide the visitor into questioning the life of material reality, moving away from viewer to becoming a participant, from object to the symbol, the imagination . . . beyond nature. www.artsmalta.org
Wens: Comfortable Silence
This solo exhibition by Rebecca Bonaci is a deeply personal and introspective show that invites viewers into the artist’s quiet world— one shaped by place, gratitude, and the poetry of the everyday. Through a series of tender and evocative works, Bonaci captures the beauty found in life’s unspoken moments: a glance, a pause, a space filled not with words, but with presence. In Wens, silence is not emptiness but rather a space of connection, memory, and belonging. The exhibition speaks to the comfort we find in the familiar and the meaningful weight of small, daily rituals—offering a moment of stillness in a fast-moving world.
Valletta Contemporary, Valletta 19 September – 17 October 2025 www.vallettacontemporary.com
The Order of Malta National Art Exhibiton
The exhibition is primarily intended to provide a forum for established artists, as well as for promising new ones, living or connected to Malta, as well as to serve as a source of inspiration, reflection, and the joy of everyday life. The collective is a mirror of the human experience outside a museum setting and is also
intended to help the visiting public understand Malta’s history and culture, our lives, and aspirations. The exhibition’s aim is also to raise funds, with proceeds directly contributing towards the charitable activities of the Maltese Association of the Order of Malta.
St John’s Cavalier, Valletta 24 October – 14 November 2025 www.orderofmalta.mt
Lectures
New Findings from the Latnija Project New archaeological discoveries at the G.ar tal-Latnija in Mellie.a extend Malta’s prehistory by 1,000 years and give a clearer picture of European civilisations. Professor Eleanor Scerri will be talking about these new developments that changes the timeline of Malta’s prehistory as we know it.
National Museum of Natural History, Mdina 26 September 2025 www.heritagemalta.mt
Crisis and Hope
Engaging with numerous thinkers, this talk by Dr Robert Farrugia aims to uncover how crisis reveals the fragility of human existence while also pointing toward a transformative hope beyond despair, rooted in trust, meaning, and relationality as the triumph of life over crisis.
Valletta University Campus, Valletta 29 September 2025 www.philosophysharing.org
Dusk Dialogues
An informal series of talks at Palazzo Falson, presented in collaboration with Fondazzjoni Patrimonju Malti, encouraging conversations on the roles, challenges, and evolving nature of museums; with different guest speakers.
Palazzo Falson, Mdina
30 September; 21 October; 18 November 2025 www.palazzofalson.com
Fashion and the birth of nature conservation Annamaria Gatt (Curator of Costumes and Textiles), John Borg (former Senior Curator of Natural History), and Caroline Tonna (Art and Dress Historian) will be giving a lecture accompanying the exhibition of the same title.
National Museum of Natural History, Mdina 31 October 2025
www.heritagemalta.mt
Festivals
Notte Bianca
A highly anticipated event where, for one night only, Valletta opens its cultural doors late into the night. Churches, museums, exhibitions, and live performances are free for all.
Around Valletta 4 October 2025 www.festivals.mt
Three Palaces Festival
Audiences experience intimate performances in the grandeur of some of Malta’s finest palaces and indulge in forms of artistic expression that reflect the identity of the nation and beyond. Emerging artists perform alongside the finest established artists in Malta and internationally.
Around Malta 30 October – 2 November 2025 www.festivals.mt
Valletta Early Opera Festival
This year’s festival will feature two one-act operas by Christoph Willibald Gluck — Il Parnaso Confuso and La Corona
Teatru Manoel, Valletta 7–9 November 2025 www.teatrumanoel.mt
