Known for her commanding operatic performances, soprano Anna Pirozzi brings a wealth of experience to her interpretation of Verdi’s Requiem, which will be performed at the Mediterranean Conference Centre on November 23.
Pirozzi will be performing alongside mezzo-soprano Marvic Monreal, tenor Alan Sciberras and bass John Lundgren, together with the esteemed chorus of the Accademia Nazionale di Santa Cecilia, KorMalta and the Malta Philharmonic Orchestra.
Despite her reputation for powerful performances, Pirozzi takes on the finer points and challenges of this monumental piece.
“While I’m known for the strength of my voice, I take great pleasure in adapting it to more refined and sophisticated works like this. Performing Verdi’s Requiem pushes my technique further, and every performance feels like scaling a mountain – but it’s a challenge I approach with joy,” she shares.
Her experience in opera informs her approach to the Requiem, but she also focuses on blending her voice with the other soloists, chorus, and orchestra.
“If your vocal identity is well-established, it doesn’t disappear when you blend with others,” she explains. Mindful of when her voice should stand out and when it should recede, Pirozzi finds the balance between soloistic expression and ensemble cohesion, noting: “it’s important to give the right vocal weight depending on the moment.”
Over the past decade, Pirozzi has established herself as the leading Italian dramatic soprano of her generation. She first gained widespread attention in 2012 with her debut at Teatro Regio in Turin, where her performance as Amelia in Un ballo in maschera led Corriere della Sera to proclaim: “an extraordinary dramatic coloratura soprano that in time will be able to place herself in the footsteps of Anita Cerquetti.”
This debut was followed by a breakthrough appearance at the Salzburg Festival in Nabucco under the baton of Riccardo Muti, which quickly propelled her onto the world’s greatest stages, including the Royal Opera House Covent Garden, the Metropolitan Opera, Teatro alla Scala, and the Wiener Staatsoper.
An opera in disguise
Pirozzi emphasises that Verdi’s Requiem demands a more nuanced approach.
“There’s no doubt that Verdi’s Messa da Requiem is an opera in disguise,” she acknowledges, “but we must not forget that it is also a sacred opera.”
For Pirozzi, the Requiem is fundamentally a prayer, an opportunity to connect with the divine.
My approach is to find the inspiration to communicate with God, to get closer to Him, and simply pray for our existence and salvation, both on Earth and forever- Soprano Anna Pirozzi
“My approach is to find the inspiration to communicate with God, to get closer to Him, and simply pray for our existence and salvation, both on Earth and forever.”
The soprano’s role in the Requiem is notoriously demanding, requiring a seamless blend of technical prowess and emotional depth. “This role is one of the most difficult for a soprano,” Pirozzi explains.
“It demands everything – expression, technique, and the ability to maintain perfect intonation throughout the entire piece, even in a cappella sections. It requires total concentration and inspiration.”
She notes that the challenge lies in using every shade of her voice and maintaining a rich vocal presence in all registers.
A lovely combination of music and emotion
A particularly significant moment for the soprano comes in the Libera me, a section where music and emotion merge deeply.
“The Libera me is a moment where the music completely enters your soul,” says Pirozzi. “It’s the moment where the audience is waiting for the soprano, but it’s also a dialogue between the soprano and the choir, representing a conversation with God.”
In her interpretation, Pirozzi strives to imbue each musical phrase with its own intensity, using a wide range of nuances and vocal colours to convey the emotional depth of the moment. Pirozzi’s acclaimed career has seen her take on some of the most demanding roles in the operatic repertoire, including her celebrated portrayal of Abigaille in Verdi’s Nabucco, which she has performed over a hundred times, including at the Arena di Verona to great critical acclaim. However, it’s the profound themes of mortality and the human condition in Verdi’s Requiem that resonate deeply with her.
“When you sing the Requiem, it feels as if you’re retracing your life and the lives of all human beings before and after you. It’s a tremendous responsibility to guide the audience along this path through music,” she reflects.
Maintaining emotional balance is key for Pirozzi in delivering such a spiritually charged performance.
“I aim to stay lucid and avoid being completely overwhelmed, focusing on the technical aspects while also allowing room for emotional involvement. It’s important to balance both,” she notes, capturing the delicate intersection of vocal discipline and emotional connection that defines her approach to Verdi’s Requiem.
Verdi’s Requiem is produced by the Valletta Cultural Agency. Visit the Valletta Cultural Agency website and its Facebook page for more information. Tickets are available from showshappening.com/Valletta-Cultural-Agency/VERDI-REQUIEM