The programme for the popular Opera in the Capital, organised by VCA, moves so fluidly between opera, musical theatre, film music, and Maltese repertoire. Were you thinking of the emotions people would undergo during a summer's evening when you first began shaping it?

Absolutely. When I build a programme, I always think of it as a journey rather than a collection of individual pieces. Locals and tourists can enjoy an evening of exceptional live music in one of the island's most iconic outdoor locations and I am deeply grateful to the Valletta Cultural Agency which is producing this concert and has tasked me with shaping it.

Together with the Artistic Team, this year's programme has been carefully curated to appeal to a wide audience, blending classical opera with film music, musical theatre favourites and Maltese works. We were very much thinking of the experience for the audience from the outset.

I want the audience to experience a range of emotions:  excitement, nostalgia, joy, reflection, drama, and ultimately a sense of celebration. My hope is that every listener finds a moment that resonates personally with them.

When you conduct a mixed programme like this, what guides your approach - the audience, the colours of the orchestra, or the personalities of the singers?

From an artistic direction point of view, the music is rich as much as it is diverse. This too can be said about the singers; three very talented Maltese performers with very different voices, timbres and repertoires, of whom we are very proud.

I must say that the process to select the music was very interesting and challenging and the singers were vital in shaping it. Each bringing their own personality, vocal character, and interpretation.  It wouldn't have been the same without their input. My role is to create an environment where all these elements can work together naturally and convincingly.

Last year the audience included children and young people who attended a live music concert for the first time, people who love cross-over music and are familiar with the styles of Andrea Bocelli and Il Volo, regular classic concert-goers, and opera enthusiasts. This very much gives the programme a particular direction. The audience is always at the centre because communication is the ultimate goal. Meanwhile, a conductor thinks carefully about the colours available within the orchestra and how they can best serve each piece.

Bizet, Verdi, Puccini, Offenbach, Prokofiev... each requires a different kind of energy. How do you shift the orchestra from one sound‑world to another without losing cohesion?

I must say that the repertoire for this concert requires in-depth focus and preparation. Rehearsals are well underway and I must say that the level of the music being performed is outstanding. The drive each of the singers has and their passion is of another level. The challenge is to honour the stylistic differences of every composer as each speaks a different musical language while maintaining a consistent artistic standard across the evening. That means paying close attention to articulation, phrasing, balance, and orchestral colour. With Bizet, the focus is on elegance and vitality; Puccini requires a broader, more vocal lyricism; by contrast, in Prokofiev's music I must bring out a sharper, dramatic edge. The cohesion comes from the orchestra's shared commitment to storytelling and from establishing a clear musical vision for each work.

You began your musical life as a double‑bass and bass‑guitar player. How has that early grounding in rhythm and harmony shaped the way you think and communicate as a conductor today?

Conducting is the art of building layer upon layer over time, exploring music from its foundations to the intricate emotions embedded within every composition. It is about revealing the best qualities of each section of the orchestra, often of each individual instrument, and, in this case, of the singers as well, bringing them together in a cohesive and compelling musical interpretation.

My experience as a bass player has profoundly shaped this approach. Playing the bass teaches one to listen in a uniquely attentive way, requiring a constant awareness of rhythm, harmony, structure, and the intricate relationship between the many layers of a musical work. As a conductor, this perspective remains invaluable. I naturally approach music from the foundation upwards, understanding how the harmonic and rhythmic framework underpins and supports everything that unfolds above it. It has also given me a deep appreciation for ensemble playing and the importance of establishing a clear, dependable pulse; one that musicians can trust and build upon with confidence. Together, these elements inform my work on the podium, helping me shape performances that are both structurally grounded and emotionally expressive.

You've directed major musical theatre productions, namely Phantom, Sweeney Todd, Chicago, Cabaret, Into the Woods. What elements of musical theatre direction do you bring into an orchestral event like Opera in the Capital?

Musical theatre is all about storytelling and bringing the audience into the story in a smart way. The theatrical elements together with the music and the way they are presented in a fun and entertaining way, make these stories very compelling to audiences.  

Whether I'm conducting a Broadway score, an operatic aria, or a symphonic work, I'm always thinking about narrative, pacing, and character. Musical theatre has taught me the importance of timing, dramatic contrast, and creating an emotional connection with an audience. Those lessons translate directly into a concert setting, where every piece should feel alive and meaningful rather than simply being played beautifully.

You are working with singers who each have distinct vocal colours and temperaments. How do you tailor your conducting to support their individuality while keeping the overall balance?

Oh wow, they really do have very distinct temperaments and characters. You would really love it if you could spend some time with each of them and get to know them on a personal level.

Alan Sciberras, a true spinto tenor, combines remarkable lyricism with a voice of extraordinary power and dramatic intensity, capable of filling a hall with effortless brilliance while retaining warmth and expressive nuance. While he can appear the most serious of the three at first glance, he is in fact deeply grounded, witty, and very much a people person, bringing a natural ease to each performance. Marvic Monreal brings with her the insight and refinement gained from recent engagements at some of Europe's leading opera houses, including London, Paris and Florence, lending an international perspective and theatrical sophistication to the performance; her personality is equally vivid, bubbly and expressive, with emotions that shine through even in the simplest rehearsal or conversation, enriching the creative atmosphere around her. Cliff Zammit Stevens, with his extensive experience across concert repertoire and musical theatre productions, contributes exceptional versatility, musical intelligence and a natural ability to connect with audiences, paired with a wonderfully theatrical, larger-than-life sense of humour that brings energy and constant entertainment into the rehearsal room.

Together, their contrasting personalities and artistic strengths require a conducting approach that is both structured and responsive, allowing individuality to flourish within a clearly defined musical framework. Working with singers of such distinct artistic backgrounds requires a careful balance between structure and flexibility. A strong sense of architecture in the conducting is essential; it provides the clarity, stability, and direction within which each artist can thrive.

My responsibility is to understand what each performer needs to perform at their best, and then to provide that support through the orchestra. At the same time, I ensure that the orchestral balance never overwhelms the voice, allowing the singers to project naturally while remaining fully integrated within the musical fabric. The ideal outcome is a genuine collaboration, where the singers feel fully supported and the orchestra remains an active, responsive partner in the performance.

 Dance of the Knights is such a dramatic centrepiece. What do you enjoy most about conducting this particular work?

This  is one of those works that immediately commands attention, and I've always been drawn to its darker sonorities and the contrast they bring within this year's programme for Opera in the Capital. I was particularly keen to include it, as I would love the audience to experience its full impact live. The sheer weight of the opening, the depth of the orchestral sound, and the unrelenting sense of drama make it an exhilarating piece to conduct. At the same time, Prokofiev's orchestration is full of remarkable sophistication. I enjoy uncovering those subtle layers of colour and tension, while shaping and channelling the immense energy that the music so powerfully generates.

In pieces like Bring Him Home or My Way, the orchestra becomes almost a breathing partner to the voice. How do you approach these more intimate, lyrical moments?

I would say these two pieces are Alan's touch to the programme. He will be interpreting Bring Him Home, a piece we are not used to hearing him perform, as he more naturally thrives in the classical operatic world of Puccini and Verdi. Having said that, in Bring Him Home he reveals a very beautiful quality; one of deep intimacy and simplicity, drawing the audience into a shared, almost personal space. It is a moment of real stillness and connection that you truly wouldn't want to miss.

My Way will be performed by Cliff and Alan, and it is a piece that also resonates strongly with audiences worldwide. In these moments, a different kind of listening is required. The orchestra must become especially sensitive, flexible, and responsive to the singers' phrasing. Rather than leading from the front, the conductor takes on the role of facilitator by shaping space, breathing with the line, and allowing the music to unfold naturally. The focus is on clarity of text and emotional honesty, ensuring that the orchestral texture supports and enriches the voice without ever overwhelming it.

Orchestrating for large ensembles is one of your great passions. What excites you most about sculpting colour and texture on that scale?

The orchestra offers an almost limitless palette of colour, and I find it endlessly fascinating how different combinations of instruments can completely transform the emotional character of a musical idea. A simple line can feel entirely different depending on how it is voiced, supported, or reimagined through orchestration and conducting. In many ways, it is like painting with sound while constantly shaping texture, balance, and atmosphere, where every detail matters.

What I find most compelling is how all the elements interact in real time within a performance. You are not only imagining the sound, but actively sculpting it in the moment, responding to acoustics, to the singers, and to the energy of the ensemble. When that balance is achieved, I mean when every layer feels intentional yet organic, the result can be deeply immersive and emotionally powerful, drawing the audience into a sound world that feels both immediate and alive.

Maltese audiences have a deep affection for L‑Imħabba and Lil Art Twelidi. What does it mean to you to conduct music that carries such local emotional weight?

Conducting music like L-Imħabba and Lil Art Twelidi, which hold such deep emotional significance for Maltese audiences, carries a very special responsibility and privilege. These are not just pieces in a programme but part of a shared cultural memory, woven into people's personal histories and sense of identity. My role is to honour what these songs represent, while also bringing them to life anew each time they are performed. There is a delicate balance between tradition and freshness, between preserving the emotional truth that audiences already carry with them and allowing space for rediscovery through performance.

You often speak about wanting to create "compelling experiences for fresh audiences." What does that mean to you in practice and how does this particular programme achieve it?

For me, it means removing barriers and inviting people fully into the experience, regardless of their musical background. Great music has the power to speak to everyone when it is presented in a direct, engaging, and honest way.

This programme is built very much with that in mind, bringing together familiar melodies, operatic masterpieces, musical theatre favourites, film music, and cherished Maltese works. Each piece offers a different point of entry, allowing audiences to connect from wherever they are, while also experiencing the full range of a live orchestral sound.

If someone comes because they love a musical theatre song and leaves having discovered a Puccini aria or a Prokofiev masterpiece, then something meaningful has taken place. That sense of discovery, of expanding one's listening through enjoyment rather than obligation, is at the heart of what this programme is trying to achieve.

The Neapolitan Medley brings a different kind of warmth and nostalgia. How do you keep these familiar songs fresh for both musicians and audience?

The Neapolitan Medley brings with it a natural sense of warmth and nostalgia. We performed a similar medley as a tribute to Pavarotti last year and it was received particularly well. The challenge is to preserve that familiarity while still allowing it to feel alive in the moment. For me and for each of the singers, that comes down to detail and shaping every phrase with care while finding subtle contrasts and elements of spontaneity. When that happens, even the most familiar melodies can feel newly discovered, both for the musicians and for the audience.

Your career bridges theatre, film, and classical repertoire. Do you feel today's audiences respond differently when these worlds meet on the same stage?

My career has allowed me to move between theatre, film, and classical repertoire quite naturally, and I do feel that today's audiences are increasingly open to that kind of dialogue between genres. There is less of a sense of separation than there once was. With this particular concert, the Valletta Cultural Agency continues to remove barriers by producing it outdoors, in St George's Square, Valletta. When you bridge the realms of theatre, film, and classical music on the same stage, people respond to emotion first, regardless of style or category, which is very rewarding to witness.

As a conductor, what do you hope the audience carries home from this evening - a sense of drama, comfort, discovery, or something more personal?

I hope the audience carries home something very personal. For some it may be a sense of drama, for others comfort or familiarity, and for others still a moment of discovery. Ideally, it is a mixture of all of these; moments where something unexpected was felt, even in a familiar piece, or where a new musical language suddenly feels accessible.

And finally, what is the quiet joy for you in an event like Opera in the Capital - the moment that makes all the preparation worthwhile?

The quiet joy in an event like Opera in the Capital is often found in the moment when everything settles into place. It is when the work of rehearsals comes to fruition, when all the planning and detail recede, and you are simply left with music unfolding in real time. In that shared focus between stage and audience, communication becomes instinctive and immediate, and it is this connection that makes all the preparation feel worthwhile. We have prepared a beautiful programme, and I sincerely hope that each and every person in the audience will find something in it to enjoy and take with them.

This is a highly anticipated concert and if you haven't yet secured your tickets, I warmly encourage you to join us for what promises to be a very special evening of music.

Limited seats are available from: https://www.showshappening.com/valletta-cultural-agency/opera-in-the-capital