The best thing about the first ever performance by the newly formed Teatru Manoel Youth Opera (TMYO) was the fact that there were voices I had never heard anywhere. In one evening, performing to a packed courtyard, we were treated to some of the most promising voices on the island.
If this is what is in store for Maltese opera, then we are looking at a very bright future. Not only were there some wonderful voices, but they all performed with great enthusiasm, at points even more so than seasoned opera stars.
A group of 14 singers, all under the able guidance of Miriam Cauchi and Karmene Radovska, sang through some excerpts of Mozart’s Le Nozze di Figaro. The fact that they chose Mozart over the usual Verdi and Puccini is already a good departure from the norm.
If this is what is in store for Maltese opera, then we are looking at a very bright future
Throughout they were accompanied by Julia Miller and Ramona Zammit Formosa, who provided the musical support needed to carry through an opera. One hopes that next time round a better instrument will be provided for such a performance.
The team made excellent use of the space with minimum props and costumes, including good scenic use of very basic lighting. They also made use of the loggias on the floor above, thus greatly expanding their backdrop.
I wish someone had explained at the very start the whole reason behind this project and the way the performance worked. The cast went through most of Le Nozze, but of course they tried to give equal opportunities to all the cast. This involved a lot of role doubling with different singers singing the same character, which might have been confusing to some.
Nevertheless, the evening progressed smoothly from one item to the next. What was impressive was that each singer had his or her own particular timbre, but everything blended in one cohesive whole. I will refrain from singling out particular voices and limit myself to a general critique.
As first attempts go, this was more than a good start. Vocally, most voices were technically secure, but some need to work a bit more on projection. An opera singer is not just about the voice, but also about stage presence and acting. Some fared better than others, but after all the point of all this is to give young singers the opportunity to develop these skills.
Having said that, it would be most unfair not to mention these singers by name, because you will soon be hearing more of these young opera stars. So, at the risk of boring you with long lists, a big well done to Christine Barbara, Hannah Bonnici, Elaine Borg, Vanessa Camenzuli, Analise Cassar, Louis Cassar, Marie-Claire Dingli, Alison Gatt, Kimberley Marie Grech, Maria Angela Grima, Maria Eleonora Schembri, Althea Georgiovan Troisi de Menville, Ivan Vella and Warren Vella.
There are actually more singers involved in TMYO who could not be present for this performance because of other commitments. Which brings me to the next point. Where are the tenors? That question could actually be extended to “Where are the guys?”
I hope that this venture will encourage more young singers, especially male singers, to take up singing and realise that there is more to opera than horned helmets and consumptive prima donnas.