Brío Clásica: In January he interpreted in La Monnaie in Brussels, Mother, from The Prisoner, y The woman, in The enclosure. Both characters of great difficulty, both vocally and in the interpretation and also with significant psychological burden. How do you approach this challenge?
A. B.:Angeles Blancas: The truth is that With great sense of humor! And with hard work, It is a challenge… In addition to full confidence and with love for the opportunity to face new challenges.
B. C.: This year also involved in Jenůfa de Janacek. After seeing his immediate agenda, the conclusion is that he likes the risk.
A. B.: Debut in Jenůfa Kostelnicka the character was in the 2015 Teatro Comunale in Bologna (Italy). I do not really consider it as a risk because the character is within my vocal possibilities and dramaturgical. Unlike, I think it's a great chance to do this kind of operas, so full of dramatic force and musical beauty. It is a repertoire that I love.
B.C.: It has an extraordinary ability and proves dramatic with these roles so characteristic of contemporary operas. ¿Made less roles in classical repertoire works more or emotionally easier?
A. B.: Yes, although nothing is ever really easy when you're onstage and at a score of any composer. You are right, I like to sing occasionally more traditional operas. They make work does not become monotonous, although this profession does not exist monotony.
B. C.: How mimicked get that way with his characters when interpreted?
A. B.: loving them! Working to get to know in depth and even the smallest detail, not only in the musical aspect, also psychologically or the historical whether the case is given, always dialoguing with them and without resistance. I enjoy that process of mimicry.
B. C.: Not always extraordinary singers were underappreciated in Spain, such as the case of parents. Why do you think that sometimes we refuse to recognize the best of what our?
A. B.: Do not you think that this trend occurs in all professions in our country, not only in the artistic aspect? I love our land, but I know that with your kids sometimes is cruel.
B. C.: The characteristics of his voice did not have much to do with his mother had, but nevertheless, it seems that evolution is approaching toward a similar repertoire, Is that?
A. B.: it's possible… Even so, My voice will remain different from my mother. I never thought I could get to sing the repertoire that I'm doing now, that's true. Time and good vocal work over all these years have allowed me to get here. I see it as a gift.
B. C.: You have known the operatic world at different times, one through your parents and you live today. It has changed a lot? What differences found?
A. B.: The media quickly today to which we are all subject makes all the difference. Before the pace of work of a professional opera was different, slower, less demanding in some ways as the dramaturgical, but perhaps more powerful vocal and musical level. Singers today "consumed" long before, racing seems to be shortened. Life today seems to demand urgency around, and our virtual life that adds, Internet and social networks, aspect that also influences races like ours, always exposed to the public.
B. C.: What is for you the victory?, How do you measure success in your profession?
A. B.: The triumph? For me it is a dream. Success for a singer, according to my point of view, It is to have good production on the agenda, interesting projects with good stage directors and music. Y, Of course, have time for family, to live… Therein lies the success for me, in such details.
B. C.: What music do you like listening?
A. B.: Opera, never! 😁 But I listen to everything, Even electronic music! I really like all kinds of music, Opera also, Of course, but I prefer to leave a little apart when I'm not studying, because I relate to the work.
B. C.: How do you feel more comfortable, in an operatic production or in the privacy of a recital Lied?
A. B.: In both. They are two very different worlds, and complementary. Introspection of chamber music helps concentration and targeting the operatic repertoire and vocal expressive expansion of the development of the first. In my case I need them both.
B. C.: How do you get along with stage directors? Have you had to spend some trouble or difficulty to realize a scenography?
A. B.: I do not usually have problems, I like to try new things and I think, even learn from the experiences not as rewarding. Everyone can learn something, as life itself.
B. C.: We miss him a lot in Madrid. When are we going to listen to him again??
A. B.: Soon! 😁 And surely with something complicated…