The Resurrexit concert presented as the first offering of Feel the Magic 2026, featuring Chorus Urbanus and Chorus Urbanus Juniors under the direction of Dr John Galea at Saint Augustine Church in Victoria, unfolded as an evening of sacred music that was both artistically refined and spiritually uplifting. The church’s warm acoustics embraced the performers, allowing the programme’s wide stylistic range—from Renaissance polyphony to contemporary Maltese compositions – to resonate with clarity and emotional depth.
The concert opened with Adams’ The Holy City, delivered with a noble, expansive tone by tenor Mario Portelli that immediately set a mood of hopeful anticipation. Chorus Urbanus shaped the familiar ‘Jerusalem’ refrain with expressive phrasing, and the work’s climactic moments filled the church with a sense of grandeur. This was followed by a beautifully controlled rendering of Palestrina’s Sicut Cervus, where the choir demonstrated impressive blend and balance. The polyphonic lines unfolded with serene transparency, offering one of the evening’s most contemplative moments.
The Juniors brought a refreshing contrast whenever they appeared. Their disciplined singing and natural musicality added a tender dimension to the programme, reminding the audience that sacred music thrives not only on technical mastery but also on sincerity of expression.
A shift toward dramatic intensity came with Mendelssohn’s ‘Lord God of Abraham’, from the oratorio Elijah performed with a commanding presence by bass Noel Galea, whose warm timbre and expressive delivery captured the aria’s Old Testament gravitas. Mozart’s Laudate Dominum provided a contrasting moment of elegance and lyrical purity, with the solo line, performed by soprano Hilda Grima floating effortlessly above the choir’s gentle support.
Frisina’s Cantico di Miriam introduced a more contemporary spiritual language—lyrical, almost cinematic, and emotionally direct. Ruth Portelli gave a heartfelt rendition while the choir embraced its expressive contours with conviction, highlighting the work’s sense of exultation.
The evening compered by Chev. Joe M. Attard also featured a poem recital of his poem Mir-Randan sal-Għid il-Kbir.
Two works by Dr John Galea himself—Qam Rebbieħ and Ego Sum Panis Vivus—stood out as personal and culturally rooted contributions to the programme. Qam Rebbieħ, with its rhythmic vitality and celebratory tone, was performed with infectious energy by both choirs. In a short introduction before the performance of this piece, Dr Galea explained the circumstances that led to this composition, namely the inauguration of artist John Grima’s painting adorning the Oratory Chapel and the late Fr Louis Bezzina’s lyrics describing this huge mural painting. In contrast, Ego Sum Panis Vivus offered a more introspective atmosphere, its chant‑like lines and warm harmonies handled with poise by Hilda Grima (sop) and Noel Galea (Bass) together with lush choral settings. These pieces grounded the concert in Maltese identity while standing confidently alongside the international repertoire.
Marco Betta’s Resurrexit added a striking contemporary edge. Its rhythmic drive and atmospheric textures were executed with admirable precision, demonstrating the choir’s versatility and willingness to embrace modern idioms.
The concert concluded with a sequence of Handel works—Thine Is the Glory, I Know That My Redeemer Liveth, and the iconic Hallelujah Chorus. The penultimate numbers sung by the Junior Choir and by soprano Ruth Portelli respectively ushered in the triumphant close. The choir’s sound expanded with renewed vigour, and the audience responded with palpable enthusiasm during the robust rendering of the Hallelujah chorus that was delivered with crisp articulation and a sense of collective exultation that filled the church with radiant energy.
Throughout the performance, Dr John Galea’s direction was marked by clarity, sensitivity, and a deep understanding of the spiritual narrative that binds such a programme together. His rapport with both the adult choir and the juniors was evident in their unified sound and disciplined musicality.
Resurrexit proved to be more than a concert; it was a thoughtfully curated musical journey through contemplation, hope, and the joy of the Resurrection. Chorus Urbanus and Chorus Urbanus Juniors offered performances marked by sincerity, technical polish, and emotional depth, leaving the audience enriched and uplifted as they stepped out of Saint Augustine Church into the meandering streets of Victoria.
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