‘Turandot’, Against All Odds: A Maltese Opera Triumph

In the heart of Valletta, the capital city of Malta, the Teatru Manoel, a 18th-century gem, is buzzing with an unusual energy. Tonight, it’s not just another opera night. It’s the premiere of ‘Turandot’, the first full-length opera to be staged in Malta since the COVID-19 pandemic began.

An Opera in the Time of COVID

The pandemic has been harsh on the arts, and opera, with its grand productions and large audiences, has been one of the hardest hit. But Malta, known for its resilience, is not ready to let its love for opera fade. The Teatru Manoel Society, the island’s leading opera house, decided to push forward, adapting to the new normal.

‘Turandot’, Puccini’s final opera, was chosen for its grandeur and its universal themes of love, power, and redemption. But staging it was no easy feat. Social distancing rules meant reducing the orchestra to half its size, and the chorus was limited to just 16 singers. Masks were mandatory, and the audience was capped at 50% capacity.

Local Talent Shines Bright

Despite the challenges, the show went on, and it was a triumph of local talent. The lead role of Turandot was taken by Maltese soprano, ingħaqda Abela, who delivered a powerful performance that left the audience spellbound. Abela, a graduate of the Royal College of Music in London, returned to Malta during the pandemic and seized this opportunity to shine on her home stage.

The role of Calaf, Turandot’s love interest, was played by Maltese tenor, Joseph Zammit Lupi. Zammit Lupi, who has performed in opera houses around the world, brought a depth of emotion to the role that resonated with the audience. The rest of the cast, too, was a mix of local and international talent, a testament to Malta’s growing opera scene.

An Opera for the People

The Teatru Manoel Society made sure that ‘Turandot’ was not just an opera for the elite. Tickets were priced affordably, and the society also offered free tickets to healthcare workers, a nod to their tireless efforts during the pandemic. The opera was also streamed live, making it accessible to those who couldn’t attend in person.

The opera’s story, set in ancient China, resonated with the Maltese audience. The themes of love triumphing over adversity, of a kingdom opening its doors to a stranger, felt particularly poignant in these times. The audience, masked and socially distanced, cheered and applauded, their enthusiasm undeterred by the restrictions.

As the final notes of ‘Nessun dorma’ echoed through the theatre, the audience rose to their feet, a standing ovation for an opera that dared to defy the odds. It was a moment of triumph, not just for the opera, but for Malta’s cultural resilience.