The singer not the song
Showtime talks to Gillian Zammit
When did you first realise that you had a voice that would not just be confined to the shower or a karaoke bar?
Originally I wanted to become a concert pianist and my dream was to study at the Royal College in London. I was told it would be good to have a second instrument and the choirmaster at St Patrick's Church told me I had a sweet voice and should start training. At the time I was 13 with no interest in opera, the piano was my first love.
You are obviously making a successful career in a notoriously precarious profession. What influenced your decision to become a full-time singer/teacher?
I always knew that music in whatever form would be my full time occupation. Once I started training my voice I realised that I could express myself more with my voice than when playing the piano. I started listening to opera and was captivated by Maria Callas, not just with her voice but also the emotion and drama behind her singing. Teaching came later after I had finished my training in Italy. I have a number of very talented students, some of whom have been accepted into schools abroad. It gives me great satisfaction to be able to pass on what I know to the next generation and to help them start on their own path to a career in music.
You have sung quite a few principal opera roles. Apart from the voice, what other qualities does an opera diva need?
Above all else an opera singer needs to be disciplined and completely dedicated. It's not an easy profession from any point of view and it's a constant learning curve. Acting ability is also a must, as the days when an opera singer could just come out on stage and sing are long gone, audiences these days want a complete experience.
Classical singers need to keep their voices in prime condition. Take us through your own personal regime on a daily basis.
On a day-to-day basis I am careful not to abuse my voice in any way. I try to keep as fit and healthy as possible and I practice singing every day. When a performance is approaching I keep away from alcohol, drink copious amounts of tea, avoid parties, smokers, crowds and try desperately not to catch a cold.
Let's do the biography. Where were you born, brought up, educated etc...?
I was born in St Julians and was educated at the Convent of the Sacred Heart. When I was 19 I moved to Italy studying with Carlo Bergonzi at the Accademia Verdiana in Parma and Victoria de Los Angeles in Siena. I now live in Balzan with my husband James and my cat Darius.
Why is it, do you think, that Malta produces so many exceptional singers... people like Miriam Gauci, Joseph Calleja, Lydia Caruana, Paul Axiak, Antoinette Miggianni, Oreste Kirkop, Miriam Cauchi etc...?
I've never really thought about it, but there does seem to be a disproportionate amount of talent on this island. Malta has always had a healthy operatic tradition, which I suppose creates awareness and encourages those with talent to take it to a higher level.
You have sung some leading operatic roles. Which are your favourite roles to date and why?
Definitely my favourite role to date was that of Gilda in last year's production of Rigoletto at the Manoel Theatre. It is a gorgeous role vocally as well as with regards to characterisation and it was one of the parts that I had always wanted to sing. It would be great to do it again.
Following on from that. Which do you think is your most successful role and also your least successful?
Gilda comes in again as my most successful role. My least was probably when I was 17 years old and I was given the Queen of the Night's aria from the Magic Flute to sing during a recital. I was far too young and inexperienced to sing it, let's just say it was a night to forget.
You must have sung with some very big names. Who do you rate as the finest singers performing worldwide at the moment?
Renee Fleming and Bryn Terfel are great favourites of mine at the moment.
Obviously some soprano roles do not suit your voice, but which roles that you have not sung would you like to sing?
Singers have to be very careful when accepting roles, choosing the wrong part, can lead to vocal ruin. I would love to sing the role of Adina in L'Elisir d'Amore, Norina in Don Pasquale, Amina in La Sonnambula, shall I carry on... ?
Most leading sopranos are - not to put too fine a point on it - rather large ladies, yet you are very slim. Is this an advantage or a disadvantage in opera?
I've never really found it to be a particular advantage or disadvantage.
The role of Gilda includes being carried on stage in a sack, I'm sure Noel Galea who was carrying me over his shoulder found it to be an advantage.
What are your views on the reconstruction of the Royal Opera House?
I think if the Opera House was to be rebuilt it would generate more interest in the arts. With the right facilities we could attract more foreign companies and foreign audiences and really be included on the international circuit.
You are still young and have achieved quite a lot in a short period of time. What does the future hold for Gillian Zammit?
I've recently been approached by an international agency and I'm delighted to be able to report that I have now actually signed with them. So this is indeed a very exciting time for me.
Originally I wanted to become a concert pianist and my dream was to study at the Royal College in London. I was told it would be good to have a second instrument and the choirmaster at St Patrick's Church told me I had a sweet voice and should start training. At the time I was 13 with no interest in opera, the piano was my first love.
You are obviously making a successful career in a notoriously precarious profession. What influenced your decision to become a full-time singer/teacher?
I always knew that music in whatever form would be my full time occupation. Once I started training my voice I realised that I could express myself more with my voice than when playing the piano. I started listening to opera and was captivated by Maria Callas, not just with her voice but also the emotion and drama behind her singing. Teaching came later after I had finished my training in Italy. I have a number of very talented students, some of whom have been accepted into schools abroad. It gives me great satisfaction to be able to pass on what I know to the next generation and to help them start on their own path to a career in music.
You have sung quite a few principal opera roles. Apart from the voice, what other qualities does an opera diva need?
Above all else an opera singer needs to be disciplined and completely dedicated. It's not an easy profession from any point of view and it's a constant learning curve. Acting ability is also a must, as the days when an opera singer could just come out on stage and sing are long gone, audiences these days want a complete experience.
Classical singers need to keep their voices in prime condition. Take us through your own personal regime on a daily basis.
On a day-to-day basis I am careful not to abuse my voice in any way. I try to keep as fit and healthy as possible and I practice singing every day. When a performance is approaching I keep away from alcohol, drink copious amounts of tea, avoid parties, smokers, crowds and try desperately not to catch a cold.
Let's do the biography. Where were you born, brought up, educated etc...?
I was born in St Julians and was educated at the Convent of the Sacred Heart. When I was 19 I moved to Italy studying with Carlo Bergonzi at the Accademia Verdiana in Parma and Victoria de Los Angeles in Siena. I now live in Balzan with my husband James and my cat Darius.
Why is it, do you think, that Malta produces so many exceptional singers... people like Miriam Gauci, Joseph Calleja, Lydia Caruana, Paul Axiak, Antoinette Miggianni, Oreste Kirkop, Miriam Cauchi etc...?
I've never really thought about it, but there does seem to be a disproportionate amount of talent on this island. Malta has always had a healthy operatic tradition, which I suppose creates awareness and encourages those with talent to take it to a higher level.
You have sung some leading operatic roles. Which are your favourite roles to date and why?
Definitely my favourite role to date was that of Gilda in last year's production of Rigoletto at the Manoel Theatre. It is a gorgeous role vocally as well as with regards to characterisation and it was one of the parts that I had always wanted to sing. It would be great to do it again.
Following on from that. Which do you think is your most successful role and also your least successful?
Gilda comes in again as my most successful role. My least was probably when I was 17 years old and I was given the Queen of the Night's aria from the Magic Flute to sing during a recital. I was far too young and inexperienced to sing it, let's just say it was a night to forget.
You must have sung with some very big names. Who do you rate as the finest singers performing worldwide at the moment?
Renee Fleming and Bryn Terfel are great favourites of mine at the moment.
Obviously some soprano roles do not suit your voice, but which roles that you have not sung would you like to sing?
Singers have to be very careful when accepting roles, choosing the wrong part, can lead to vocal ruin. I would love to sing the role of Adina in L'Elisir d'Amore, Norina in Don Pasquale, Amina in La Sonnambula, shall I carry on... ?
Most leading sopranos are - not to put too fine a point on it - rather large ladies, yet you are very slim. Is this an advantage or a disadvantage in opera?
I've never really found it to be a particular advantage or disadvantage.
The role of Gilda includes being carried on stage in a sack, I'm sure Noel Galea who was carrying me over his shoulder found it to be an advantage.
What are your views on the reconstruction of the Royal Opera House?
I think if the Opera House was to be rebuilt it would generate more interest in the arts. With the right facilities we could attract more foreign companies and foreign audiences and really be included on the international circuit.
You are still young and have achieved quite a lot in a short period of time. What does the future hold for Gillian Zammit?
I've recently been approached by an international agency and I'm delighted to be able to report that I have now actually signed with them. So this is indeed a very exciting time for me.