Violinist Marcelline Agius “always wanted” to be a member of the Malta Philharmonic Orchestra (MPO) ever since seeing her uncle, then sub-principal, perform in the ensemble when she was just eight years old.
“It’s what I always wished for,” she said, reflecting on more than four decades spent playing in Malta’s national orchestra.
“So, it feels very good, but it requires a lot of hard work, studying and preparation – and the most important thing is to continue studying after you join the orchestra.”
Agius was talking to Times2 in the first of our new interview series, Get to know the MPO, where we speak with members of the orchestra and its staff about their musical journey and role at the ensemble.
When Agius first saw her uncle perform, the MPO was not, in fact, the MPO, but the Manoel Theatre Orchestra, a title it retained until 19997 – after Agius had joined – when it became the National Orchestra of Malta.
It was not until 2008 that the ensemble would become the MPO.
“I was only 17 when I joined, but at that time they used to give Maltese people more opportunities to join the orchestra, so I was very lucky, in a way,” she said.
“We weren’t in the EU then – I’m talking around 42 years ago – we were a bunch of talented Maltese musicians whose dream was to join the orchestra. So, we didn’t have the competition that the young ones have today; it was bit easier for us at the time.”
But Agius didn’t stop there; she continued her studies in Malta and after becoming leader at the age of 26, ramped up her studies further, seeking tuition overseas: “I never stopped, even when I had the role of leader. When I was 26, I sort of started again,” she said.
And that approach to studying continued throughout her years leading Malta’s national orchestra.
“It requires a lot of discipline to study and listen – especially in an orchestra. It’s not just playing the correct notes; it’s about the rhythm, knowing what the conductor wants and hearing everyone in terms of intonation [tuning],” said Agius.
Describing her role as leader, or concertmaster, as like a “bridge” between the conductor and her fellow musicians, Agius explained that “I’m there to follow the conductor, and others follow me – and the conductor.”
And that role extends beyond performing, she noted: “Even with personal problems, they [the musicians] come to me first and I try to solve the problems internally”.
Being a focal point for so many musicians, does she feel pressure?
“Yes, especially when you have back-to-back concerts; I have to prepare ahead,” she said, noting her role included deciding on bowing patterns for the violinists – the most populous instrument in the string section – to maintain uniformity.
“People think that we go and play then go home, but the preparation before and during concert involves a lot of hours at home.”
And the players – especially the string players, using instruments made of wood – suffer additional pressures when performing in Malta due to the country’s climate, she explained.
“It’s very challenging if the weather is not favourable; at this time of year, for example, we’re playing outside, in the humidity, because we don’t have a good theatre to play in. My violin cracked this week because of the humidity,” she said.
“Thank God there is a luthier in Malta, so it is being fixed.”
Asked about performing facilities for the orchestra in Malta, Agius said the ensemble was “desperate for a concert hall; when we go abroad and play in these fabulous theatres even the sound of the orchestra changes – we hear ourselves and say, ‘Wow, this is us?’ It’s incredible”.
Pointing to a recent MPO concert in Italy’s Spoleto for the Festival dei Due Mondi, Agius highlighted the facilities on offer in the small Umbrian city: “We’re not talking about Milan, or [New York’s] Carnegie Hall – I’d never heard of Spoleto, but they have an amazing theatre with temperature control and acoustics”.
Agius explained that while the orchestra performed at the Mediterranean Conference Centre and Hilton Hotel, both venues hosted other events, leading to scheduling conflicts, while the full orchestra “doesn’t fit” in Valletta’s Manoel Theatre.
“Teatru Rjal next to Parliament is open, so we can’t play there in the summer because of bands, fireworks and bars – there’s a lot of noise, so that’s another wasted venue,” said Agius.
“We don’t have anywhere to play apart from in Gozo,” she added, highlighting Teatru Astra and Teatru Aurora. “We do concerts there, but for people to go every week to Gozo…”
Asked about her hopes for the future, Agius said she wants to see more Maltese musicians joining the MPO, “but it’s a bit hard, because we don’t have a conservatoire [specialist music performance college] here”.
“The very good musicians that study abroad, 90% stay there; when a Maltese musician is really good and goes abroad, they find huge success immediately – so it’s very hard for them to come back and join the orchestra,” she said.
Meanwhile, talented musicians from overseas were likely put off applying for the MPO due to high rent prices, said Agius: “When the rent is half the pay, you can’t live… then they leave”.
Does Agius have a favourite genre to play with the orchestra?
“I love Baroque, modern music and Romantic… I enjoy playing everything.”
Away from music, the violinist said she enjoys swimming and spending time with dogs, adding she used to help at a dog shelter before family commitments led to scheduling issues.
“Dogs are my life, otherwise swimming, reading and a good documentary.”
