Opera in the Capital has become one of those events audiences look forward to every summer, and this year's edition did not disappoint. I simply love it.

Now in its sixth or seventh edition, the concert brought together outstanding local talent, accompanied by the Malta Philharmonic Orchestra under the direction of Ryan Paul Abela, whose assured conducting guided the evening with elegance and energy. Having previously interviewed Abela, it was particularly pleasing to witness his continued artistic growth and command of the orchestra.

Presenting the evening were Kelly Peplow and Wayne Sammut.

The programme opened with the Malta Philharmonic Orchestra's spirited performance of the overture from Bizet's Carmen, immediately setting a vibrant tone for the evening.

Tenor Alan Sciberras followed with a heartfelt rendition of Puccini's Recondita Armonia from Tosca, displaying both vocal warmth and expressive phrasing.

Cliff Zammit Stevens then took to the stage with Vivi Tu from Donizetti's Anna Bolena, bringing both power and refinement to the bel canto repertoire. This is not an opera I am at all familiar with I must say.

Mezzo-soprano Marvic Monreal, whom I had interviewed before another concert last year,  swept in looking summery and glamourous in a voluminous lime evening dress. She sang the famous Habanera from Bizet's Carmen, a role and aria that perfectly suited her rich voice and commanding stage presence.  Monreal later joined Zammit Stevens in Offenbach's charming duet Vous a-t-on dit souvent from the operatta La Périchole. Although famous it was new to me but a welcome discovery nonetheless although I won't be rushing out to purchase the CD.

Alan Sciberras sang Amor Ti Vieta from Fedora, such a beautiful aria. This was followed by Sia Qual Vuolsi il Tuo Destino from Donizetti's Lucrezia Borgia, both performed with conviction.

The singers then took a brief respite while the Malta Philharmonic Orchestra delivered an impressive rendition of Prokofiev's Dance of the Knights from Romeo and Juliet, one of the orchestral highlights of the evening.

A change of style followed as Sciberras offered a touching interpretation of Bring Him Home from Les Misérables. Zammit Stevens then moved into cinematic territory with Nelle Tue Mani from Gladiator, before charming the audience with the evergreen Arrivederci Roma.

Sciberras and Zammit Stevens joined forces for Il Mondo, a performance that highlighted the compatibility of their voices. Monreal's interpretation of the famous "Violin Aria" from Offenbach's Les Contes d'Hoffmann further demonstrated her versatility and artistry.

The two tenors then took on My Way. While many singers have made the song their own, it remains inextricably linked with Frank Sinatra, whose iconic interpretation inevitably remains the benchmark against which all others are measured.

The concert's final section celebrated Maltese music. Alan Sciberras, Cliff Zammit Stevens and Marvic Monreal united for Sammy Galea's Lil Art Twelidi, followed by Charles Camilleri's beautiful L-Imħabba. These performances were warmly received and served as a reminder of the richness of Malta's own musical heritage.

The evening concluded in festive style with a Neapolitan medley featuring Santa Lucia, Mattinata and 'O Surdato 'Nnammurato, bringing performers and audience together in a joyous finale.

Among those present were the newly appointed Minister for Culture etc., Dr Malcolm Paul Agius Galea who was accompanied by his wife and three sons. Their presence demonstrated the Government's support for Malta's cultural sector. Also in attendance was Jason Micallef, Chief Executive Officer of the Valletta Cultural Agency, together with his wife Josie.

Special praise is due to the Valletta Cultural Agency for its continued commitment to making high-quality cultural events accessible to the public. Over the years, the Agency has played a crucial role in enriching Valletta's, nay, Malta's  cultural life, consistently presenting programmes that showcase local talent while making the arts an integral part of the capital's identity. The success of Opera in the Capital is yet another example of this vision in action, and much credit must go to Jason Micallef and his dedicated team for their sustained efforts.

Overall, Opera in the Capital once again proved that opera, operetta, musical theatre and popular classics can coexist successfully in a programme designed to entertain, inspire and celebrate music in all its forms.

As the final notes of the Neapolitan medley faded away, the audience left having enjoyed not only fine singing and orchestral playing, but also another reminder of how vibrant Malta's cultural life has become.