Rolando Villazón
Extracts from works by Handel, Mozart, Haydn, Donizetti, Verdi, Offenbach, Tosti and others...
Rare are the artists with such diverse talents as Rolando Villazón. Revered singer, remark-ably inventive director, generous teacher, pop-ular radio presenter, as well as author, he has conquered everyone’s heart. Born in Mexico, he studied music and singing before finding fame in the 1990s. Award winner at Plácido Domingo’s Operalia Competition, he made his debuts at major international venues. His pop-ularity grew thanks to the wide diffusion of his CDs and DVDs and he became one of the most widely performing singers of his period. During the past few years he has expanded his artistic universe by directing stage productions that are remarkable for their daring innovation. In April, audiences at the Opéra de Monte-Carlo were able to appreciate his work with electrically charged performances of Il barbiere di Siviglia. Now, Rolando Villazón returns to Monaco for an aria recital with a varied repertoire. He will be accompanied by the recently founded Swiss Orchestra whose primary mission is to high-light Swiss symphonic music. Conducted by their music director, Lena-Lisa Wüstendörfer, the orchestra will be an attentive partner for the Mexican tenor.
Rolando Villazón
Some words about the Opéra de Monte-Carlo…
It is a special and beautiful theatre, and it is comfortable to sing there. More importantly, there is a rare intimacy between the audience and performers because of its size. In this space you can maintain a very close connection between the staging and the music. And admittedly, it is a little surreal to enter a grand casino and arrive at a beautiful little jewel like this…
What are the differences between your two professions as an opera director and a singer?
The are totally different: as a director you must create a clear universe of a production, first in your own mind, then to make it work from the point-of-view of each character. As a singer, I am aware of my own needs and those of my character, but as a director, I must also understand the requirements of my entire universe.
What are you going to sing for us at your recital in Monte Carlo?
I am proposing a journey through the lyrical tenor repertoire from the baroque era to the early 20th century. The first half of the concert contains pieces by Handel, Mozart, Haydn and Verdi, which make you understand how form and style developed gradually while remaining palpable in the music of such contrasting periods. In the second half of the evening we explore French and Spanish connections, with Offenbach serving as the pivot between the Romantic and “lighter” repertoire. One of my favourite songs by Tosti closes the evening.
You sing a repertoire that ranges from the 17th century to Wagner. Is there any field you would still like to tackle?
I do not think in this way, really. What I need is a character or piece that kindles my excitement. It is true, that I would like to do more neoclassical or contemporary works, for instance. But at the moment I am also totally in love with Renaissance music! I feel privileged and happy with what I have done and what I am being offered to do in the future.
Do you prefer any of your many professions – singer, director, novelist, television presenter…?
Actually, what I love most is taking on different roles and doing what they require. Every time, it enriches and fulfills you. And the more things you do, the more you will feel experienced and secure in a new context. In the end, we play different roles all the time: at work, at home, with your children, in public. To permanently change your role is simply how our lives function.