art by Nataša Pantović

Even though an opera is a theatrical form expressed within the theatre environment for centuries, the opera film is a rather new form of art. Until recently, the opera's composer would be passing his instructions to the cast. There was only one Carmen, or one Magic Flute. However, not that long ago, the stage director became increasingly important. With the introduction of an Opera Film, the opera world has become an increasingly complex art form.

Blat – The Island Fortress Film video Trailer

To enjoy it, the audience must recognize opera as a multidimensional art performed by singers not actors. The director must remain true to the work, to the composer and the musical language used. This is a three-dimensional art not attempted by many.

Directing an opera film, the director must show the full appreciation for the talents, principal singers, dancers, chorus and stay true to the visuals. We find that not only the stories, but the music and the very form itself has to be reinvented.

 

 

BLAT: The Island Fortress was the project by the Mikiel Anton Vassalli as the executive producer.

Blat an Island Fortress

The opera-film was composed by Dr Reuben Pace with lyrics written by Gorg Peresso and Amy Borg. The film was written and directed by Alan Fenech.

Opera films are the most difficult genre to engage in. A first ever opera in Maltese, Blat: The Island Fortress, was a brave endeavour. New stages in artistic development lead to new dynamics, and critics should understand the new challenges that the operatic theatre has created. An authentic opera with its own music, script and staging, in which each stage of the process has been carefully performed always brings unique challenges. New stage interpretations of classical operas were perceived by many as a breath of fresh air.

Blat Opera Film Malta

In this new situation, the director takes precedence, not only in the stage presentation of the operatic score, but also in the development of opera as an art form and, finally, in the communication with the audience.

This collection of Carter's dramatic works includes a radio play version of both her "The Company of Wolves" and "Puss in Boots". It also includes the screenplay for "The Company of Wolves" as well for her novel The Magic Toyshop. She also did a screenplay called "The Christchurch Murders" based on a murder in New Zealand, the same murder that Jackson centered his Heavenly Creatures on.The works are good and showcase Carter's style. It is interesting to see the changes made from short story or novel to screen or radio play. All the works are entertaining to read. The Vintage edition inclues notes at the end with perfomance history of each play.