Spain, 18.07. 2009

[You must be registered and logged in to see this link.]

Translated by my dear Maria ( tuffy) !

I have a voice from heaven but I must keep my feet on the ground….


-Thirty years old and already at the top..Doesn't it make you dizzy?


-I don't think so, I have had a progressive career. At the beginning I did not have too many concerts, then I started to record…People think I have risen very fast but I don't have the same feeling.


-Doesn't it overwhelm you to receive so many favorable critiques?

-Not all is favorable, don't think so. That also has changed. 5 years ago I was more surprised but now they (critiques) are more interested in what I do.They are more demanding and that is normal. In any case I like risks, challenges and that needs to have perfect form. When one runs a risk, motivation and energy are different.

-What do you feel when the public is moved?

-When I sing what I want to show is the beauty of the music and I am only a vehicle between it and the melody. Without doubt one's personality counts. I do not sing like a castrato, it is impossible, the voice and technique are different. But I know that in this type of voice there are polarities: black or white, gray does not exist. Either people are fascinated or they do not like it.

-Is Handel the reference in emotions?

-Each one of his operas has incredible arias…But Vivaldi can have this same level of emotions. There are many composer yet to discover, specially neapolitan. I am interested especially in the period between the baroque and the classicism. Undoubtedly Handel is a total genius. His writing is perfect, not only for the voice but for the dialogue between it and the orchestra. It is impressive how he makes arias with so few notes. From "nothing" he achieves an incredible level of emotion.

-When you sing it seems to involve no effort…

-No, This isn't so. Sometimes I have been told that when I sing the voice does not come from me (he laughs) I do not know why. I have a voice from heaven but I must keep my feet on the ground. The mezzo id voce is a precise art that needs work, the same as the trills. When I study I do a whole hour of training in trills because it is very difficult.

-Have you ever abandoned an aria because of its difficulty or rejected it because it is too easy?

-After a few years of work I have wanted to take on lower-voice roles. The way of singing high notes has changed but the tessitura has not. However there are roles I have not wanted to take on, such as Giulio Cesare, because it sits too low for me. On the other hand I do not have the intention either to preserve my voice too much.

-Is the vocal life of a countertenor different from the rest?

-It depends on the way one has lead the career, if one has sung too much, the technique People think one sings less, but I do not think it is so.James Bowman still sings but of course it is true the repertoire must change with age. I do not see myself at 60 singing Farinelli arias, I will think then of Bach or Purcell, less virtuosic music. From 30 to 40 it is a golden age for the voice. Later I would like to conduct, I don't see myself singing for too long.

-Recitals or an opera role?

-For the moment recitals, it is my most important activity at this moment. This year I have not done any operas and I would like to have taken on some project, although next year I will in Madrid. It's different work.

-Which is your favorite character?

-The best role for me is Orfeo, not from Monteverdi but Gluck. It is a very poetic role but very sensitive.

[You must be registered and logged in to see this image.]

Many thanks Dear Maria! [You must be registered and logged in to see this image.]