Maltese soprano, Claire Debono graduated with an MMus from the Guildhall School of Music and Drama, where she studied with Laura Sarti. Her stellar, international career has also featured a considerable amount of different operatic roles in some of the most prestigious venues, from New York to Paris, Verona to Madrid and also Japan, among many other countries.   Her appeal crosses different age groups as could be seen when she lately performed Nicolo' Isuoard's Cendrillon at The Manoel Theatre. This version of Cinderella helped this France-based, Maltese composer to attain considerable success. Humorous, direct but enchanting, Cendrillon provided vivacity and a great air of freshness towards the end of last year's Manoel Theatre season. Eric Montfort found out more about Claire's attitude and approach in this interview.

 

As a soprano, you have made a name for yourself in various operatic roles in various popular venues. How challenging have these roles been?

At the beginning of my career I hardly spoke any French or German, and I used to find roles where I had to  break into speaking mode, very challenging. I think the most challenging role so far has  been that of the 1st Lady in The Magic Flute. Although for weeks I spent hours with a German coach, I found speaking German and trying to sound as German as possible very difficult. Musically too, I found that role challenging...mostly the long sustained passagio notes and trying to blend  in as much as possible with the other two ladies...

 

Which has been the most satisfying role in these operatic ventures?  

I cannot think of any role in particular. I tend to enjoy every role I choose to sing.

 

Femmes Vengees-Opera Comique, released on Naxos Records, proved to be a very encouraging seller. What led you to get this contract with Naxos?

 I have now been living in France for a while and I have sung quite a few  Opéra Comiques. I suppose that is why Opera Lafayette chose me to be part of their Naxos recording  project.

 

You have also been involved in projects concerning eminent and influential Maltese composers. Recently you were a protaginist in Cendrillon, a Nicolo Isouard composition. Can you tell us how you approached this presentation and give us an impression of what went on?

 Yes, I am very patriotic at heart and I never say 'no' to singing and promoting music of talented compatriots. I thoroughly enjoyed singing Cendrillon. I found memorizing the spoken dialogue in a short space of time quite challenging but the music is sublime. I think it is quite an underrated Opéra Comique.

 

Another really interesting piece of work concerns Charles' Camilleri Maltese Cross. Tell us more about your involvement and this opera, which was hosted in St Elmo, Valletta in 2011. How do you consider Camilleri's influence in your presentation?  

This has taken place such a long time ago, I can hardly remember anything. I can still hum the haunting melody of the beautiful aria for soprano though. 'What St Elmo is to the rabid Turks, alas, I've become whenever a Knight lurks'....Gorgeous music....

 

Is there a project you really wish to do in the future?  

I was the understudy for Sonia Yoncheva's Poppea  this summer at the Salzburg Festival. I replaced her for several weeks of the rehearsal period with the most fantastic cast and I Ioved every second of it, especially all those sexy duets with Kate Lyndsey, who sang Nerone . I wish I could sing the role of Poppea soon.

 

You are involved in a lot of projects and time and again, you have toured extensively too. How do you manage to balance these exegencies with your creative output, and ongoing vocal training?  

I always try to live close to my singing teacher, so even though I sometimes only get a couple of days off between touring, I manage to squeeze in a lesson or two during my free time.

 

Claire Debono will be performing together with pianist Gary Matthewman at the Three Palaces Festival on the 8th November. Further details can be obtained from the official website 3palacesfestival.com