Interview with Carlos E. Bárcenas Ramírez

Tell us about your involvement with Victorian Opera over the years, and what you are doing with the company this year.

I have been involved with Victorian Opera since 2008 in different capacities. I started in the chorus for Puccini’s Gala in 2008. After that, I did other chorus gigs with Victorian Opera for a while, and in 2013 I landed a place at the new Masters of Music Performance offered by Victorian Opera in conjunction with The University of Melbourne.

Since then, I have been privileged to work with Victorian Opera, debuting amazing roles and working behind the scenes as part of the team in production.

Victorian Opera has a rich history of presenting lesser-known and favorites from the Bel Canto repertoire. What are you looking forward to singing in the concert with Jessica Pratt and what do you enjoy about this repertoire?

All of it, I love Bel Canto. The first romanza that I ever heard came from Bel Canto, “Una furtiva lagrima” from L’elisir d’amore sung by Tito Schipa (The most beautiful voice, full of legato and colors), so that was one of my first connections to Opera and what made me fall in love with it.

But I also love how simple Bel Canto feels when a singer sings it well, and it is in that simplicity that you find the beauty of the melody and the colors of the drama. Some singers like Jessica Pratt can make you feel these feelings, but it is complex; people usually do not see how much work this takes. The devil is in the details!

What are some of your favourite operas or musicals, and why?

I love many Bel Canto Operas, like The Barber of Sevilla, William Tell, I Puritani, Lucia di Lammermoor, etc.

I also love Verdi (La Traviata, Rigoletto, Othello, Falstaff), Puccini (Tosca, La Boheme). But I have a weak side for French opera; I love Berlioz (The Troyans and The Damnation of Faust), Massenet (Werther and Manon), Gounod (Faust and Romeo and Juliet), and Bizet (Carmen and The Pearlfishers).

Musicals – I have a weak background in musicals, but I really like Sunday in the Park with George, West Side Story, and Candide.

You have had a distinguished career in the theatre. Tell us about some of your career highlights.

My debut as Edgard in Lucia di Lammermoor with Victorian Opera. I will always remember that time, prepping the role, coaching the part, the first orchestral, and finally sharing the stage with incredible artists.

Do you have any recommendations for other artists wanting to follow similar career successes as you?

They need to trust their instincts, be in tune with their bodies and minds, be resilient, and be patient. Also, be kind and generous to your colleagues and the people with your work in general (the pianist, the orchestra, conductors, stage managers, technicians, and so on)

You are taking your friend to the opera for the first time. What opera do you take them to and why?

It must be Sleeping Beauty (La bella dormente nel bosco) by Ottorino Respighi. Why? Because the music is beautiful but intelligent, the message is uplifting, short, and proper operatic singing is required. On top of that, if you get a good production with great puppeteers and puppets, it could be a magical night out for adults and kids.

What is your favourite snack to have during an interval of a show?

Popcorn, but I do not know of any Opera theater that offers it.

By Evan Lawson.