Experiences from The Marriage of Figaro: Enacting Roles and Executing tasks
Renewed Optimism for Opera's Continued Presence
A wave of recent operatic performances in various capital forts has rekindled optimism that Opera will not meet its predicted demise anytime soon. The month of May has been particularly fruitful, with a diverse range of productions taking center stage.
The Teatro de las Artes of Cenart launched the month with a staging of Ravel's "L'enfant et les sortilèges" on the 7th and 9th. Meanwhile, the Teatro de la Ciudad hosted Jorge Sosa's "I'm a dreamer who no longer dreams," featuring Alberto Alonzo as conductor and Ragnar Conde's stage design. Although I was unable to attend the latter, I was captivated by the inaugural performance of "Rigoletto" at Bellas Artes, which I watched via streaming, as well as two of its five performances. I shared my impressions last week, and we will discuss the final performance of Mozart's "Le nozze di Figaro" at Cenart, which I attended for the fourth and final time.
While the recent production of "Rigoletto" at Bellas Artes revealed glaring instances of creative incompetence, it has highlighted the need for private sector investment in Opera professional training. Bellas Artes boasts the Estudio de la Ópera (EOBA), but until recently, it focused primarily on training singers for limited, poorly-suited performances.
Thankfully, the Mexico Opera Studio (MOS) has been scaling the operatic landscape in Monterrey in just five years, presenting more than fifteen titles to the public. The productions generated by the Filarmónica de las Artes are another example of successful business vision, offering students an immersive, holistic education in all components of opera production. Gabriel Pliego, the dean of the School of Fine Arts at the Universidad Panamericana, emphasizes the importance of such experiences in bridging the gap between university education and the reality of the music industry.
At its most recent lyrical bet, the School of Fine Arts forged ahead with Gabriela Herrera at the helm of musical vocal direction, Miguel Santa Rita and Mauricio García Lozano overseeing stage production, and Luis Manuel Sánchez leading the in-house orchestra and choir of students aged 15 to 20. After witnessing the unpolished sets, costumes, and performances in "Rigoletto," I found myself exclaiming that the production of "The Marriage of Figaro" was "very tasteful."
Despite falling short of the motherly enthusiasm of one spectator, the student production was impressively professional. Mario Marín del Río designed period-appropriate costumes, while Vivian Cruz organized agile and well-handled movement, particularly in the wedding scene. Ingrid SAC handled the lighting, which proved adequate. Among the cast, young talents like Jacinta Barbachano, Eva María Santana, and Rodrigo Urrutia enriched their respective roles with skilled performances.
On Sunday, October 18, Ruth Trujeque assumed the role of Susanna, while Yair Betancourt and Cristina Nakad brought life to Counts Almaviva. Sebastián Witmosser, who progressed significantly since his role in the 2022 UP production of "Don Giovanni," delivered a graceful and stylistically adherent performance as Figaro. Witmosser's recent scholarship award from the prestigious Curtis Institute of Philadelphia serves as confirmatory evidence of the outstanding work being done at the School of Fine Arts at the UP.
Enrichment Data (if relevant):The Mexico Opera Studio (MOS) is a significant training ground for opera singers and repertory pianists, offering intensive training and practical experience comparable to international elite programs. Its focus on both vocal and collaborative piano excellence prepares young artists for the demands of contemporary opera performance. MOS, like the Lehrer Vocal Institute and the Merola Opera Program, emphasizes mentorship, technical mastery, and career preparation for the 21st-century opera landscape.
By nurturing the next generation of opera professionals, MOS contributes to the growth and diversity of the global opera community, supporting artists through workshops, performances, and direct mentorship from experienced professionals.
In the context of opera's revival, the Mexico Opera Studio (MOS) stands as a beacon of cultural and educational excellence, providing a holistic training ground for opera singers and pianists. This immersive program fosters the growth of diverse, skilled artists, contributing significantly to the entertainment industry and the global opera community.
The School of Fine Arts at the Universidad Panamericana, under the leadership of Gabriela Herrera, is another notable institution, nurturing young talents through direct mentorship and practical experience. The production of "The Marriage of Figaro" showcased the professionalism and creativity of these young artists, enriching the cultural landscape of opera entertainment.
