Listening to Carlo Diacono’s opera L’Alpino, brought to life through the joint efforts of the Malta Philharmonic Orchestra and the Valletta Cultural Agency, was a true revelation. Performed in concert form at the Manoel Theatre, the orchestra, the Goldberg Ensemble choir and a quintet of Maltese soloists - Miriam Cauchi, Nicola Said, Alan Sciberras, Louis Andrew Cassar, and Noel Galea – were directed by Michael Laus.

The revelation lies in the quality of Carlo Diacono’s music and in the perfect sequence of events devised by the librettist, Ramiro Barbaro di San Giorgio. L’Alpino can rightfully take its place among the great operas of the first half of the twentieth century, securing a prominent position in the vast corpus of works composed at the time. What is particularly striking about its music is its close connection to the major artistic currents of the period, as well as the evident awareness Diacono had of contemporary developments in Italy, France, and Germany. Despite his apparent isolation, Diacono appears to have absorbed with great depth and discernment the essential elements of the operatic traditions of these countries, traditions that remain renowned and admired today.  Indeed, Diacono’s work encompasses the melodic exuberance of their arias and concertati, the refined and sophisticated orchestration enriched with French colouristic shades (likely influenced by his teacher Paolino Vassallo, who, in turn, is said to have studied under Jules Massenet), and the masterful use of the leitmotif of Wagnerian origin, assigning each character a distinct musical signature.  Added to this is the unmistakable Italian lyrical quality that makes the opera an engaging and accessible listening experience which captivates the ear from the outset. Particularly noteworthy is the intermezzo introducing the third act, characterised by its exquisitely crafted orchestration, akin to many other instrumental sections that punctuate the unfolding drama.

We now eagerly anticipate a future staged production that can further emphasise the dramatic depth of the work and fully define the setting of the story.  In keeping with the verismo tradition, the opera contains numerous musical elements that would gain even further vibrancy with appropriate staging and acting, thereby rendering more vivid the backdrop against which the narrative unfolds, namely the mountain landscapes of the Italian Prealps, village life and the echoes of the First World War’s bloody battles. These elements are particularly evident in the Alpine Choir, the church music featuring an organ, and military marches.

As an Italian, I found it moving to note how the Italian cause during World War I is so passionately depicted in L’Alpino. The hero, Enzo (to whom Alan Sciberras lent his beautiful voice), is decorated by the King of Italy for his bravery in the victorious and decisive battle on the Isonzo River.  He is deeply in love with Nella (the talented and emotionally intense Miriam Cauchi).  Representing goodness, Enzo is both a hero and an embodiment of loyalty and pure sentiment.  As is the case with most operatic lovers, tragedy awaits them.  Nella, newly married, sacrifices herself to save her husband, taking the bullet fired by Andrea, her perfidious suitor, which was intended for Enzo.

The love story unfolds alongside the political conflict between Italians and Austro-Germans. The “Austrians”, Andrea and Franz (the husband of Nella’s mother), were interpreted with fitting dramatic vigour by baritone Louis Andrew Cassar and bass Noel Galea. Recognition is also due to soprano Nicola Said, who, performing as Nella’s mother, tackled with intensity and firm vocal command a role originally intended for a mezzo-soprano.

With L’Alpino, Diacono reveals himself as a composer of his time who was capable of originality and possessed a distinct artistic identity that is neither marginal nor limited, but rather one that asserts itself as an active participant in a broader European and modern Weltanschauung. From what we have heard, the stylistic form of his music displays a rare quality that enriches the aforementioned influences (with numerous references in the score to Puccini and Mascagni, particularly in the latter’s Cavalleria Rusticana).  His music possesses a transparency, a purity, and, I would say, a luminous quality that personally evoked for me the atmosphere of Malta, this marvelous island at the heart of the Mediterranean, an unconquerable fortress open not only to the elements, but also to the influences of the many cultures that have shaped its history.

The Manoel Theatre was sold out, and one could sense in the air not only the audience’s interest and participation, but also its awareness of being there to pay homage to a chapter of Maltese cultural heritage, a tradition that is far from forgotten.