Alex Vella Gregory speaks to Nicholas Agius Darmanin ahead of his operatic performance in Il Barbiere di Siviglia in Gozo next week.

Most of us can hum the overture to Gioachino Rossini’s Il Barbiere di Siviglia or at least have a bash at Figaro’s Largo al factotum! It is, after all, one of the most performed operas in the world and has never been dropped from the repertoire in its 200 years of existence.

Personally, I find Bugs Bunny’s interpretation to be the benchmark production, and although Rossini perhaps intended fewer ‘wabbits’ in it, Bugsy has also contributed to the myth that Il Barbiere is an opera about a barber. It isn’t.

In fact, Rossini originally titled the work Almaviva, ossia l’Inutile Precauzione and it was under that title that it premiered in 1816. On one hand, he did not want to offend the older Giovanni Paisiello whose own Barbiere had premiered to great acclaim in 1782.

On the other hand, Rossini knew that the true ‘hero’ of the opera is Count Almaviva.

I am cautious with the word ‘hero’ because apart from being the central character to the plot, there is very little that is heroic about him.

“Is it love or conquest?” asks Nicholas Agius Darmanin rhetorically, who will be interpreting the role in Gozo as part of the Gaulitana Festival. Almaviva is a role he adores and wants to perfect.

One of the most valuable lessons I learnt was the importance of personal health for a singer. Your instrument is your body, and you need to eat well and take good care of yourself

“I feel it’s about conquest: he has the money, he can stop the game at any moment, he feels so relaxed about it… he wants to have fun and he wants to show Rosina that he is a fun guy and her life will be fun. Whenever Bartolo upsets him, he keeps playing, but he can stop it any time. All he needs to do is blow his cover and say ‘I am Count Almaviva’ and the game will be over.”

Maybe, it is this sense of bravado that makes the role so irresistible to Agius Darmanin. He has already performed this role several times, including with Opera Holland Park in London. He has also had the good fortune to study the role with Alberto Zedda, a man who is responsible for the modern critical edition of this opera, apart from being a foremost expert on Rossini.

Rossini is a curious beast. His music can sometimes be cheeky and downright naughty. He was famous for churning out operas in record time. Il Barbiere was written in about three weeks. Many critics have taken him to task for his facility and, yet, it remains some of the most irresistible music ever written for the stage.

There is also a lot of depth in his characters and Agius Darmanin is well aware of that.

“Rossini’s characters are more accessible than say the complex characters of Puccini,” he says.

“Sometimes the difficulty on stage is to reconcile your personal interpretation with that of the director.”

He is also very much aware of the other characters working around him. He considers Rosina an intelligent young girl mature beyond her years, whereas Figaro is a show off. “That’s why his aria is a bit vulgar,” he adds.

Why does he adore Rossini so much?

“Rossini really helps a young artist to develop holistically – as an opera artist. Vocally he teaches you so much and musically it is some of the most energetic repertoire ever written.”

He quotes some of the greatest singers around like Juan Diego Florez and Joyce DiDonato, with whom he has had masterclasses. They all emphasise the importance of breathing in Rossini because “that is where the energy lies”.

Rossini had one great weakness... a vice if you will. Food. He was a true Italian and for him food was an art form in itself, or rather, music was just another form of gastronomy. Agius Darmanin likens Rossini to a crazy chef throwing all these ingredients together and coming out with a wonderful recipe.

The difficulty is in recognising all these wonderful ingredients and yet it gives you the opportunity to reinterpret the character afresh each night.

Agius Darmanin will be joining a venerable line of Maltese opera singers who have graced the Gozitan opera scene, including Oreste Chirchop and Joseph Calleja. He is fresh from the Cardiff Singer of the Year competition, an experience he has enjoyed thoroughly.

“One of the most valuable lessons I learnt was the importance of personal health for a singer. Your instrument is your body, and you need to eat well and take good care of yourself. And, of course,I was very proud to be flying the Maltese flag.”

Cardiff has also helped him realise the importance not only of being in top form but of being an all-rounder. He is exploring more repertoire beyond Rossini, including art song. Although still very young, he has already a number of prestigious performances all over Europe under his belt. Luckily for us, we will get to hear him perform on home turf.

• Il Barbiere di Siviglia, the highlight of the Gaulitana Festival, is being staged at the Aurora Theatre in Victoria on Saturday.