You have been organising intimate music events and other cultural activities since July 2006. I remember them at Sagrestija Vault in the Valletta Waterfront. You have organised countless events at some of Malta's most remarkable historic venues, including the Oratory of St Francis in Valletta, Depiro Palace in Mdina, Mdina Cathedral Museum, Villa Bologna in Balzan and now in Our Lady of Victory and the Old Apse in St Augustine Priory both in Valletta. What inspired you to launch the Sip and Listen concerts and the Lunchtime concerts series?

Organising intimate music events has been my passion for the past 20 years. I've always gravitated toward smaller, more personal settings - large, mass‑oriented events leave me feeling detached, unable to connect with the performers or the atmosphere. Intimate concerts, on the other hand, are where I feel completely at home. I connect with the music, the artists, and the audience on an emotional level; it becomes an experience rather than just an event.

That's why, from the very beginning, I chose to create concerts with a warm, relatable atmosphere. All the venues you mentioned - Sagrestija Vault, Depiro Palace, Mdina Cathedral Museum, Villa Bologna, and now Our Lady of Victory and the Old Apse at St Augustine Priory - share that same quality. They are beautiful, memorable spaces, some of which had never been open to the public before, making them even more intriguing for music lovers.

As for the Lunchtime concerts, they began around 2010 at the Oratory of St Francis in Valletta and have continued ever since, except during Covid. Over the years they moved to St Catherine of Italy Church and now to Our Lady of Victory, in collaboration with Din l‑Art Ħelwa. Valletta, with its rich cultural heartbeat, is the perfect setting for a midday musical pause. The idea was simple: offer people a way to enjoy culture without committing to a full evening out. Office workers, tourists, and passers‑by could drop in, enjoy a short concert, and make it the highlight of their day. The weekly rhythm also brings a sense of continuity - something people can look forward to regularly. And by hosting them in heritage spaces, the concerts become a way for the public to experience these historic places while supporting them financially through donations. All of this makes the series, despite the logistical challenges, deeply worthwhile.

The Sip & Listen concerts grew out of the evening events I used to organise at Sagrestija Vault and Villa Bologna, where we served wine and finger food after the performance. People stayed, chatted, and formed a kind of social club - many still reminisce about those evenings. Sip & Listen carries that same spirit: a relaxed, enjoyable experience where guests are welcomed with prosecco to sip during the concert, removing the stiffness that often surrounds classical music. And once again, the venue - the Old Apse at St Augustine Priory - adds a layer of fascination and history that makes the experience truly special.

How has the concert programme evolved since its inception?

The programme has grown into a much broader and more adventurous season. In the early years, the focus was mainly on chamber music and vocal and piano recitals in heritage spaces. Over time, as audiences grew and tastes diversified, the series expanded to include jazz, Spanish repertoire, Latin American piano music and collaborations across genres.

What do you hope audiences take away from these musical experiences?

I hope people leave feeling enriched, uplifted and connected - not just to the music, but to the space, the performers and to one another. These concerts are designed to offer a moment of beauty in the middle of daily life, a chance to slow down, listen closely and experience music in an intimate, personal way.

If someone walks out feeling calmer, inspired, or simply delighted by discovering something new, then the concert has done its job. When guests leave with a contented smile on their faces, we know our work has been done, and that is enormously gratifying

How do you balance artistic excellence with making concerts accessible to a wider public?

I believe that artistic excellence and accessibility actually strengthen one another. My aim has always been to present performances of the highest calibre, but in environments that feel warm, intimate and welcoming rather than formal or intimidating.

Over the years, from Sagrestija Vault to Our Lady of Victory and now the Old Apse, I've learned that people connect most deeply with music when the atmosphere is welcoming and intriguing.

Smaller venues allow audiences to experience music up close, making even complex repertoire feel personal and engaging.

Concerts are kept at accessible lengths, ticket prices remain reasonable, and the tone of the events is relaxed. Sip & Listen adds a social element that breaks down barriers.

The Sip and Listen concerts are held in the Old Apse at St Augustine Priory in Valletta. Why did you choose this venue?

I chose the Old Apse because it offers exactly the atmosphere Sip & Listen needs - intimate, warm and full of character. Its antique stone architecture creates beautiful acoustics, and the scale of the room brings audiences close to the performers, making the experience personal and relaxed.

The Priory's deep history adds an extra layer of meaning to every concert. People feel they're stepping into a space with centuries of stories, and that sense of place enriches the music. It's a venue where elegance, heritage and a welcoming mood come together naturally, making it the perfect home for Sip & Listen.

How important is the historical setting in shaping the audience's experience?

The historical setting is essential - it transforms the concert from a performance into an experience. When music is heard in a space like the Old Apse or Our Lady of Victory, the architecture, the centuries of history and the atmosphere all deepen the emotional impact. Audiences feel grounded in something larger than the moment, and the setting helps them listen more closely, connect more personally and appreciate the music in a richer, more meaningful way.

Visitors can also explore the Priory's heritage features and wartime shelters after the concert. How does this combination of culture, history and music enrich the events?

Ultimately, this creates a much deeper, more layered experience. After enjoying an intimate concert, visitors step directly into the Priory's heritage - its architecture, its hidden corners, its wartime shelters. The shift from music to history allows people to connect with the place in a fuller way.

The Augustinian community are responsible guardians of their heritage.

The 2026-27 season ranges from opera and Neapolitan songs to jazz, Spanish music and Latin American piano works. What guides your choice of programmes?

I look for programmes that feel fresh, emotionally engaging and suited to the intimacy of our spaces. That's why the season ranges from opera and Neapolitan songs to jazz, Spanish music and Latin American piano works - each genre brings a different colour, a different mood, and attracts different listeners.

I aim for balance: familiar favourites that draw people in, alongside discoveries that broaden their musical horizons. Above all, I choose music that speaks directly to audiences, that feels alive in the room, and that reflects the cultural richness we want these concerts to embody.

Do you look for a particular theme or narrative when building a season?

I don't usually build a season around a single theme, but I do look for a clear narrative flow. Each programme needs its own identity, and together they should offer variety, contrast and a sense of discovery. I think of the season as a journey: different colours, different moods, different musical cultures, all complementing one another.

Rather than one overarching concept, I focus on creating a balanced sequence - something that feels coherent but never predictable, where audiences can enjoy familiar favourites and also encounter new sounds and stories along the way.

How do you discover and select the artists who perform in your concerts?

I look for artists whose musicianship, personality and artistic vision suit the intimacy of our venues. Some I discover through recommendations, others through performances I attend, and many through ongoing collaborations with musicians I trust. I'm drawn to performers who communicate naturally with audiences - people who bring both excellence and warmth to the stage.

I also keep an eye on emerging Maltese talent and invite artists whose work shows promise, individuality and commitment. The goal is always the same: to curate musicians who will make each concert feel alive, engaging and true to the spirit of the series.

Is there a concert in the upcoming season that you are particularly excited about and why?

It's hard to single out just one concert, because each programme brings its own colour and personality to the season. I'm genuinely excited about all of them, but I'm especially drawn to the concerts that offer something new - a fresh collaboration, a debut artist, or a genre we haven't explored in depth before. Those moments of discovery are always the most rewarding.

I'm particularly looking forward to the opening concert with Alan Sciberras. I first invited him to perform when he was an emerging artist, and seeing how he has grown into a well‑known tenor with an international career makes this return especially meaningful. I'm also excited about Bruno Arruda, a brilliant Brazilian pianist who will present a thrilling South‑American programme - a vibrant addition to the season. Having said that, I think the other concerts are all unique and special in their own way.

Many Maltese performers feature prominently in the programme alongside international artists. Is supporting local talent one of your key objectives? What opportunities do these concerts create for emerging musicians?

I actively seek out emerging talent - supporting young musicians and giving them a meaningful platform is one of our core aims. It's incredibly rewarding to introduce new artists to our audiences and then watch them grow, mature and eventually shine as rising stars.

Have you seen performers develop their careers through participation in the series?

Yes, and it's one of the most rewarding aspects of the work. Several young musicians have used these concerts as a springboard, gaining confidence, visibility and experience that helped them grow into accomplished artists. Some have even continued their studies abroad and come back to Malta having gained more experience and skills.

What kind of audience attends these concerts?

A wonderfully mixed audience - regular concert‑goers, curious newcomers, tourists, and many people who simply enjoy intimate, high‑quality music in beautiful historic spaces.

Have you noticed changes in audience tastes over recent years?

Yes, audiences have become more open to variety. While classical music remains a strong favourite, people are increasingly curious about different styles, from jazz and Spanish repertoire to Latin American works and lighter vocal programmes. In the last season, we did a literary-musical event: Jane Austen's Musical Life, which turned out to be a real success.

How do you attract people who may not normally attend classical or live music concerts?

By creating concerts that feel welcoming rather than formal. The intimate venues, relaxed atmosphere, approachable programmes and the social element of Sip & Listen make the experience enjoyable even for those who are new to live music. A varied repertoire and affordable tickets also help people feel comfortable stepping into something they may not have tried before.

What feedback from audience members has been most rewarding?

The most rewarding feedback is when people say the concerts made them feel uplifted, inspired or unexpectedly moved. Many mention the intimacy of the space, the warmth of the atmosphere and the chance to discover new music or artists - those comments confirm that the experience is genuinely touching people.

What are the biggest challenges in organising a year-round concert programme?

Maintaining quality and variety while managing logistics is always demanding - and last‑minute changes are the toughest. When a performer needs to be replaced, finding someone who matches the artistic level and changing the programme requires quick decisions and strong networks.

Can you share a particularly memorable moment from past seasons?

One memory that always stands out is from our War Time Songs concert at Sagrestija Vault, when a 90‑plus‑year‑old war veteran in the audience spontaneously joined the singers on stage. The audience was absolutely delighted - it was a touching, unforgettable moment.

What achievement are you most proud of since starting these concert initiatives?

Sustaining a year‑round programme for so many years is something I'm deeply proud of - but even more meaningful is seeing how these concerts have built a loyal community, supported emerging artists, and brought new audiences into Malta's cultural life. I am proud that I have done it independently.

What is your vision for the future of the Sip and Listen and Lunchtime concerts?

To keep the series growing while preserving their intimacy and charm. I want to continue attracting new audiences, engaging professional artists, supporting emerging artists, and exploring fresh repertoire - all while maintaining the warm, welcoming atmosphere that defines both series.

How do you see Malta's cultural and musical landscape developing in the coming years?

I see it becoming increasingly vibrant and diverse. More young artists are emerging, new venues and initiatives are taking shape, and audiences are showing greater curiosity for different styles and formats. There's a growing sense of energy and openness that promises an exciting future for Malta's cultural scene.

What first sparked your own passion for music and the arts?

Listening to classical music at home, hearing my best friend play the piano, following music lessons and attending concerts from a young age - those early experiences are what first sparked my love for music and the arts.

How did you become involved in concert organisation and cultural programming?

It began quite simply - as a stay‑at‑home mum, I needed a creative outlet. Combining my love of the arts with my knack for coordinating events felt natural, and I gradually grew into a fully-fledged concert organiser. I also had the fortune to have contacts and leased Sagrestija Vault from where I started this venture.

What keeps you motivated after organising so many events?

The adrenaline before each event keeps me motivated, along with knowing how valuable these concerts are - for the performers, for Valletta's cultural life, and for the historic places we help support financially.

If you could bring any musician, living or from the past, to perform in one of your concert series, who would it be?

That's a difficult question - perhaps I would go for Renée Fleming - a most brilliant singer. I am asking for a lot here!

If someone has never attended one of your concerts before, what would you say to persuade them to come along?

If someone has never attended one of our concerts, I'd tell them it's a warm, intimate experience - beautiful music in a historic space, a relaxed atmosphere, and a chance to discover something new. It's the kind of concert you don't just listen to, you feel. And with a full year's programme - 29 lunchtime concerts from October to May and seven Sip & Listen events - there's always something that will catch your interest.

Tenor Alan Sciberras will launch the Sip and Listen concert series on 23October at the Apse of St Domenic, Valletta at 7.30pm

The first Lunchtime concert which will be held at Our Lady of Victory in Valletta on 6 October at 12.30pm when Soprano Maria Grazia Grech will  sing.