Entrevista a mezzo-soprano Maite Beaumont

After a successful debut with critics and audiences at the Salzburg Festival 2005, Maite Beaumont has not lowered of the most important stages in Europe, as Opéra national de Paris; Royal Theater of La Monnaie; Bavarian State Opera; Staatsoper Unter den Linden in Berlin; Capitole in Toulouse Theater; Teatro Real in Madrid; La Scala Milan en; Municipal Theater of Santiago de Chile; y Lyric Opera Chicago. The next 1 Y 3 December we will be able to hear it again in the Gran Teatre del Liceu as Ottavia, from The Coronation of Poppea. A repertoire, Baroque, for the depth and warmth of her voice, accompanied by stage presence, They have made the Spanish mezzo-soprano, one of the most sought after singers of his rope.

Brío Clásica: It is increasingly national and international presence and there are many times we have to enjoy their art, but we would like to know more about you. Tell us about your beginnings, Where your hobby is music and singing?

Maite Beaumont: I come from a family of musicians. My mother was choir director, Professor of Music Pedagogy at the University ,my father amateur singer and my sister professional singer. I have been fortunate to have musical education from a very young, breathing the passion for music that was in my house. I was able to attend many rehearsals choir from very young, where my mother ran and my sisters and father were singing.

My father always took home Vocal music: He is passionate about singing. He has an exceptional voice, but it has not been dedicated professionally. We were two of the four daughters, we have dedicated to it. My sister has been able to help and advise me on the most important moments of my life.

B.C.: Once awareness is taken to devote himself to music professionally, How do you plan a career like this?

M.B.: With 18 years, I could not imagine that I could devote a future singing professionally. The good thing was, It is that the musical base was. I always studied music and singing. My sister was my role model: was she who went to study in Germany and, After studying Sociology, I encouraged her to go. And there, This is where it all began.

B.C.: Soon he moved to Germany. There they are common ensemble operatic. What is the difference between being part of a ensemble And be Freelance? What advantages and disadvantages have each?

M.B.: For me, how good of a Ensemble is that you build a good foundation that will serve your entire career. To test small, medium, large papers with good supervision, It's essential. Power sharing cartel with highly experienced professionals and gives you a lot of motivation and know the daily life of a singer, with trials, study, functions… It is important.

The only drawback I see, is that age is good it come out, meet new people, other ways to, working, to make music… That has to choose each, It is according to his character and stage in life.

B.C.: We are celebrating the 450 anniversary of the birth of Claudio Monteverdi and, precisely, he 1 and the 3 December interpreted in the Gran Teatre del Liceu in Barcelona to Ottavia, from The Coronation of Poppea, a character who knows. we can not forget your Sesto clemency Tito, Mozart, last season at the Teatro Real. It is not easy to address these repertoires. How you reach the Baroque? What demands have?

M-B.: I had very early a very special affinity with this repertoire.

The biggest demand I see, It is the style.

B.C.: You have great importance for the recitatives, something that some managers often modified to accommodate certain productions. Do you think that today are essential? why?

M.B.: For me, recitative matter if it serves to better understand the plot of the opera, If you give us information about what is happening or will happen. I conceive it as pure theater, talk singing.

Not that they are more essential now than before. The difference is that now part theatrical works more. The stage direction has evolved so much, not just have to know sing well, also interpret.

For example, Mozart recitative is a treasure worthy of a play.

B.C.: Baroque music has ample room for improvisation, especially the Italian Baroque. The decision to vary or decorate an Aryan From the beginning, Singer owns or principal?

M.B.: Actually it belongs to the singer. He suggests director and singer who ultimately decides which ones are best.

The important thing is to be in style, This is learned like anything else. There are others who like to have everything more controlled. Everything depends on the singer and director. For me , It is a teamwork: a mixture between what like the director and ornaments that go well with your voice.

B.C.: Following the baroque repertoire, What technical difficulties can be found in a score that, in its origin, It was written to the physical characteristics of a man?

M.B.: La voz de mezzo-soprano , its timbre and color, it resembles more or evokes a male voice. For me, physically we have the same force that could have a castrato. Even more, I would say. It depends on the temperament of each, regardless of being male or female. Under the vocal point of view, women can use more chest voice, obtaining more power than a castrato. but hey, it all depends. Now there are many countertenor with very good technique.

B.C.: Although increasingly baroque works are scheduled, What do you think are the reasons why remains scarce presence in the Spanish programming?

B.M.: It is a very specific audience that likes the Baroque. I think the operatic culture in Spain is increasing. More and more people dare to go to a function. It is best to start more traditional repertoire, then create taste and attract more special titles like Baroque.

B.C.: His repertoire is not limited to the Baroque. We can hear their interpretations of Lied, the works of contemporary composers such as Kurt Weill. We also know of his love of Bel canto, How the transition is made to these styles?

M.B.: As the voice unfolds, It will be facing new repertoire that requires more mature voice, such as Bel Canto.

B.C.: He is inspired by a singer when preparing a new role?

M.B.: There is always a singer who would you like parecer.Primero study the role and then compare different versions to get an idea of ​​how you want your own version.

B.C.: How do you see the evolution of his voice? What repertoires is singing in a more distant future?

M.B.: I am in a moment, where I feel safe and to address the bel canto repertoire. So far I've done a lot of Baroque and Mozart , among other things, but it is now when I am at the right time to sing Isabella, Adalgisa, Elisabetta, Giovanna Seymour… After having been so long in Germany, I also feel prepared for the roles of the German repertoire for mezzo-soprano and lyrical as Oktavian Composer.

Within ten years, I'll see how I develop and where.

B.C.: When can we hear again in Madrid?

M.B.: At 2019 I will sing in Verdi's Falstaff Meg. After, I hope that many more interesting roles, where I can teach all my facets.