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maltatoday | SUNDAY • 25 FEBRUARY 2024 3 THEATRE Of Evil Sorceresses and Unrequited Love: Elisa Balbo and Nico Darmanin discuss Teatru Manoel's Armida COMING to the Teatru Manoel stage this March is a new pro- duction of Rossini's three-act opera Armida, in an original ver- sion directed by Paul Carr and conducted by Davide Levi. With stunning designs and powerful performances, this is the first time that Armida will be staged in Malta, and the production promises to be a true delight for opera enthusiasts and newcom- ers alike. We sat down for a chat with Italian soprano Elisa Balbo and Maltese tenor Nico Darmanin, playing the parts of Armida and Rinaldo respectively, to get to know more about them and their roles in this opera. Elisa, this is your first time per- forming in Malta - how do you feel about that? E: I was a teenager when I first visited the island and I fell in love with its unique history and her- itage, the unbelievably beautiful nature, and the splendid resi- dents. Unfortunately, I haven't had the chance to come back until now, but I can assure you that the magic is back as if no time has passed. In addition, I have the chance to bring one of the most exciting roles of my ca- reer to the Teatru Manoel stage, something I will cherish deeply. And Nico, having performed at Teatru Manoel before, what can you tell us about that experi- ence? N: It is certainly different to other stages abroad. Teatru Manoel gives us a true intimate feeling. A theatre of such a size gives us artists and the audience the opportunity to truly get up close and personal with the story and the action. It feels good for us singers to deliver our musical message, always keeping close contact with the audience. The pit is also very cosy which means the orchestra needs to be real- ly well balanced. Perfect for this Rossini repertoire. What inspired you to pursue a career as a singer? E: This is a very difficult ques- tion because life offers us so many different paths when we are young and we start building our dreams. What probably kept me going, despite all the obsta- cles, was my unconditional love for opera. There are many peo- ple I have to thank for having instilled that passion in me, and guided me along the way, but if you wish to know if there is a so- prano whom I have looked up to since the very beginning, it is un- doubtedly the late Renata Scotto; a rare artist who could excel in very different repertoires, gifted with a superb voice and incred- ibly magnetic acting. N: I always felt music in my heart. At the age of 5 years old, my school van driver used to make me sing on the way back home on the van microphone. I remember singing My Bon- nie Lies Over The Ocean… At around the age of 7, I started to imitate Luciano Pavarotti, which soon became a family favourite party trick. I am timid by nature but I have always enjoyed the spotlight. I feel a certain joy my- self when I give joy to others. The arts are so important, not only to us performers but also to our au- dience. The feeling of instilling joy and forgetting our woes and mundane lifestyles is irreplacea- ble. And what drew you to Teatru Manoel's production of Armida? E: I was first presented with the opportunity to be involved in this adventure (because a role like this is nothing short of the word) by Maestro Davide Levi. We've worked together in the past and I have to thank him for this precious opportunity. Ar- mida is a true prima donna role, linked to the most illustrious tra- dition of Italian literature, and yet so intertwined with Maltese history: it was a once-in-a-life- time opportunity. N: As I mentioned earlier Te- atru Manoel is a very intimate space, so it naturally lends itself well to Rossini's repertoire. The proof is in the pudding as some of the most successful produc- tions at Teatru Manoel have been Rossini operas. Armida seemed special not only because it is the right balance between serious opera and fantasy but be- cause the music is gorgeous and it harbours one of Rossini's most fiendish tenor trio, where all ten- ors are showing off the best of their high notes. I have not yet had the pleasure of adding Rinal- do to my arsenal of Rossini roles which I have now sung around the world. It seemed fitting and special to come and showcase this debut role at home. Speaking of Armida and Rinal- do, how do you prepare to take on such characters? E: This is certainly one of the most demanding roles for a so- prano. She is a very complex character, a powerful sorceress who abandons herself to love just to be betrayed by it. Vocally, the role requires excellent control of the entire vocal range, from the deepest low notes to the highest and brightest peaks. And all this for more than two hours of the most exquisite Rossini music, with all its distinctive refinery and agility! The obvious answer to your question is with a lot of exercise, study, and practice with Maestro Levi, to find the best tempos, intentions, and vari- ations, and with director Paul Carr to unveil and express all the powerful emotions that govern Armida's soul. The less obvious answer is 'happiness': to be able to find the best version of myself to bring on stage, I always try to gather all the positive energy around, so that I can plunge into the most dreadful dramas with a light heart. N: The rehearsal process is often when things develop the most, with the vision and input of the director to guide us. In my personal opinion and un- derstanding of the music, I have been studying Rinaldo as a strong character with a leading person- ality. Troubles always arise when love is involved. Interestingly, this time the hero falls for (or is bewitched by) the villain, giving the character a multitude of lay- ers for me to play with. I honestly can see this character going an- ywhere. Tough and soft. Harsh and kind. I am genuinely curious to see what is going to emerge. Finally, what music do you listen to in your off time? E: Another difficult question! Usually, my favourite compo- sition is the one I am current- ly preparing or performing, so right now nothing is as good as Armida. But something I can never get tired of is Le Nozze di Figaro. I can say that I am vora- cious when it comes to classical music, especially from the XIX century to the early XX century. As for non-classical music, I love Queen and Lady Gaga, but truth be told, I like all the music I can sing! N: I keep falling more in love with Rossini as I discover his oth- er operas. He is the pioneer of all the other great composers. How- ever, in my time off I'm often ei- ther listening to some dubstep or Cuban music. Another great love of mine is music from the 1950s, particularly Frank Sinatra, Nat King Cole and Tony Bennett. Teatru Manoel's production of Armida - running on the 3rd, 6th, 8th, and 10th March - features renowned soprano Elisa Balbo in the lead role along with tenors Nico Darmanin, Anle Gou, and Cliff Zammit Stevens. Armida also features performances by Albert Buttigieg, KorMalta, the Malta Philharmonic Orchestra, and Moveo Dance Company. Performances of Armida will take place on the main stage of Teatru Manoel, and ticket prices range between €30 and €70. For more information on the produc- tion and to purchase tickets, visit https://teatrumanoel.mt/event/ armida/ or call (+356) 21246389. Photo by Sebio Aquilina