Charming beginnings: Marvic Monreal

Maltese mezzo-soprano, Marvic Monreal is currently at the Opera Studio at Frankfurt Opera. She was a young artist at the National Opera Studio in London 2018-2019, previously graduating from the Royal Academy of Music.
Marvic have just recently been invited as a guest artist for a Malta Philharmonic Orchestra concert featuring the world acclaimed soprano Diana Damrau.
She has also sang Verdi’s Requiem excerpts for a sacred music concert with the renowned international stars Joseph Calleja, Sondra Radvanovsky and Christian Van Horn.
Marvic covered Charlotte in Werther and Mercedes in Carmen at the Royal Opera House in London. She made her Salzburg festival debut in 2017 with the role of Pisana in I due Foscari.
She had her debut at the Royal Festival Hall performing the alto solo in Mahler’s Symphony No. 2 “Resurrection” conducted by Semyon Bychkov. She has also performed Beethoven Symphony No.9 in Europe Day in Malta. Marvic was the guest solo artist in the annual President’s concert accompanied by the Malta Philharmonic Orchestra and made her debut at the Valletta Baroque Festival.
For Royal Academy Opera Marvic performed the leading role of Carmen in La tragédie de Carmen, Older woman in Flight, Frau Peachum in Die Dreigroschenoper, Venus in Orphée aux enfer and Bradamante in Alcina. She has performed Alisa in Lucia di Lammermoor at Teatru Astra in Gozo and Dido in Dido and Aeneas at Teatru Manoel in Malta. Marvic will be singing Tisbe and covering Angelina in La Cenerentola with the New Generation Festival this summer.

You are currently at the Opera Studio at Frankfurt Opera. Let’s go a bit backwards… We all have that one significant moment, when we found out that this is the musical path that we must step on, and it usually is either a funny or emotional story. What’s yours? 

It’s funny but the first time my voice got noticed was in an audition for a national choir in Malta, when I was around 9 years old. They categorised me as a soprano, and my dad, a music afficionado, was over the moon. I, on the other hand, did not really understand what it meant. However, when I was around 15 years old, I discovered that I have a potentially operatic voice, I did not particularly get excited. I did not know what it was exactly but it didn‘t sound cool enough for a teenager. I remember my dad convincing me that I get to travel, meet people and sing with orchestras in different theatres around the world. His convincing skills worked and the rest is history. Thanks to him, I had been exposed to opera and sacred music from a tender age – I thoroughly enjoyed it but I did not know what it exactly entails to do it for more than just a hobby! I joined my college orchestra at 16 and that was my first personal experience up and close with the world of opera and classical music.

Before your studies in London, you completed a degree in Tourism Studies: do you think that today there is a close link between tourism and the enjoyment of musical theatre, or is there still a need to implement the communication and marketing skills of opera houses? 

There will always be tourism activity related to the entertaining/arts industry. I remember in my lectures at that time discussing opera and the music industry as niche tourism. I would say that through social media opera singers and theatres have become more accessible and operas and classic music might no longer be considered as niche as ten years ago. That being said, there is still room for improvement with regards to the promotion of opera houses to younger audiences; this segment of tourists are easier to reach now with the widespread of social media. 

As we were saying, you graduated from the Royal Academy of Music, and you have been a young artist at the National Opera Studio in London. What does a city like London, where you lived and studied, offer to a young opera singer? Compared to European cities, how do you perceive it? Why did you choose it?

London is or used to be (before Covid) great for young opera singers for various reasons. There are a good number of companies which are great to start singing roles and experiencing the life on stage. The summer festivals invest in the young ones and provide a safe environment. You make both professional and personal relationships that help you to get to know the business. There are also concerts happening everyday in the city so as a young artist it is great to watch, listen and learn. It is also super multicultural so you get to make friends and learn from people around the globe.

Read the entire interview here, in the 6th/2021 issue of OPERA Charm Magazine.


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