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THE MAKING of a MALTESE TENOR - Paul Asciak's Meteoric Career (Part One)

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THE MAKING of a MALTESE TENOR - Paul Asciak's Meteoric Career (Part One) THE MAKING OF A MALTESE TENOR - Paul Asciak's Meteoric Career (Part one) he artistic career of the Maltese tenor Paul innumerable celebrity concerts in Malta and abroad T Asciak spans between March 1946 and March when he was asked to participate with the famous 1961, a mere fifteen years, during which his fame Italian tenor Tito Schipa in two concerts given on soared high like a meteor and then petered out nicely March 25 and 26 at the Orpheum Theatre,. Gzira. when the artist was still in the prime of life, glorying Paul Asciak's powerful voice enthused the audience. in the success, which was still being achieved by him J. Tonna in the Times of Malta of March 29, 1950, where ever he was asked to sing. This notwithstanding considered the show as rather disappointing. "Tito Paul Asciak lives in his tape recordings and records, Schipa at sixty, however long his experience and wide especially in that cut on the initiative, enthusiasm and his fame, left the audience rather cold; inspite of his expense of the renowned Maltese architect Richard mezza voce and falsetto and all the technique of the England, photographer, poet and writer. art, he lacked freshness and a vigorous personality It is to be noted that Paul Asciak came face to face which impress the audience most. On the other hand, with the opera-loving public of Malta on December Asciak threatened to steal the show by his rendering 8, 1946 at the Radio City Opera House, Mamrun, of his initial Core ,ngrato. It came as a very when Cavalleria Rusticana by Pietro Mascagni and I enlivening and welcome interlude after Signor Pagliacci by Ruggiero Leoncavallo were staged Schipa's somewhat drab and routine-like songs at the together for the first time in this theatre, under the beginning of the concert. A roar of applause greeted baton of Maestro Mario Cirillo, who had formed a this young tenor at the end of his song, exhibiting a company of amateurs for this purpose. sort of pent up feeling on the part of the audience Paul Asciak was barely 20 years old and although which had expected to be swept off their feet by the he had an attractive voice, he had still to learn how to celebrated Italian tenor, but who were obviously use it; his acting lacked polish but all in all, as a somewhat disillusioned". debutant, he sang correctly and captivated the Another "Orpheum Concert" was held on April admiration of the public, which applauded him 30 and May 1, 1950. The guest artist this time was warmly. none other than the renowned soprano Maria Paul Asciak continued his studies with the Maltese Caniglia, who in both recitals sang with superb tenor Nicolo Baldacchino. Four years later, the artistry to enthralled audiences. Supporting Maria Impresa Cantoni, an Italian Company was engaged to Caniglia were the Maltese tenors Oreste Chircop and give a short season of opera at the Radio City Opera Paul Asciak, who sang admirably in their respective House. This was to be a very important turning point duets. Maria Caniglia was favourably impressed by in Paul's career when Aida was about to be Asciak's beautiful and powerful voice. She promised performed, the principal tenor Leonida Bellon was to help the young singer if ever he decided to follow suddenly taken ill and Maestro Luigi Cantoni asked his studies in Rome. After her departure from the Asciak to take the role of Radames in his stead. Island she sent Paul the following telegram from the Asciak had mixed feelings when confronted by Eternal City: "Confido vostra venuta entro maggio, such a difficult role, but at the same time he felt that this offer was an enticing opportunity and was reluctant to refuse it. Cantoni in order to reassure Paul told him: "I have taught you the part of Radames and I have full confidence in you; rest assured that you will succeed." Paul gained self­ EL T • _AXIAK TEATRO ORPHEUII · ~AA. TA . • , ' .__ . confidence and when the opera was performed on · t7;Nr tno Vo sWYENliTA ENTR;' tuG c t~uL t A ' January 6, 1950 he scored full marks. In the first act Paul was obviously nervous but later on he sang smoothly, interpreting with full vigour the role of the victorious leader and ended the opera with felt sentiment and pathos to the clamorous applause of an appreciative audience. Maria Caniglia's telegram to Paul Asciak Later on in the same year Paul Asciak began his (Photo credit: Paul Asciak) 815 Italia, possa aprirvi strada arte, augurandomi poter aiutare vostra riuscita". T~A' I 'l.(U LIHII'O SPERlM ~.!NTAr.... & 01 81-'0L~TO Paul Asciak left for Rome on May 30, 1950 just a few days after he had taken part in a concert given to the Malta Cultural Institute members at the Phoenicia :- rc.:, . ~lo :::i~ ­ Hotel. He sang in a programme of operatic arias with !':-o:o :.:::CL'. ' 3/3 C::.~"::.cl~ ::·!.vc , a pleasant voice and clear high notes. :::-~:tr-. :.uc:.:: , While Paul Asciak was in Rome, Soprano Maria Caniglia kept her promise and entrusted his singing (:c:.t:.:..i::::L:c :. :::c:.:. , il co:r.l.;J:: c c::.:·c Jcvi:::-.cc::..o.t~ :i :.::-. r::.r.:::::-.- education to Maestro Alberto Paoletti under whom -~= :!.::> :•.-.:-:: c:.c _-::-o ·/\·::dc ;.Jc :•t::-.nto '·'"'"'"~ · "' ::-. ri:::co;:t:-::-.~ . he studied for two years. After the first year he had - ~Yc~· I..ci ;>rc:::o .~::::·to:: ::1 Co;:cor:::o ::::-.:::io•l:-.lc .'.i :::::-~:tc Jp~· ~iov~1i ~ti­ an audition at the Teatro dell'Opera of Rome and ::::ti :::.i::ici :.:-.:.·.etta .:~ ~::c::.:t:::. I:::.ti t"c'.:::io:1.c r:::'!l ' .:.;.l.:1.o 1S5 1 c :·::.. c::::c:"'C - ·::_ ::.>·c :· r::-.:·tccir::.• o :::.1 'i I'::"C:.;:.:.;-::.:::ic:-.c :-.: Cc"..1,;tt::~ :::volto:::i ;::-cE_ having satisfied the judging panel, the Management :oil ':'c::trc 2c:l ' 0.;c:·::: i ct'.i i:t::.·.;_ttol"'i L"'ll::::i::::::l:. c vee::-~:. c- ~·:"~:o ~ ::c L.ti,_;i .::.cci ~ :?8.Qlo"tti. advised him to enter the Concorso Nazionale per - .:i :".•:o:· i;~.Z~l:c i.~~-c~o .':=-=tc ~.11.::: :::t~. .:;io..--:to :i:;.·ic~ 1 0::5 ~ c~ :::.·:o:. -·c·~u'.;t~,__ ~c .~c:l[•. "".•.:;_·'.;c .:i ~.:"::.:.:c~ ir. ".".I.':.\" . Giovani Cantanti Lirici 1951. After succeeding to ::i ~:,___·.;;..·o 'l'-:::"-'1to :;o~'~ Lc :::i:::. :;~ti:icicnto c r.cl ::-.:::::';c:~:·o ._::-:::"i:::c:--. i _:ici co:·:·.:~Ji ~:---h:ti. win a place among the winners of the contest he was :;:: : ?r:::::r-:::::::c.: selected to sing the part of Radames in Verdi's Aida ( :.vv , Cc.::lo Belli ) with Anita Cerquetti in the title part at Spoleto, with ~· the entire complex of the Teatro dell'Opera of Rome, chorus, orchestra, ballet, scenery and The letter received fro m the " lstituzione Teatro Lirico Speri · costumes. mentale di Spoleto", confirming Asciak's success at the "Concorso It is to be noted that Spoleto, a town in central Nazionale di Canto per giovani artisti lirici" (Photo credit: Paul Asciak) Italy, has become the centre for budding opera singers. In fact, Spoleto has been the launching Teatro Italia, Catanzaro; Teatro Apollo, Crotone; in school of many a great singer as Anita Cerquetti, 1951 at Teatro Arcobaleno, Cassino. In the same Anna Moffo, Antonietta Stella, Gabriella Tucci, year Paul Asciak took part in a series of concerts Renata Cioni, Franco Corelli, Cesare Valletti, given at different cities to commemorate the fiftieth Rolando Panerai, Carlo Cava and many others. Anniversary of Giuseppe Verdi's death. II Messaggero While preparing for the debut at Spoleto, Paul di Roma in an article written by Giorgio Lamargese Asciak's voice, as a dramatic tenor, had already noted: "II tenore Paul Asciak non puo essere giudi­ made itself felt in operatic circles. He was awarded cato in base ad un esame sommario e frettoloso. two scholarships and had the fortune of being Molto, forse troppo giovane, ha dato una prova coached by Maestro Luigi Ricci, while the necessary convincente e dignitosa delle sue possibilita che scores were supplied by Maestro Alberto Leone. specie nel registro medio hanno avuto dei felicissimi In November 1950 Paul returned to Malta at short momenti. Noi vogliamo guardare con fiducia questa notice to be present at the christening of twin boys, an ragazzo. Lo studio che gli manca potra venirgli addition to his family . But as he had been engaged by dall' Accademia del Teatro Sperimentale di Spoleto, an Italian opera company to tour Calabria, he had to presso il quale sosterra Ia parte di Radames in Aida e cut his family visit short and return to Italy. non escludiamo che il canto verdiano, che esige dei The Calabria tour comprised the operas: II veri specialisti, possa avere nell' Asciak un valoroso Trovatore, Rigo/etto and Carmen. Paul Asciak was interprete". ("Tenor Paul Asciak cannot be judged to be Manrico in II Travatore and sung also Don Jose summarily and in a hurry. He is still too young and in Carmen and to quote from one single write up of a yet he has given a convincing and a dignified proof of published paper at Crotone (Magnia Graecia his possibilities when, especially in the middle December 31, 1950), the critic felt that Paul Asiak register, has produced appreciative admiration. We "si e disimpegnato in modo brillante nella parte di wish to follow with confidence this young tenor for Manrico del Trovatore. La romanza del terzo atto e all the training he still lacks will be given to him at the stata cantata con disinvoltura ed il pubblico ha Academy of the Teatro Sperimentale di Spoleto ripetutamente applaudito il bravo tenore." The where he will sing the part of Radames in Aida and opera critic of II Messaggero di Roma December 18, we do not exclude that verdian singing, which 1950 said that Asciak sang with ''slancio e passione' ', requires true specialists, may find in Asciak a good while II Grido della Calabria December 13, 1950 interpreter.'') Lamargese was refering to the concert wrote that Asciak was a vibrant Manrico given at the Teatro Comunale, Terni.
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