‘Turandot’, against all odds: Malta’s opera triumph

In the heart of Valletta, under the watchful gaze of the Grandmaster’s Palace, a miracle was unfolding. The Malta Opera Company, a mere toddler in the world of opera, was gearing up to perform Puccini’s ‘Turandot’. This, despite the pandemic’s best efforts to silence the arts.

An uphill battle

Malta’s opera scene is no stranger to challenges. Nestled in the Mediterranean, our island nation has always punched above its weight culturally. But ‘Turandot’? That’s a heavyweight champion. A grand opera with a cast of thousands, lavish sets, and complex staging. It’s the kind of production that leaves smaller opera houses quaking in their boots.

Yet, here we were, in the midst of a global pandemic, with a tiny opera company taking on one of the most demanding operas in the repertoire. Why? Because, as Malta Opera’s artistic director, Charles Camilleri, puts it, “We couldn’t let ‘Turandot’ pass us by. It’s a once-in-a-lifetime opportunity for our singers and our audiences.”

Against the odds

The road to ‘Turandot’ was fraught with obstacles. Rehearsals were disrupted by lockdowns, singers had to quarantine, and the venue, the Mediterranean Conference Centre, had to be adapted to meet strict COVID-19 protocols. But the show must go on, and on it went.

Malta’s unique location also posed challenges. Finding a full orchestra willing to travel and quarantine was no easy feat. But the Malta Philharmonic Orchestra stepped up, led by their chief conductor, Sergey Smbatyan. “We’re used to performing under pressure,” he says, “but this was something else. It was a test of our resilience and our love for music.”

A triumph in Valletta

On that fateful night in October, the curtains parted to reveal a packed house. The audience, masked and socially distanced, was a testament to Malta’s determination to keep culture alive. And what a spectacle they were treated to!

The set, designed by local artist Austin Camilleri, was a triumph of minimalism, transforming the MCC into an opulent Chinese palace. The costumes, by Italian designer Alberto Spiazzi, were a riot of colour and texture. And the singing? It was nothing short of extraordinary. Malta’s own Miriam Gauci shone as Liù, her voice soaring above the orchestra like a bird in flight.

As the final notes of ‘Nessun dorma’ echoed through the hall, the audience erupted. The applause was deafening, the cheers heartfelt. It was a moment of pure, unadulterated joy in a year that had been sorely lacking in such moments.

Malta Opera’s ‘Turandot’ was more than just a performance. It was a statement. A testament to our resilience, our determination, and our love for the arts. It was a beacon of hope in dark times, a reminder that, even in the face of adversity, we can still create magic.

And so, as we look to the future, let’s remember this moment. Let’s remember the power of the arts to bring us together, to lift our spirits, and to inspire us. Because, against all odds, Malta’s opera scene is alive and well. And it’s ready to sing.