Mezzo-soprano Marvic Monreal has come a long way since her first operatic role as Dido in Dido and Aeneas at the Manoel Theatre in 2015, at the young age of 23.
After studying at the Royal Academy of Music in London, her career took her to some of opera’s most prestigious stages, from the Paris Opera House to London’s Royal Opera House. She has also performed with leading ensembles such as the Berlin Philharmonic Orchestra and the London Symphony Orchestra, among others.
“It’s been a whirlwind − sometimes exhausting, other times exhilarating, outstanding, ecstatic and, at times, overwhelming,” Monreal admits.
“The lows are low, and the highs are high. Really, it is all about how you handle it and stay balanced that makes or breaks a long career.”
Among her highlights, she is quick to point to her performance as Olga from Eugene Onegin at the Palais Garnier with the Opéra de Paris.
“It was an unforgettable experience. No words can convey the feeling of standing on that stage,” she says.
Other notable experiences include performing with the Berlin Philharmonic, at the Salzburg Festival and performing Suzuki in Madama Butterfly, adapted by Mro Daniele Gatti for an Italian audience, at the Teatro Maggio Musicale Fiorentino in Florence.
“Each theatre offers a distinct atmosphere and experience,” she notes.
‘Different energy’
Monreal is now looking forward to performing in the historic St George’s Square, Valletta, on Saturday, June 27, where she will be joining tenors Cliff Zammit Stevens and Alan Sciberras for this year’s edition of Opera in the Capital.
The trio will be accompanied by the Malta Philharmonic Orchestra, under the direction of Ryan Paul Abela.
“We are blessed with so many beautiful architectural spaces in Valletta. It’s always a joy to perform in open spaces in summer. It brings a different energy than when you’re singing in an enclosed space,” Monreal enthuses.
This will not be the first time she will be performing with Zammit Stevens and Sciberras, but she says it has been a while since they last worked together.
“So we are very much looking forward to it. As per usual, rehearsals are super fun. We have a great connection which I’m sure will transmit to our audience.”
She also shares a special connection with the MPO.
“I’ve been fortunate to perform with the Malta Philharmonic from a young age, gaining invaluable experience which always helped me be super comfortable when meeting new orchestras. It’s always a joy to reunite with them at home. They’ve really seen me grow, they witnessed my progress from early school days to now and it’s always a pleasure for both of us to create music together.”
It will be, however, her first time, working with Abela.
“So far so good! We are enjoying this process and look forward to meeting the orchestra, that’s when everything starts to come together. We have some fun opera pieces, some which probably have never been heard in Malta, while others are very well known, Italian songs, Maltese songs and some music from film.”
The programme includes excerpts from the operas Carmen, Tosca, Anna Bolena, Fedora, Lucrezia Borgia, and Les Contes d’Hoffmann, alongside orchestral and stage works such as Prokofiev’s Dance of the Knights from Romeo and Juliet.
The concert also bridges into popular and contemporary repertoire, including Bring Him Home, My Way, Il Mondo, Gladiator and Granada. The evening is further enriched with Neapolitan favourites and Maltese works such as L-Imħabba and Lil Art Twelidi.
“It’s a varied programme which I’m sure will go down well with our audience,” the singer says.
‘Under-represented’
Monreal believes opera is still very relevant today and that in a world increasingly dominated by artificial intelligence, it “remains one of the few remaining arts that allow audiences to experience a genuine connection between the audience and the artists on stage”.
“The unique sound of an orchestra and the human voice hits different when you are in a setting of a hall/theatre. You really need to experience it to truly understand,” she adds.
“In many European theatres where I perform, audiences are consistently packed, especially the shows that are for the under 30s. The cheers at the end of the show are always so wild!”
Turning to Malta, she believes that theatre, music and the arts are “under-represented” and that “a cultural audience is only possible through investment and exposure of the arts to the younger generation”.
“I believe we are gradually realising that a happy country and society require more than the routine of work and home; they also depend on access to quality entertainment and world-class cultural venues that create opportunities and foster a sense of belonging within the local community,” she points out.
‘My nest’
As she advocates for greater investment in culture and wider access to the arts in Malta, Monreal herself remains firmly connected to the island. She has been away a few times already this summer but, for the first time in at least 10 years, she can spend almost all the season at “home”.
“Malta will always be my home. I travel a lot, but like a bird, I always return to my nest,” she says.
“I have two full new roles to study… our work is never-ending. But at least I’ll be enjoying the Maltese summer. At least this is the plan, because in an opera singer’s life, nothing stays according to plan… The luggage is always on stand-by.”
Opera in the Capital, organised by the Valletta Cultural Agency, is taking place in St George’s Square, Valletta, on June 27 at 9pm. Last remaining tickets from showshappening.com.
