The Manoel Theatre a Han H Istory
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The Manoel Theatre A han H istory reviewed by Simon Mercieca Paul Xu ereb Midsea Books, 2012, 164 pages ISBN 978·99932·7·377·6. (10.00 A new book abom (he Manoe! Theatce has was commissioned to remoddits interior accepeed moral principles of marica16de!ity. juSt been published. I am using [he rertn according to [he emerging Neoclassical Ironica lly, the Church was beinginfluenced 'new' imenrio n::tl!y, even though rhis work is idiom.lfduringthe period of the Knighrsof by the Victorian Age. an age which viewed a revised and expanded edition ofa previous Malta ie was simply known as II Tenrro, orThe Catholici sm in the most ddeterious manuer. o ne which bore rhe same tide. Despice the Theatre (being the only meatre in Valletta) However, opera gave voice ro policics and fact that I read the first edition juSt a few afrer Whitmore's altera tions it was given a perhaps, cl"lc best person to have expressed chis months ago.} thoroughly enjoyed reading new identity and began to be known as Teatru was Giuseppe Verdi, whose music gave a voice this new publicatio n, Ir is a renewed account Rja! or Theatre Royal. co policieal uprisings in haly an d spurred the ofo ne of Eu rope's oldest theatres which is The poliriesoF(h e period would Risorgimellro, srill sranding coday. slowly infiltrate inco me theatre wo rld. If Prior ro the appearauce oFVerdi's The auchO( startS bygivinga very during the time of the Knights rhe theatre music in Malta, the local music scene had brieFincroducrion o n the hiscory of th ea ne ~ served merely the policy of fun, be it ofa been dominated by Gioachino Rossini making in Malta and discusses drama secular or religiO US derivation, during British and Vineenw Be!lini's music. Twoother performance prior (0 the inauguration of the rule it be came a chose n rendez-vous for names which today mean nothing [0 me Manod Theatre in 1732.1'he arehirecc oF zealous Prorestam pasrors and Anglican opera wadd, but who were extremely rhe Manoel Theatre is still to he idemiSed. priem ro hold rheir religious conferences. populat at rhe time, were Giovanni Pacini bl view of the lack of his cori cal data. This brought about rhe fury of the Maltese. and Savetio Mercadante. Verd ieelipsed all an..ributions and educared guesses are made Such a reaction should no c be judged on rhe ocher contemporary composers in terms and the prohable candidares arc either rhe principles of religions rolerance or freedom, of popularity. and the Manoel Theatre Italian architect Romano Carapecchia or but through rhe ca non proposed by Edward expressed, in minuscu!c. what was happening che French architecc Fran'1o is de Mondion. Said for the study of colon ia l I\iscoties. This in the restot" mainland E.urope. Without anydouht.ar this period, the local reaction was the wa y the Malrese elite );Cue reb hrings anorher imponam thearre nor only se rved fU r theatrical and (clergy included) hegan to express cl'l.eir feature co the fore, which will distinguish rhis operatic productions, hut a!sohosrcd Other passive resistance to foreign rule. theacre from all other rheatres in Italy and social functions such as carnival baUs. its The cl,eatre slowly began CO help in me clle (est of me conrinent. The presence oFthe spaciousness being used for other extravagant formation o f a national consciousness, a poine British in Malracreared a niche for Engl ish el\deavours. I have personally discovered chat that emerges beau tifully in Paul Xuereb's music and drama. Thus, while the impresarios thetrompe-I'teilwhich now adorns che false wriring. Riots were nor rare ar this time. It supponed the production ofIralian music, cupola of the Gozo Cathedral. was executed was nor rare for British officers co come into since it was clle moSt popular and money and painted inside this same rheane, direct confrontation wich a Maltese audience. makingenrerprise.ar the same time, mey The early decades of rhe eighteenth These incidenrs expose me political rensio ns did not close their eyes co the market needs century were a foremost period for arristic of me period. and staged, on a regular basis, productions p roduction in Malta. Leadinglocal anisrs The introduction ofltalian opera at in English, in partieular plays. Towards the such as Emanuele Nani, Nicolo !souard and the theatre brought about rhe Romantic middJe of rhe ninercenth cemury, plays in foreign artists such as VineelllO Foss i afe spirit in Malta but ae cllC same eime caused Maltese began co be staged a t me Manoel. found [Q have performed at che Manoel. a political dilemma. The local elite viewed As is r.o be expected, the British The Manoel Theatre features again the Romantie age in a diametrically opposite authorities ran the Manoel ch earreon a during che shorr period of Fren ch occupation. manner co lral y's perspective, especially when laisse2-t"aice principle. They hired ir out (0 The Freneh military regime used tbe thcatre it came to profeSSing rhc Roman C atholic impresarioS;. and it was up co rhem to run it at ro (aise thespi riLs of its demoralized soldiers faith . In M alta, Iealian opera helped incense a profit. who we re subjected co an arduous blocl<ade. nationalistic principles that were in direcr [twas after one su ch perrormance rhar opposition to thc Catholic Church. In rhe offi cers <l.ccidencaUy un covered the pJot o fche local contexr, the C hurch looked upon Corsican Gugliclmo Lo renzj and the local opera from a moral perspective and was less patriOTDun Mik.idXerri. wo rried abour any possible policic:} l message. Xuereb explains how the baroque Xuereb highlights a number ofinstanee5 srrucrure of th e Manoel was pm ro the resc where opera perfo rmances were censured by rhe British when rhe y (O ok over M ~ I[ a on moral gronnds 5) nce some of cl1e topics in 1300. Architec t George W hi tmore created in rhe libretcos contravened the Book review continues on fbe next page... 83· Treasures ofMa.lta 54 ,Summer 20 12 .