ALEX VELLA GREGORY talks to Michelle Cachia Castelletti, Marouska Attard and Claire Ghio (the Three Ladies) as well as Cliff Zammit (Monostatos) about the forthcoming opera for children to find out what is going on behind the curtains of a special adaptation of Mozart’s ‘The Magic Flute’.
Opera for children is a novel concept. Is it more difficult or different to work on such an opera? What challenges are you facing?
MCC: I think it is more challenging but it also makes it more exciting for us to be “producing” and presenting such a new thing to the Maltese audience. Children are more alert and responsive to certain things than adults. We have to make it as interesting as possible and want them to get intrigued by the plot and the way it is presented. I will not be surprised if we get some “boos” and “sssss” as in panto for the evil guys for example and clapping or cheers for the heroes of the story. Also, we will not be working within the traditional set-up of a conductor, but rather as a team with everyone depending on the rest.
What are the qualities which would make ‘The Magic Flute’ appealing to children?
MCC: The story line in itself is our biggest ally. We have all the aspects of a fairytale – and expanded to great proportions, for example, the land of mystery and enchantment; a prince who immediately falls in love with the typical “damsel in distress”, the perennial battle between good and evil. This will be paralleled in the extremely colourful set.
CG: In a way, this explosion of colour is already present in the music. It is a beautiful score which bursts with energy, and as is typical of Mozart, each moment is memorable.
3. What is your role in the plot? And how did you approach this character?
MA: The Three Ladies are really one character, and have to look as one. I must admit that at first I found it difficult to get used to not being just the Second Lady. We had to think as one body and move as one, which meant a lot of rehearsals between the three of us.
CZ: Monostatos is quite a tricky character. On the one hand he has his evil side which can be seen when he kidnaps Pamina. On the other hand we occasionally glimpse his good side. He lives as an outsider, and at the end of the day he just wants to live a normal life. This creates a lot of complex emotions, each of which I have to convey in my character.
What is it like rehearsing for an opera? How difficult is it balancing acting and singing?
MCC: Thrilling, exciting, fun, tiring and makes you committed to giving your utmost. We are a team and work well together. It is a “one for all, all for one” kind of thing. We must do well, for ourselves, for the audience and for each other. I am used to singing an aria or an opera or oratorio in concert version, so actually acting it out requires double the stamina and concentration.
CG: In our case it was a bit difficult at first because the parts of the three ladies are mostly quintents and trios. Therefore we had to meet up to study musically together. I have some experience in musical theatre which made it easier to combine singing and movement, although I must say that opera singing is far more challenging than the musical theatre one
Have you worked with each other before?
CZ: I had worked with Nicky Agius Darmanin (Tamino) when I took part in Westside Story. I think for most of us, this is the first time we are working together on a big production.
MA: I have had the pleasure of working with Kevin Caruana (Papageno), but otherwise I did not know most of the cast. I hope that this is the first of many productions to come where we will be working together again.
Most embarrasing moment on stage?
CZ: Getting stuck in a window on stage during West Side Story. I am not the tiniest of people, and it was rather noticeable I believe!
CG: Singing Climb Every Mountain with a group of “nuns” while doing The Sound of Music, a scene before we were meant to appear on stage! Upon realising we tried to blend into the scenery as discreetly as possible... not easy in a nun’s habit!
MCC: Well, if you really want to know! I was playing during a dinner at the Mediterranean Conference Centre for around 800 foreigners. They got a digital piano for me, but they forgot to screw the actual keyboard to the stand. The piano was getting gradually dislodged... wonder of wonders on a loud chord; the piano fell on my legs and onto the stage. I must admit, the diners were very sympathetic about it, and there were cries of “oohs” and “aahs” as my bewildered face appeared on all the big screens around the hall!
What are your future plans?
CZ: To further my studies abroad. I am doing auditions in November, so I am keeping my fingers crossed!
MCC: I am always on the go with concerts, so really my plans are to keep on making music! I do wish that this will involve working with this cast once again for it has been a fantastic experience.
CG: Hopefully I will graduate from University in Theatre Studies (Hons) and I’d like to continue to study both acting and singing professionally abroad.
MA: Having finished my BA (Hons) in Music and currently doing a PGCE in Music education, I just want to continue studying voice performing abroad and maybe also choir direction since I have my own choir, Schola Cantorum Jubilate.
Opera for Children, with a special adaptation of Mozart’s ‘The Magic Flute’ will take place at the Teatru Manoel on 21 at 6.30pm and 22 April at 6pm. Tickets from the Manoel Theatre Booking Office. Tel. 2124 6389, email: [email protected]