Singer Corazon Mizzi gives Mark Debono a candid interview about festival participation and taking her music to the masses without compromising on her roots.

Corazon MizziCorazon Mizzi

Singer, songwriter and TV presenter Corazon Mizzi strikes me as an intelligent woman. I can’t shake the feeling that there is more to her than she lets on in public. I asked her a few searching questions about herself and the state of music.

Liked by almost all and certainly not a divisive personality, Corazon admits that it’s a conscious effort on her part not to express herself politically. “I have chosen to stick to this principle because I believe that music must speak a universal language.”

Corazon is a darling of the Maltese sect, so to speak, people who are great fans of music sung in Maltese. I ask how she got started singing in the local vernacular and why she stuck to it.

“It started with the Festival Għanja tal-Poplu, as an experiment which eventually led me to a hat trick win. My first attempt was not successful. I placed next to last. The organising team played a crucial role in encouraging me to keep writing and that’s what I did.

“Participating in this festival helped me find a yet undiscovered calling: singing and writing songs in Maltese. I felt that when we spoke of music in Maltese we had to use the past tense and referred to songs from the 1970s and 1980s.

“Music in Maltese would become a dying breed if not represented by young artists in the field. So I did something about it and I believe my songs created a new awakening in this regard.

“I admit that being so different in style to the usual kanzunetti bil-Malti. Many, in the past, have laughed or sneered at my songs. Today, the attitude has changed and many musicians not only understand and value the way I work, but have followed suit.”

In order to speak this ‘universal language’ of music, does she feel constricted in terms of subject matters to tackle in music?

“No. In fact, in my album I speak of prostitution, separation, betrayal, religious opportunism and hearsay. All are themes I thought would either not be understood or else understood and resisted. I was wrong. The public understand and love the songs because they feel that they give a voice to the realities surrounding us. Sometimes the only barriers which exist are in our mind.”

I have an impression that Corazon is shying away slightly from music festivals at the moment. Does she feel that festivals may be a waste of time given she’s now a different kind of singer to typical song festival contestants.

“For the past four years I have participated in the Malta Eurovision Song Contest,” she says. “It depends on the scale one uses to measure success. For me, getting through to the finals is already a feat that not many manage to pull off. The contest helps me to keep in the mainstream scene, though I have never compromised my style in order to belong.”

Could it be that she is making space for others by not taking part, given that she, to quote one example, swept up the prize at L-Għanja tal-Poplu three times running? It turns out Corazon chose not to take part in the last years to allow herself time to concentrate on other projects.

Any festival restricts the artist, as the song has to be populist

“Any festival restricts the artist,” she says, “as the song has to be populist, easy on the ear and so many minutes long. I have still followed the festival closely and taken part by performing and presenting. It’s close to heart and taking part again is not a far-fetched thought.”

But does she feel that the Eurovision is, in a sense, beneath her? Would she say that she has more depth and complexity as an artist than the bubblegum tunes typically demanded in the festival?

“My style is more complex, whereas the Eurovision is primarily an exercise in cosmetics. But I realise that ‘different’ is not necessarily better or worse. The event is very professionally-organised and highly followed. That is why I take my music there every year.”

I insist... has she ever felt that the Eurovision Song Contest and its Malta run-up do a disservice to compositions, in that even the winners are completely forgotten within a few short weeks?

“Yes, unfortunately most singers are completely forgotten afterwards. Many have proved not to be capable or willing to work hard to keep their careers alive after the Eurovision, but others did work hard and are still on the scene today, years later.”

Speaking of life as an artist on the local scene, does the singer feel that the venues she has to play in are complementary to her music? One example that springs to mind is her song Jgħidu Kien Hawn Raġel, which was played on Ħadd Għalik Sajf with a bunch of bare-chested men in the frame behind her as she sang. Does this cheapen a composition and does Corazon accept it as something to put up with if one’s music is to be widely distributed?

“It would be ideal if I could be selective and choose to sing only in those places which expose my music at its best. But those opportunities are few and far between. So, refusing to attend would mean secluding and limiting oneself to those few events which truly render justice to the music being played. Many artists and bands who have chosen the latter option have found themselves with a rather limited audience.@

She elaborates that her favourite settings are intimate venues.

“I also perform at schools, presenting my songs and their message to children. Of course, there are times when one cannot predict the audience’s reactions.

“Once, I was singing at a school in front of primary school children, introducing the next song and trying to make it sound as captivating as possible, so the children could understand.

“They were so interested, listening carefully to what the song was about. Suddenly, one of the teachers started clapping to the rhythm, completely distracting the previously captivated children. That is one incident where I felt the entire scope of my music was ruined.”

On to the concert, when Corazon will be reissuing Hawn Jien at the Casino Maltese in Valletta. Upon its release, the album had sold out in a year. This second edition comes with a new design and two new, powerful songs: one assimilates life to a television programme in a tragicomedy style, the other speaks about a sincere friendship between an old man and a little girl – a kind of relationship that nowadays has been tainted.

The concert, scripted by Trevor Zahra, will feature a live rendition with brand new arrangements by Dominic Galea of the best loved songs from the album, as well as the two new tracks.

“I want to create a wider audience for Maltese music, especially where children are concerned, while encouraging other artists to write and produce music in Maltese and increase the collection of contemporary music in our language. I have taken the plunge, which I hope will serve to mitigate the risks of those coming after me. But otherwise, I’d just like to keep doing what I love most for as long as I can.”

Corazon will release the second edition of Hawn Jien on Saturday at the Casino Maltese, Valletta. Tickets are available online.

www.ticketline.com.mt

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