Malta’s young classical singers are on the rise. It’s not just Beyoncé our young budding vocalists want to emulate and jiggy to; some dream of taking on the big dramatic roles of the bel canto, which still rock the operatic scene.
Now, these youngsters have a new space where they can take their training further and actually become Mimi or Rodolfo from La Bohème on some nights. This is the basis on which Teatru Manoel Youth Opera (TMYO) was formed.
Many of us are now familiar with the educational arm of the Manoel Theatre called Toi Toi, an umbrella project spearheaded by music therapist Rosetta Debattista. The concerts and story-telling bring the beautiful world of classical music to babies and young children on a regular basis at the Manoel Theatre. It is a joy to see our very young tuning in to Bach or Mozart.
The chosen students follow an intensive programme, which encompasses all a singer needs to know about the art of performance in opera
With funding provided by the Alistair David Robert Chalmers Trust, Toi Toi has now branched further, creating youth acting opportunities and training in the form of Teatru Manoel Youth Theatre and now TMYO, a programme open to classical youth singers. This is headed by two talented singers in their own right, our very own Miriam Cauchi and Latvian Karmene Radovska.
Cauchi and Radovska, although from different backgrounds, have formed a good team, feeding off each other and creating a nursery for today’s talented singers. The current group is made up of 21 students, mostly in their 20s. These come from different teachers and drama schools, and are chosen through an audition for a coveted place at TMYO.
So how do the two singers go about showing their students what it is like to be a professional opera singer? The chosen students follow an intensive programme, running from October to June, which encompasses all a singer needs to know about the art of performance in opera.
Throughout the course, Cauchi and Radovska feed their singers’ imaginations. They discuss the composer’s works and the interpretation and acting skills required while developing the language of music. The students not only hone into their own talent and skills, but also perform in concerts and operatic highlights. This enables the necessary confidence needed to nurture the technique and embrace a character or role.
I couldn’t help asking whether one day we will have our own fully-fledged opera company, made up of our own talented singers. Cauchi smiled: “It can become a reality.”
The first part of the course has focused on the members of TMYO and on helping them spend time together, getting to know each other. This enhances the experience of working together through singing and acting out scenes from operas.
The third term will see masterclasses with guest artists. Radovska and Cauchi also hope to include sessions working with an orchestra, as these would be ideal and beneficial to their students. These will be possible through further funding opportunities.
Radovska explained how students bene-fit from the programme. Besides the experience of performance, students also learn about working in an ensemble.
They are encouraged to develop a deeper understanding of the different operatic works and to switch or double up in roles. It’s a tailor-made course, though students earn their place in a competitive, but friendly, environment.
As Radovska pointed out: “In life there are plenty of opportunities up for grabs if you have the right competitive streak.”
But that is not all. The team hopes to channel their love for opera into an outreach project taking the appeal of the popular composers, like Mozart, into schools. How do you change the misconception with the young that opera is dull and heavy?
“By showing the art form through beautiful, fresh and talented singers they can relate to,” Cauchi says. “Before you actually say no to opera, read about it, listen to the music and do not be scared.”
It is time to look out for our bright young classical singers. TMYO is definitely the name.