When did you first feel that singing was truly part of who you are?

When I began singing with the Mirabitur Youth Choir.  As the youngest member, I always felt nurtured and cared for. There was a real sense of belonging to something bigger than myself, and I think that is where my relationship with singing truly began - not as something separate from me, but as something I belonged to.

The shift happened gradually in my late teens, when my tutor, soprano Miriam Cauchi, recognised the potential and character of my voice and saw that it could develop towards a more dramatic repertoire. That was when I began to understand singing less as something I do and more as an extension of who I am.

What did your experience at the Mediterranean Opera Studio and Festival in Caltagirone teach you?

It was a transformative experience. I returned to Malta inspired, motivated, and with friendships that I still value deeply.

There I performed the role of Musetta in Puccini's La Bohème. It is such a flamboyant and fearless character, which challenged me because it pushed me far beyond my natural personality. I had to become much more physically expressive and confident on stage. At first, that felt uncomfortable, but it was also incredibly freeing.

That experience changed the way I think about character work and stage presence, and it stayed with me long after the production ended.

How did the support from the BOV Joseph Calleja Foundation and the Janatha Stubbs Foundation shape your journey?

Their support came at a very important moment in my development. Beyond the financial help, it felt like a genuine vote of confidence, and that gave me a strong sense of responsibility to work even harder.

It allowed me to focus more fully on my training and to pursue opportunities that might otherwise have been out of reach. That made a significant difference to my growth, both artistically and personally.

At the Teatru Salesjan on 29 May you will be playing the role of Mimi. What draws you to Puccini's female characters, and how do you approach them?

Puccini's women feel deeply human. They are never one‑dimensional - they can be fragile and strong, tender and determined, often all at the same time.

I try not to think of them simply as "characters." My focus is always on being faithful to the score and truthful to the emotion within the music. Through that process, I inevitably bring something of myself into each role, and that is where the real connection happens.

What has studying under Miriam Cauchi opened up for you?

Miriam is an exceptional mentor who has shaped not only my technique, but also the way I approach the profession itself. Her teaching places great importance on freedom and connection in the voice, which has had a profound impact on the way I sing. Her understanding of bel canto and verismo repertoire has also deeply influenced the way I approach phrasing, colour, and emotional honesty in each note.

I am truly grateful for her guidance from the very beginning. She has been a calm and steady presence throughout my journey, and someone I trust deeply.

How does ensemble work influence your artistry?

Ensemble singing teaches you how to truly listen. Unlike solo work, you constantly have to be aware of the people around you. Beyond the music itself, ensemble singing creates a genuine sense of connection and shared purpose that I find incredibly fulfilling. Two of my favourite works that I have performed so far are Ola Gjeilo's Sunrise Mass and Handel's Zadok the Priest with KorMalta.

Was there a piece of advice from a masterclass that stayed with you?

Yes - it came from a masterclass by Jack Livigni on overtones. He explained that every note contains harmonics, and that when those harmonics are properly aligned, the voice develops a ringing resonance that carries naturally over an orchestra.

It completely changed the way I think about technique. Instead of focusing on volume, I began focusing on resonance and freedom in the sound.

How do you look back on your Teatru Manoel debut in 2018?

I remember it as both exciting and slightly overwhelming in the best possible way. It was in Corto Maltese, where I performed the role of Cranio, conducted and composed by Monique Krüs as part of Valletta 2018 European Capital of Culture.

I was originally cast in the choir, but later stepped into a principal role. Everything felt new to me, and I was fascinated by the entire process - the rehearsals, the lighting, the costumes, the makeup.

Have Maltese audiences shaped you in any particular way?

Maltese audiences are always incredibly warm and attentive, and I truly value that support. Interestingly, I often feel more nervous performing in front of people I know because there is a greater sense of familiarity and self‑awareness.

When I perform abroad, I tend to feel slightly more relaxed, but regardless of where I sing, the support of Maltese audiences has always meant a great deal to me.

What excites you about stepping into Puccini's Triptych?

Opera Nova Project's upcoming performance, Puccini's Triptych, will feature highlights from Suor Angelica, La Rondine, and La Bohème.

Mimì is a dream role for me, so I feel incredibly privileged to be singing her. I am especially looking forward to working with director Christopher Gatt, particularly on Act IV of La Bohème - those final chords never fail to move me.

La Bohème is such a beloved opera and a beautiful introduction for anyone discovering opera for the first time, so I would really encourage audiences to join the Opera Nova Project at Teatru Salesjan, Sliema on the 29th of May 2026.

What is opening up in your voice, and what repertoire do you dream of singing?

At the moment, my voice feels more flexible and increasingly comfortable in the upper range, which is opening the door to more agility and coloratura work.

There are so many roles I dream of singing, but at this stage I feel especially drawn to Violetta in Verdi's La Traviata, Thaïs in Massenet's Thaïs, Cio‑Cio San in Puccini's Madama Butterfly, and Tatyana in Tchaikovsky's Eugene Onegin. Each role lives in a completely different world, which is what makes them so exciting to explore.

What keeps you grounded and inspired?

Most of all, my support system - especially my mother, who always knows how to bring me back to earth whenever things feel overwhelming. I am also incredibly fortunate to have people around me who genuinely support and encourage me.

For me, joy is both the starting point and the end goal, and that is what continues to drive me.

What would you like Maltese audiences to understand about your generation of singers?

That my generation of singers is deeply passionate and committed to keeping opera alive and relevant for new audiences. Projects like the Opera Nova Project are especially meaningful because they help build a strong community of emerging young singers by creating valuable performance opportunities locally while also fostering important international connections and artistic collaborations abroad. These experiences are essential for young artists, allowing us to grow both professionally and personally while contributing to the future of opera in Malta.

Experience the passion and beauty of Puccini in Triptych, a captivating performance by the Opera Nova Project. Enjoy extended highlights from three of his most beloved masterpieces - Suor Angelica, La Rondine, and La Bohème - brought to life in fully staged productions. Featuring some of Malta's most exciting young opera talent, Triptych promises an evening of unforgettable music, emotion, and artistry that celebrates Puccini's timeless genius.

Directed by Karl Cassar, Denise Mulholland and Chris Gatt with Musical Direction by Gillian Zammit.
This production is supported by the Archbishop's Delegate for Culture, BOV Joseph Calleja Foundation , Teatru Salesjan, and Costa Consulta Ltd.

Triptych will be held at Teatru Salesjan, Sliema on 29 May at 7pm. Tickets from Shows Happening https://www.showshappening.com/opera-nova-project/puccini-triptych