Cantantes Camino al Estrellato ...and the winners are…
By Alice Sperling March 28, 2008 San Miguel de Allende

Ópera de San Miguel (OSM) played to a sold-out house, and the performers received standing ovations for presentation of Cantantes Camino al Estrellato (Singers on the Road to Stardom), a competition giving grants for continuing voice studies to up-and-coming Mexican singers. By all accounts, it was a smashing success.

Eleven finalists sang their hearts out, wowing the audience with their vocal and acting skills and gorgeous looks. The judges were Joseph McClain and John Bills. McClain, artistic director for the Ópera, began his career as a tenor but transitioned to directing. He was the founding director of Austin Lyric Opera, growing the company to much success under his direction. He served on the board of Directors of OPERA America as Vice Chairman of Artistic Initiatives and has been a full-time resident of San Miguel de Allende for five years. Bills, a tenor, sang with the Metropolitan Opera at Lincoln Center for more than 5000 performances over 26 seasons. He has appeared as a soloist on Met CDs and DVD recordings with Placido Domingo and Luciano Pavarotti. He is currently a music critic for Atención San Miguel and is a contributing writer to Pro Opera magazine.

The first place prize of 40,000 pesos went to Lydia Rendón, a mezzo-soprano from DF. McClain had this to say about her performance, “She has an absolutely unique color of voice for a mezzo-soprano.

The basic quality of the voice is pure gold and the kind of thing that will turn ears internationally. Vocally she has full use of her considerable range with ease and sense of no physical tension. In addition, she is absolutely gorgeous. She is a fantastic little actress, able to put herself into a role, a dramatic situation totally and immediately. And on top of that, she is a super young musician with excellent language skills as exhibited by her handling of French in both of her contest pieces.”

Oralia Castro, a mezzo-soprano from Guamúchil, Sinaloa, won not only second place but received the Audience Favorite Award as well. She received 25,000 pesos for second place and 5,000 pesos for the audience award.

In the opinion of the judges, “She steps up with a stunning dark vocal color that, nevertheless, blazes with brilliance. She has drop-dead beautiful Spanish looks. The voice is of a size that might allow her to tackle dramatic mezzo roles later on such as Amneris in Aida and so on. She is a born stage animal and at the same time is anxious to learn, move to a higher level, a real talent.”

Because of the last minute generosity of an ÓSM supporter, there were two third-place winners, Fabiola Venegas, a soprano from Salamanca, Guanajuato, and Juan Carlos López, a tenor from Ciudad de México, both of whom received 15,000 pesos.

“López is a real tenor leggiero, which is the most lyric kind of tenor. He possesses the necessary extended top voice to excel in the roles this kind of tenor will be challenged with,” said the judges. They continued, “And with all that range, he brings a honeyed color which is even throughout, from top to bottom. All of this is done with an absolutely amazing sense of ease and confidence. This could position him to make a real mark on the international scene.” Of Venegas they said, “Fabiola is a lyric soprano who shows the potential for growth, in time, to the spinto roles. 

She presents a very silvery colored voice coupled with intense concentration, fearlessness, physical strength and emotional determination.”

The organizers were thrilled with the outcome on every level. The audience was a beautiful blend of Mexicans and foreigners. The school concerts held Thursday and Friday mornings were a smashing success, wooing over even the most jaded of 15 year-olds. The singers had the teenagers clamoring for more, proving that in fact they were human and enjoyed ranchero music and Pink Floyd as much as the kids. And in a show of unbelievable generosity, the singers were rooting for each other backstage the night of the finals, according to David Manning, stage manager. “There was a feeling of it didn’t matter who won. They were in it equally for each other. There was a very important and special sense of community that brought this group together.”

Joseph McClain said, “The whole experience, culminating in the final round on Saturday evening (March 15), was exciting and moving, the singers worked hard to rise to a new level of professionalism. The artistry was hair-raising for me. Then, to feel the level of excitement coming from the audience, that could only be compared to a sports event, was clear proof that San Miguel has what it takes to step into the opera spotlight in Mexico.”

Part of the proceeds from the event will be going toward the purchase of a new piano for the Teatro Angela Peralta, which is sorely needed.

If interested in joining or supporting Ópera de San Miguel, please email operadesanmiguel@hotmail.com. 

Alice Sperling is the publicist for Ópera San Miguel.

Music to My Ears
By John Bills

Looking back at Ópera de San Miguel

The concert of finalists of Ópera de San Miguel’s nationwide auditions provided a stunning conclusion to the search for the finest young singers in Mexico today. (Disclaimer: Along with Joseph McClain, the writer served as a judge and observed the singers’ pre-concert preparations.)

All 11 finalists made strong impressions. Pia Cruz has a powerful voice of great beauty and may well be a dramatic soprano in the making, though at 22 she seems young to be making a steady diet of Madama Butterfly and Maddalena in Andrea Chenier. Flor del Carmen Herrera made a striking presence in committed performances of music by Puccini, but left me wondering if Mozart’s Susanna and Donizetti’s Adina might be more appropriate repertoire. Soprano Belinda González gave a vivid, nuanced performance of “Mi chiamano Mimi” from Puccini’s La Boheme, and coloratura soprano Marcela Chacón was absorbing in an introspective “Caro nome” from Verdi’s Rigoletto. Also notable was San Miguel favorite, lyric tenor Rodrigo Garciarroyo, who impressed with a full-throated “É lucevan le stelle” from Puccini’s Tosca. Rich-voiced baritone Octavio Daniel put forth a virile “Toreador Song” from Bizet’s Carmen, but “Eri tu” from Verdi’s Un Ballo in Maschera needed more seasoning. Young bass Jaime Vázquez Velázquez gave an animated “Non piú andrai” from Mozart’s Le Nozze di Figaro.

In the end four singers stood out as being fully prepared to take advantage of the career grants being awarded by ÓSM, moving on to advanced study, coaching and auditions in the US, where opportunities are more plentiful than in their native country. Two singers shared third place, receiving grants of 15,000 pesos each, soprano Fabiola Venegas from Salamanca, Guanajuato, and Mexico City tenor Juan Carlos López. Venegas was beautifully controlled and expressive in Cilea’s “Io son l’umille ancella” from Adriana Lecouvreur, and later returned for an emotionally wrenching performance of Butterfly’s farewell to her young son, “Tu, tu, piccolo Iddio.” Mr. López is that rarity among singers, a classic “French” tenor with a seamless head voice that easily reaches the stratosphere without any loss of tonal quality. Displaying serene confidence in the unforgiving tessitura of Bizet’s “Je crois entendre” from Les pecheurs de perles, López returned for Roméo’s “Ah, lève toi soleil” capped with top B-flat taken forte, then diminuendo to an ethereal pianissimo that brought cheers of appreciation from an enthralled audience. Mr. López’s technique, honeyed tone, and matinee-idol looks will carry him far.

Oralia Castro, a strikingly beautiful mezzo-soprano from Guamúchil, Sinaloa, won the second place award of 25,000 pesos, and an additional 5000 pesos as “Audience Favorite.” Castro excelled on every level, with a dark, focused color, fluid technique, and an ability to infuse her characters with real fire. “O mio Fernando” from Donizetti’s La Favorita revealed polished legato in the cavatina and plenty of brilliance in the passionate cabaletta. But it was her “Habanera” from Bizet’s Carmen that brought down the house. Taking complete command of the stage, stalking her prey like a young lioness, this was a fully developed, thoroughly committed performance.

The top prize of 40,000 pesos went to another outstanding mezzo-soprano, Lydia Rendón from Mexico City. She possesses a lustrous quality and throbbing vibrato, soaring top notes and vibrant contralto tones, all combined with an immediacy and intensity of expression rarely encountered. In “Mon coeur s’ouvre à ta voix,” the great seduction scene from Saint-Saens’ Samson et Dalila Rendón was completely captivating, managing the long phrases at “Ah réponds” with aplomb and making her conquest complete with a brilliant high B-flat on “je t’aime.” Rendón returned to crown her victory with Carmen’s “Seguidilla,” tossing her mass of red curls, singing brilliantly, fully inhabiting the character, and capping it all with a dazzling top B. This is a singer of unique quality and promise.

Special recognition should be made of the tireless support of Maestro Alberto (who played all 116 auditions in Mexico City, all coachings and master classes in San Miguel, and provided sensitive support at the finals), and of the dedication and commitment of Joseph McClain to these wonderful young singers. Bravo, gentlemen! At the end of this exceptional evening the audience rewarded all 11 finalists with a prolonged and richly deserved standing ovation. One hopes this support of Mexico’s finest young singers will become an annual event.

Goal for concert pianist: ‘make it entertaining’
By Bob Kelly

Pro Musica concerts
Richard Dowling
Sat & Sun, Mar 29 & 30, 5pm
St. Paul’s Church
Cardo 6
200/150/80 pesos

“My number one priority for any concert is to make it entertaining,” said pianist Richard Dowling, who performs this weekend. “I am an entertainer after all. I think many classical musicians take themselves too seriously.”

“I always put the audience first, both in my selection of repertoire and pacing. If someone is bored at my concert, then it’s probably my fault, not theirs. I’m a classical music lover, and I’ve fallen asleep at many concerts myself. That’s not my fault. Someone is not doing his or her job on stage adequately to keep my attention. I definitely keep that in mind.”

A concert pianist for 20 years, Dowling has developed his audience awareness by performing in China, Hong Kong, Singapore, Malaysia, Australia, South Africa, Germany, Austria, Italy, and France. A New York resident, he has performed over 700 recitals under the auspices of The Piatigorsky Foundation, a nonprofit organization dedicated to bringing live classical music to audiences across America.

Dowling is known for his extensive classical repertoire as well as being a leading interpreter of George Gershwin and of ragtime. His March 29 concert is titled “A Celebration of American Ragtime and George Gershwin” and on March 30 he will present a classical program with works by Mozart, Beethoven, Ravel, Liszt, Faure, Chopin and Gershwin.

In his concerts, Dowling said he likes to “tell short anecdotes about the piece and the composer. Audiences really enjoy hearing about the trials and tribulations of a composer’s life and the times in which he or she lived. It makes the composers seem more human and it gives their compositions a frame of reference.”

“They tell me that it really helped them to know what to expect and thus they got more out of it. I really enjoy talking to the audience because it puts me at ease to be able to look at everyone and communicate directly with them.”

Dowling disputes the complaint that classical music is falling on hard times because of aging audiences. “People have been warning that classical music is dying for nearly a hundred years now and as you can see, it’s still around.”

“There will always be an audience of people for classical music. What I find remarkable is that people in their sixties are now attending classical music concerts. These are people who were in their twenties back in the ‘counterculture’ days of the late 1960s and early 1970s. They wouldn’t have touched classical music with a ten-foot pole back then. But now forty years later, here they are filling the seats in our concert halls.”

“I think it’s a natural progression of aging that one searches for new experiences in life as one gets older, and especially for experiences that are meaningful. Enjoying artistic masterpieces in a museum, on a theater stage, or in a concert hall is new for many of this generation. This is great art that relates all the joys and sorrows of human existence.

For the neophytes in the audience, they’re like sponges...they just soak up everything they hear.”

For Dowling, George Gershwin bridges classical and popular music. “His music is 100 percent American with its syncopated rhythm and memorable melodies. Americans recognize his music immediately and respond to his music instinctively. His music always puts a smile on your face. It’s happy music. It also happens to be extremely well composed.”

“He’s been dead now for almost seventy years and people are still performing his music. I think that’s enough time to be able to say that he’s a great (with a capital “G”) composer. In fact, he’s nearing ‘classical’ status now.”

“My classical training gives me the technical ability to play Gershwin’s music as accurately as possible... He was a virtuoso pianist so his music is quite difficult to play. It takes a classical technique to play all the right notes.”

A pianist has to understand the rhythms of popular music in order to play Gershwin correctly, Dowling said, and to heed the composer’s advice against making “too frequent use of the sustaining pedal.” Popular music asks for staccato effects and its rhythms are almost brittle and should snap and crackle, Gershwin said, and using the pedaling of Chopin gives a romantic touch that is out of place.

Ragtime “is America’s home-grown classical music.” Dowling said. “Ragtime is the genesis of all popular music. The syncopated rhythm is what people respond to instinctively. Now that we’ve forgotten about the seedy context in which it was born (in saloons and brothels), we can accept it on its own merits as pure music. And boy is it fun to play and to listen to. It’s a guaranteed cure for the blues. Ragtime puts a big smile on your face and gets your toes a-tappin’. It's hard to sit still when you hear it. I just love playing it. I’ve been invited again to perform at the Scott Joplin Ragtime Festival in Sedalia, Missouri during the first week of June. It’s the biggest ragtime festival in the world. I can’t wait.”

Tickets are available at La Tienda in the Biblioteca, Insurgentes 25; Casa de Papel, Mesones 57; La Conexión, Aldama 3, and St. Paul’s office weekdays 11 to 2; and at the door one hour before concert time. For details see www.promusicasma.com. 

Standing ovation for St. Paul’s Choir
By Beverly Russell

St. Paul’s Church choir received a standing ovation from an enthusiastic audience at the close of their pre-Easter concert. The choir’s outstanding performance was another success for San Miguel’s gifted husband and wife musicians, Xavier Hernandez and Liliana Gutierrez, who direct the St. Paul’s group, in addition to the community choir Voces Unidas.

The program consisted of a wide range of music from Mozart’s “Ave Verum” to Gabriel Faure’s “Cantique de Jean Racine” and Johann Pachelbel’s “Canon of Praise.” Two works were sung a cappella, “O Bone Jesu” by Palestrina and “Exsultate Justi” by Viadana.

Interspersed between the choir’s numbers were solos by members of the choir, including Clare Dunham, Vera Campbell and Jim Wright. William Kammann and Xavier Hernandez sang the sacred hymn written by St. Thomas Aquinas “Panis Angelicus” together (performed by Pavarotti and Sting in the Pavarotti & Friends concert) and Maestro Hernandez sang Stradella’s seventeenth-century song “Pieta Signore,” a tenor solo popularized by Andrea Bocelli.

The concert began with a tranquil piano solo, Schubert’s Impromptu #2, played by Liliana Guiterrez and ended with the encore “Lead me Lord.”

The venerable Michael Long, pastor of the church, told the choir later: “You brought tears to my eyes.”

Flashing fingers, flying hands
By Edward H. Simpson

Harp Concert Series
Sergio Basurto
Mon, Mar 31, 7:30pm
Sala Quetzal
150 pesos, limited seating

As you or I might lift a hand to adjust our eyeglasses, a gesture so commonplace and natural it’s virtually unconscious, so Sergio Basurto moves his fingers over the strings of his guitar and begins an Argentinean milonga, a piece of musical subtlety. His instrument is an extension of his body, mind and soul. He plays softly and between numbers speaks gently of the variety of rhythms he performs. With his fingers on one string at a time, his thumb plucks the melody, a haunting air to a piece of romantic enchantment. He then sets his guitar aside, takes the harp into his arms and the embrace produces a bright sound. 

All 36 strings of Basurto’s harp bring us the folk songs of Paraguay and the lively dance Alma llanera from the plains of Venezuela. From old Mexico, the next song recalls a love that you cannot forget, with melancholic harmonies that resonate in our hearts as in the long tapering box of wood by which the harp gives body to its sound. Another Mexican tune reverberates to rolling chords under a lively melody. 

Basurto’s mobile right hand finds the music in the strings. “Waterfall” flows with a lush sense of refreshing agua as arpeggios flood the minds of the rapt audience.

We return to Spain with the thought that “everything played tonight has flamenco roots.” Basurto takes the guitar into his lap and it talks to us of the gypsy soul por soleares. Mobile and expressive, the right hand plays drum beats while the flying-fingers flamenco sound builds to a crescendo and the listeners shout “Ole.”

“Let’s go to Seville,” says the soft-spoken Basurto and the sounds of España burst from the guitar with a familiar minor key punctuated by the rapid strumming of chords and more rhythms unfold: alegrias, bulerias, rumba.