Donizetti's L'Elisir d'Amore - this year's showpiece of the Manoel Theatre's BOV Performing Arts Festival was a huge success, appealing to both seasoned opera lovers, as well as newbies to the genre. Director Mulholland along with the production team accomplished an outstanding feat, reviving this comic opera from its origins in 1831 and relocating it to the 1950s Italy, with the subjective sun-kissed terraces of Amalfi as a backdrop.
This year's performance was even more special as most of the cast featured Maltese artists. We took this opportunity to speak to Cliff Zammit Stevens who plays the love-stricken protagonist Nemorino in two of the four performances.
This is not the first time that you are putting on the spoils of Nemorino. But how does it feel to be taking up this role at the Teatru Manoel?
No, in fact I was Nemorino a few years ago when I was performing with another company and we had toured the UK and also performed in Corfu. I consider it a privilege to be entrusted with a main role at the Teatru Manoel. Obviously I feel the 'pressure' a bit more because I am performing 'at home' and the Maltese have always shown an incredible support towards me. Then there is also the fact that Joseph Calleja himself has performed as Nemorino at the Manoel at the beginning of his career, so this is extra special for me as a tenor taking the first steps in my artistic career.
Nemorino is an incredibly beautiful role to play for a tenor. It is difficult to perform but L'Elisir is such a fun opera. I would say that this opera is probably one of the best options for people who are experiencing opera for the first time. The staging is very colourful. Moreover the opera is being given a modern twist, set on the Amalfi coast in the 1950s.
When on stage, what do you prioritise - the technique or the acting, to bring the character to life?
Both the acting and the singing are equally important for the performance in every opera. You don't afford to lose sight of either of them.
In 'L'Elisir', particularly because my character is on stage and performing big pieces throughout Act 1, I need to be careful not to give it my all in the beginning. I must ensure that I have sufficient strength left to be able to perform in the second act, where I would still have to perform challenging duets as well as the famous aria 'Una furtiva lagrima' at the end. One really needs to learn the role very well.
For me, knowing a role signifies that my body and my muscle memory grow accustomed to it. Thus, when I am performing I can lose myself in the character and become at one with him. Personally, I believe that the best outcome possible is when people in the audience come up to me and tell me that I managed to take them on a journey through my performance.
As an opera singer, how do you decide which operas to go for?
In an ideal world, you would know about the performance a year or at least a few months beforehand. Unfortunately, in real life, it is often the case that you need to prepare yourself in a very short time span. Sometimes, you'll be asked to replace someone overnight.
Of course, if I am not acquainted with a given work, I would not consider it. However, if it is a work that I had studied, and I know that the repertoire is achievable for my voice, I'll go for it.
In a way, the development of a tenor is very similar to any career path. You always start from a junior role and progress slowly to more senior roles as you gain knowledge and experience. For a singer, it is the same thing. Presently I know that my voice is sufficiently mature to perform most of the Bel Canto repertoire, but not the more dramatic roles required by Cavaradossi in Tosca or Calaf in Turandot for instance.
As you mentioned, Donizetti's opera is in the Bel Canto style. This repertoire may be easier for audiences to follow, but how is it to interpret? For instance, Bryn Terfel says that L'Elisir is full of 'vocal gymnastics'. Do you agree?
Bel Canto literally means 'beautiful singing', but yes, I believe that this is one of the most challenging repertoires to sing. It requires that you perform difficult pieces in a joyful manner, without giving away the exertion that your voice will be going through. The Bel Canto repertoire is extensive. It is also the repertoire that at present, my voice is able to tackle.
Looking back, how did your career as an operatic singer start?
I think one could say that I developed into this career path. When I was about 14, I used to do a lot of musical theatre and some classical pieces. At the time, I was studying with Gillian Zammit. However, I had reached a point where I could not further my studies locally because unfortunately in Malta, there aren't the opportunities required for intensive vocal training. I applied for the Royal College of Music in London and was one of the six chosen out of 600 applicants. I applied for a 4-year undergraduate course in vocal studies, thinking that this would give me the opportunity to realise whether or not I would pursue my singing career further. However, after two months, I fell in love with opera. Over there, every day is dedicated to voice coaching, movement, language classes it's like a whole new world opening up in front of you. Then it suddenly dawned on me that I was blessed to have the gift of an operatic voice and must work really hard to realise my potential. That was seven years ago, but there was no turning back from that point onwards.
On your path as an artist, were there influential people that come to mind as important milestones for you?
Of course, Gillian Zammit is the person who 'discovered' me and I owe everything to her! Joseph Calleja is an amazing artist and an idol for me. The fact that he believes in me and asked me to share the stage with him for the Fundraising Concert of the BOV Joseph Calleja Foundation last Christmas for me means a lot. I consider it an incredible honour. Over the years, I have met people who, in one way or another, have left their mark on my life and career, almost at every turning. For instance, I remember a Master Class in Salzburg, where I worked with one of the world renowned sopranos, Anna Tomowa-Sintow. After so many years, she is still able to transmit such positive energy, even simply through her presence, without trying to coach. Everyone has something to offer. This career is very much a personal experience because one's development is linked to the mechanics of his or her voice, but the more you work with people, the more you open up and grow as a person and as an artist.
So many tenors have played the role of Nemorino, but every tenor approached it differently so as to adapt it to his own voice. Even if you have a similar voice type, there are still moments when you'll approach certain phrases in different ways.
Is there a need to cultivate young artists in Malta?
Yes, very much so. Unfortunately in Malta, we lack resources and training opportunities to enable students to reach their full potential. Furthermore, the world of performing arts is, in my opinion, generally perceived as a 'hobby' rather than a serious profession, though having said that, I do believe that this perception is changing. Still, I would not be able to make a living as a full-time tenor in Malta, at present.
The BOV Joseph Calleja Foundation is probably one of the best things that could have happened to Malta in this regard. Performing arts students, particularly in their first years, need a lot of support. Without the Foundation's support, I would not have been able to live in London and afford singing lessons. For instance, when studying an opera, one needs to find a good repetiteur who would play the music while you rehearse, and help you explore different ways of performing a given piece, find a language coach and keep up your singing lessons to constantly strengthen your technique.
There is more to being an opera singer than meets the eye. Even the performance itself is very taxing on the artist. For instance, after Act 1 of the L'Elisir I feel like I've done a three hour workout running across Malta. I would be so fatigued and there would only be a 20 minute interval before I tackle the second Act. It is all very intensive. Thus it is essential that one is fully dedicated to this career.