March 8, 2014
Most of you who follow me on facebook or on this site must have seen the new Airmalta advert from a few days ago. It was such a pleasure to drive around Malta and visit my “usual haunts” with a fantastic (and funny!) crew that Airmalta contracted for the filming of this advert…
I am sure that some of you out there will question the authenticity of the advert and whether it really represents what I think of Malta. The answer is both yes and absolutely. Almost all of the sites we visited are some of my favourite spots in Malta. Starting from the North we visited Little Armier bay. This is a spectacular small beach facing Comino. Ray’s Lido offer efficient sun bed/umbrella service and they have very decent food served al fresco. A little to the left you have the Baia beach Lido which is beautifully designed and offers excellent food in an idyllic environment. If visiting by boat they will even send a dinghy out to get you.
A stone throw away (and also featured on the ad) you can find the “red watchtower” ore more accurately “St Agatha’s tower” built in 1649 with impressive views which spans from the North West Coast all to Gozo and Comino. A walk to the edge of the cliffs is spectacular offering amazing views enhanced by the permeating smell of wild thyme which grow in abundance in the area…we ended the day of filming in my hometown Mellieha where, in a bar with the most spectacular view on the island, we had some Maltese Ftira washed down with our local softdrink and beer.
The above is only a small fraction of what Malta and Gozo have to offer. Indeed, one can get lost and drunk in the poetry, mystery and transcending beauty that our rugged coast and crystalline sea have to offer.
To sum it up yes I am truly in love with the Maltese Islands and its people…well at least most of them…in fact I sometimes I wished that more of my countrymen loved our island more…
St Agatha’s Tower-
Little Armier Bay -
January 14, 2014
How to deal with pressure is one thing that any budding opera singer needs to come to terms with pretty quickly. Years of study in a small studio, conservatory or a young artists program suddenly fizzle into oblivion when you go on stage, the orchestra starts playing and the spotlight is shining on you, literally. Strangely enough I was pretty much immune to pressure during the early part of my career. I had my professional debut at the age of 19 in a leading role. I won a couple of competitions, aced a couple of auditions and my calendar was steadily filling up in spite of my young age and relative inexperience. Still I faced the stage with artistic hunger and a hunger for success and I didn’t really even think of pressure or chance of failure. But then again most teenagers think they are bullet proof and I didn’t have anything to lose…
Then the game changer happened and the latter came into the form of a word called ”reputation.” Audiences are the best form of publicity a singer can have and audiences TALK! Slowly but surely I was becoming “a name” and people came to the opera house with “expectation(s)” My recording contract with Decca a the tender age of 23 further catapulted me into the public foray and the much dreaded “pressure” came knocking at the door with a vengeance.
I didn’t know what to do hence I did what I always did in these instances and I called my teacher Paul Asciak. He first teased me and told me the proverbial “I told you it will catch up with you” (he always loved “I told you so” scenarios!) and then proceeded to give me some of the best advice I have ever received. He told me to live the operatic life like a vocation. No talking, socializing, drinking or even eating badly the days before a performance. That way, if something did go wrong on stage, I couldn’t possibly blame myself given that I took every single precaution possible. I didn’t mention hard study and preparation because that’s a given but many artists, especially young ones, think they can do without the mostly “monastic” lifestyle that an opera career requires. That is why an opera singers way of life is as much a vocation as it is a career. A long conversation in a noisy pub (even one without smoke) is a no go even two days prior to a performance. Even a seemingly harmless bottle of wine can dehydrate your cords and give you enough acid reflux to make a difference in your sound. Even a night of passion the night before is a no go, especially for tenors, although the latter is controversial with some artsits claiming that sex actually helps their performance. Boring? Yes! But still a must. I know of no major artist with a reasonably long career who didn’t exercise this discipline. Of course I hastily add that singing the right repertoire and not singing too often are also musts unless you are the Great Placido Domingo. The latter, with vocal cords forged out of Wolverine’s Adamamtium. is simply unbreakable and unstoppable…
Last but not least is to never underestimate sickness. My rule of thumb is to never sing when the vocal cords are at all compromised or when there is a lot of mucus in the nasal passages that will get dislodged from the nose right down to the actual cords by the actual vibrations caused by singing. You only have one pair of vocal cords and they are very hard to repair if compromised. Take care of them!
In the end no two performances will ever be the same no matter of the precautions taken. That is one of the beauties of performing live opera – its unpredictable!
December 18, 2013
Kathy Bates, Justice Ginsberg, Scalia, Sotomayor, Roberts, Glenn Close, Alan Alda, President Obama, Arroyo, Santana and Snoop Dog etc. etc. What an amazing month December was! I don’t want to enter the merits of the existence of an “afterlife” but if the latter exists it is a sure thing that my father, born in the village of Qormi in Malta, is surely smiling…
But what does one learn from global legends? Well I guess humility and the long road that starts from nowhere, seemingly going to nowhere that instead ends up changing people’s lives and indeed history. I mean all the eulogies, especially to Billy Joel, delivered by the amazing Garth Brooks, was so heartfelt and intense without that annoying prosopopeia that so often accompany such events that yes, I did feel privileged to be assisting at the American “knighting” equivalent of Joel, Arroyo, Hancock, Santana and Maclaine. Something to tell the grand children for sure…
November 29, 2013
Yes one does have to learn to be comfortable with oneself but lets not kid ourselves, homo sapiens are social creatures and there is no doubt that one of the hardest things for an opera singer* at a certain career stage is, plain and simple, loneliness. It is a bit better for singers who are under contract in one theatre, as this means they stay mainly in one city. However, if a singer is freelance he or she is invariably hopping from one city to another sometimes forgetting in which city they are in (think concert tours) and often mistake closets for toilets. Yes, before you ask, the latter did happen to me and it had my girlfriend in stitches at the ungodly hour of 4am. I didn’t even know that chicks could laugh at that hour…
For jet setting singers it is very hard to maintain close connections with friends and colleagues. Indeed the minute you start building a friendship it is time to leave again to the next city probably on a different continent . Of course there are the advantages of constant changes of scenery, exciting new cities, people and challenges but the fun stuff can be easily forgotten when you don’t really have someone to share the joys (and occasional pains) with. In normal circumstances, leaving out the terrible tragedies that life sometimes throw at us, there is simply nothing sadder than going back to an empty hotel room or apartment after a successful performance. No one to dissipate the adrenalin on and no one to share the Ben and Jerry’s chocolate fudge ice cream with…
It is of course good to have a good laptop and a tablet to keep you company with your e-books, music and videos after your legs get tired from exploring the city. And talking about the latter; discovering a city on foot is one of the best ways to discover a new city. I have so many great memories of running around Munich in minus 15 degrees Celsius, jogging on the soft snow and don’t let them scare you about the voice. As long as you’re healthy and appropriately dressed, running in the cold actually builds your stamina and resistance. Just don’t sing on the same day of jogging as you might find your nasal passages a bit dried out. Zimmerman’s dark knight music is particularly invigorating and meditation inducing during such jogs.
When loneliness becomes overwhelming there is always Skype and Facetime and you will be surprised by how many hours one can actually “burn” on these endless chats and how many times you will find yourself kissing and hugging the screen. Sometimes it almost seems that your loved ones are in the same room with you which makes it all the more difficult when you hang up and realize that actually, they are thousands of kilometers away. Then again you will “hug” your loved one silly when you next see him or her and if you have children you will just learn to give them every minute when you are actually with them. Distance does make the heart grow fonder sometimes and this is apparently scientific now!**
Then there are those who are lucky enough to find a better half that doesn’t mind all the travelling and city hopping. When this happens, loneliness becomes a thing of the past and almost all the disadvantages disappear being replaced instead by a sort of “honeymoon after honeymoon” experience as long, of course, as the relationship works is healthy. If you are an opera singer and you find that person don’t ever let go as they are a special kind. In fact I just can’t resist but take this opportunity to thank my beautiful girlfriend Victoria for putting up with this crazy life!
*singers are generally homosapiens although it is still open for debate whether tenors do indeed form part of this category..
November 15, 2013
I remember back in 2002, at the tender age of 24, I signed with Decca records. I had already sung leading roles in some major theatres but by and large my name was not that well known except for “promising tenor” status. My first CD released only a year later quickly changed that and suddenly, I became known throughout the opera world. Enthusiastically I surfed the internet to see how my CD was being received. Most of the press loved it but then I delved deeper into the opera forums, back then a new thing for me, and was quite shocked at how scathing and destructive some of these comments were. I am not going to lie to you. At first, and especially if you are a young singer, these comments will hurt. With time however an opera singer should develop a thick skin and quickly able to separate the wheat from the chaff.
But the question remains. Should an opera singer read “unofficial” reviews and comments from, more often than not, anonymous contributors? In my opinion the answer is, perhaps surprisingly, yes. If one is able to ignore trolls, whose only virtual existence seems to be to try and denigrate a particular singer due to their own pettiness or inadequacy, there is so much to learn from these “uncensored” comments which more often than not are quite honest albeit perhaps brutal at times. I find it healthy, to occasionally typing my name in a search engine and see what the general public truly thinks about my voice and nowadays I can immediately focus on the honest criticism and discard the rubbish.
It does take a kind of mentality that is rather saved by criticism than ruined by praise but you would be surprised by how much one can learn if you take your ego down a couple of notches and up the desire to improve by sometimes reading what people have to say about your art.
July 9, 2013
Is opera singing about singing loud?
I have lost count on how often I have heard that operatic singing is “loud” singing. Yes an operatic voice has to have a minimum amount of decibels in order to be heard over a large orchestra and fill a large auditorium without the help of amplification but a loud voice does not an opera singer make. Let there be no mistake – an opera singer is born, you just have to have the natural predisposition to sing this way. If you are an opera singer your vocal cords, lungs and facial bone structure are special. The latter especially is crucial in giving you the quality and timbre of your voice. That is why your voice changes completely when you have a cold as your voice finds yucky “mucus” instead of healthy tissue and bone!
A good teacher will not teach you how to sing loud. Instead she or he will help you “find” your voice and “mould” it in the suitable repertoire according to your voice type. Ironically a good teacher will first start by finding your “piano” voice and develop there before even tackling the loud bits. Hence if you are straining and pushing your voice often during a performance something is wrong. Operatic singing is about pushing the voice beyond its comfort zone but not beyond already set “limits.”
The biggest irony in singing is that the more “unforced” a sound is the more they hear it in the auditorium and the more “goosebumps” it gives!
July 1, 2013
A few days ago I thought to myself that my next blog would be about “miking” in opera houses or the lack thereof and coincidentally this morning I read that a reputable newspaper mentioned singers wearing “microphones” for HD broadcasts, recordings etc.
For years I have read, not without amusement may I add, of various conspiracies that today’s leading singers, including yours truly, use “microscopic James Bond type microphones” in order to be heard in the world’s leading opera houses. In fact it’s quite a bummer that I didn’t know about such “devices” before, as I would have certainly not spent all those years learning vocal technique in order to perform one of the many little ” vocal miracles” and project my voice over an orchestra in the auditorium!
Naturally if there is an HD broadcast or a live recording of the performance, singers have to wear a microphone in order to capture the sound of their voices for broadcast or recording. Without this all you would have is “silent opera” in the cinema or on the recording and that would defeat the purpose a little bit, wouldn’t it? This, however, is NOT amplification in any way and the sound is not transmitted into the house at all. I’ll go a step further and state that I have been singing professionally since 1997 and not once, did I ever encounter any singer wearing any “secret” amplification device in a “normal” and “acoustically viable” opera house such as London, Munich, The Metropolitan Opera, Vienna Staatsoper etc. Of course there were exceptions that relate to open air performances or giant indoor venues. In latter venues amplification is as necessary as it is obvious. Examples of these are the Bregenz Festival when performed on the lake, indoor sport arenas and my own yearly concert in Malta where we sing in a square that can take more than 50000 people. Another instance is when there are “spoken” words in an opera like Bizet’s Carmen. Again here the direction might decide to amplify the speaking part but never the singing part.
The irony of this is that many singers including myself find singing with a microphone, when used for amplification, as a very uncomfortable experience as the “sensation” and “return” of the voice is very different than what we opera singers are used to in the opera house.
In fact I am ready to take one for the team and offer any “journalist” or “conspirator” the opportunity to check me for any “futuristic amplification devices” right before going on stage and right after stepping out of it on the wings… if I am guilty I will eat a microphone…the tiny futuristic one of course…
May 19, 2013
Despite having a brilliant song that was delivered impeccably Malta didn’t win the Eurovision song contest. No doubt there will be many who will cry foul, bring up the unfair issue of neighbourly cross voting and insist on having Malta withdraw from future contests.
Whether it is in the office or on stage “cross voting” is just yet a common and normal factor that has to catered for and dealt with in the long road of realising ones goal, whatever that might be. Fierce competition is rampant everywhere in todays society and the road to success will be constantly besieged by factions, jealousy, envy, loyalties, nepotism or downright corruption. Multiple spokes in the wheels are not only the norm but they are to be expected and dealt with. Indeed I view these acts of cheekiness as adding to ones achievment and a sad reminder that human nature can sometimes be petty and small minded.
So to all of those who think that Malta should stop competing in the Eurovision I say that some form of “tomfoolery” will always be present and cannot really be avoided and it is the marking of true, real talent to triumph despite and against the odds!
What we really need to do in Malta is to see the Eurovision for what it is; great, silly fun and just another way to remind our European neighbours what a great destination and fun Malta is.
Life ain’t perfect and it certainly isn’t fair but fate is inexorable and the day will come when someone from these shores will lift the trophy… in the meantime a big BRAVO to Gianluca and all the Maltese team who went there to have fun and fun they had!
April 6, 2013
The (new) Prime Minister of Malta hailed the under signed as a “symbol of national unity” for the Maltese people. Indeed I have always tried, within reason, to steer clear from anything that can divide opinions in our very polarized Malta.
Of course there were exceptions and one of these exceptions came up a couple of years ago when the previous government announced the (then) new plans for Valletta. I actively and immediately opposed the decision to build a new parliament versus a multi – purpose concert theatre which the country so desperately needs. Don’t get me wrong. I am not stating that having a parliament is not important, of course it is. However, weren’t the historical sites of Fort St Elmo or the MCC suitable enough venues and spectacular to boot? Both could easily accommodate parliament with minor adjustments and at a fraction of the cost spent on the new parliament. Or so the various leading Maltese architects told me. Can anyone really state, hand on heart, that the building of a multi – purpose theatre in the entrance of Valletta wouldn’t pump much needed air in our oxygen starved cultural scene? Imagine a fully functional new theatre in upper Valletta and a parliament in lower Valletta! That is what I call tackling the regeneration of Valletta at both ends…
As much as Barry’s design was beautiful the old theatre site, unfortunately, isn’t big enough for our modern requirements. A larger footprint is needed to accommodate a bigger backstage area so that the theatre would need to be able to host musicals, opera, vocal symphonic concerts, conferences, poker tournaments, ballet, theatre, pantomimes, private events and even boxing matches if necessary! Flexibility is the only way an eventual “theatre” can come close to be commercially viable and not be yet another burden on tax payers. Of course I guess nothing is in the way to adapt Barry’s outside architecture to a bigger footprint…
There is a huge PR opportunity for Malta waiting to be exploited here. The “rebuilding” of our theatre would no doubt generate huge interest by the major European media and beyond. The theatre was destroyed during one of more 3000 (!) air raids Malta suffered between 1940 and 1942 our island being one of the most intensively bombed countries in WW2!
This government has now a huge opportunity to give back to the Maltese people their cultural identity something every single administration failed to do for the last 71 years!
March 24, 2013
Recently there has been quite some controversy regarding the “frailty” of modern opera singers versus the “hardier” older generations, specifically those hailing from the “Golden Years” of Opera. It’s a simple question with a very complicated answer. Is it harder to be an opera singer today than it was, let us say, 50 years ago?
One of my greatest strokes of luck was having met, still in my mid teens, my teacher Paul Asciak who was then in his mid 70s. Schooled by the best, Paul had an admirable career having sung with veritable operatic legends such as Maria Callas, Joan Sutherland, Tito Schipa etc. The latter meant that, through him, I had a glimpse of what it meant to be an opera singer during those times. One thing is certain; it was a much calmer life and there is no doubt that an opera singer then had much more “space” and “time” to develop and build a career in a slow and steady way. Is this possible in our day and age? I really don’t think so for the following reasons:
Back then one could sing in smaller houses and make mistakes without the whole (operatic) world instantly knowing them. News, for obvious reasons, travelled much slower which meant that news of a “bad performance” took much longer to travel beyond the city where the actual performance was taking place. Singers had pretty much a lot of control over what they sung. Many scores were “butchered” by cuts and the “diapason” (pitch) was considerably lower. Orchestras tended also to be smaller and their sound less bright making it easier for voices to cut through the wall of sound not to mention that the physical size of opera houses rarely exceeded the 1800 seat mark.
Nowadays even young opera singers singing in small houses are instantly exposed to the whole world thanks to social media, youtube etc. Yes one has to be prepared before stepping on stage but make no mistake, there is no substitute teacher for the greatest teacher of all – the stage. It is another undeniable fact that there is less room for mistakes and opportunities to learn from, what I call, the good mistakes.
Operatic scores nowadays are usually performed in their entirety with little to no cuts. Compounding the problem the orchestras of today can be as much as twice the size as intended by the composer not to mention the huge opera houses, especially in North America, that “unamplified” operatic voices have to fill.
Pitch is the other issue. Nowadays we perform the whole 19th century repertoire around a semitone higher than intended as displayed here by operatic legend Piero Cappucilli – http://www.youtube.com/watch?v=VKKQp5_5u-M It is interesting to note that Cappucilli is doing the comparison between A 432 and A 440. Situation is worse today with many opera houses tuning up to A 444 and sometimes even beyond!
Of course there are advantages nowadays mainly in the medical side of things treating vocal ailments promptly and surely. Antibiotics take care of bacterial infections in record time and doctors are able to diagnose allergies, viruses, infections etc. promptly before the latter are allowed to do extensive damage. The prescription of “cortisone” can help with certain afflictions but I strongly advise young singers to stay away from “overuse” and to only take it when prescribed by an ENT. My rule of thumb is to never sing when the larynx and surrounding tissue , specifically the vocal folds, are compromised in any way.
To conclude I think that yes it is harder to be an opera singer in today’s world with the inevitable result that yes we might, occasionally, tend to cancel more than our predecessors. The latter is regrettable and I cannot think of one cancellation that was easy or over which I didn’t brood for days. However better to disappoint one theatre, one night than going ahead to sing only to damage one’s instrument risking a whole artistic career!