Professor of Music Education at the University of Concepción, since 2013 he has been a student of Rodrigo Navarrete, and has continued his studies with teacher, Renata Lamanda, since 2019. He has participated in master classes with the Maestros: Plácido Domingo, Jaume Aragall, Mariella Devia, Eva Mei, Davide Livermore, Ruggero Raimondi, Ricardo Tamura, Manuela Custer, Roger Vignoles, Phillip Moll, Alex Esposito and Christian Senn. Since 2015 he has been a scholarship recipient of the Corporation of Friends of Teatro Municipal de Santiago, receiving the International Scholarship since 2018. In 2016 he played “Rocco” (Fidelio) for the documentary “For Love & Justice: In the footsteps of Beethoven’s rebel Opera” by American director Kerry Candale, also taking part in the “ISing Festival for Young Artist” in Suzhou, China and in the “Berlin Opera Academy” in 2017 in Germany. The same year he became a member of the Centre de Perfeccionament at the Palau de Les Arts, Valencia, Spain. He was a finalist in the XIII Magda Olivero Competition, Milano as well as in the XIII Giulio Neri Competition, Torrita di Siena, Italy. Within the opera roles he has interpreted Second armored man (The Magic Flute by Mozart) and Figaro (Le Nozze di Figaro by Mozart), Prospero Salsapariglia (Viva la Mamma by Donizetti), Barón Duphol (La Traviata by Verdi) and Lodovico (Otello by Verdi), Der Professor/Der Bankier/Die Mediznalrat” (Lulu by Alban Berg), Yakusidé (Madama Butterfly by Puccini) and Deputati (Don Carlo by Verdi) under the direction of Ramon Tebar and Plácido Domingo in the cast, Colas (Bastien und Bastienne by Mozart) directed by Davide Livermore, the latter three at the Palau de Les Arts Reina Sofía.
In the sacred repertoire he has performed the Lutheran Mass in G Major, Jesus in Johannes Passion and the Cantatas 121, 155 and 64 by Bach, Petite Messe Solennelle by Rossini, conducted by maestro Fabio Biondi in its original version at the Palau de les Arts and with Europa Galante at the MusikFest 2018 in Bremen, Germany.
In 2019 he was a soloist in the X anniversary gala of Centre de Perfeccionament, under the baton of M° Domingo. He also played Conte di Ceprano in Rigoletto at the Palau de Les Arts under the baton of Roberto Abbado and directed by Emilio Sagi, alongside Leo Nucci as Rigoletto. In February 2020 he debuted as Rotniy in Eugene Onegin at the Opera di Roma , and in March of the same year he debuted as Leporello in Don Giovanni at the Teatro Regional del Maule, Chile. For the 2020/2021 season he is part of the Fabbrica dell’Opera di Roma in Italy. He will be participating in two concerts in the Nuvola di Fuksas EUR Roma Convention Center under the baton of M° Fabio Biondi. Hewill appear in the Opera-film production of La Traviata directed by Mario Martone and conducted by Daniele Gatti, alongside Lisette Oropesa in the title role.
Arturo, we are honoured to interview you for our Charming beginnings rubric! Your experience is impressive, so there are many questions… Let’s start! Where does this interview find you right now and what are you doing there?
Hi, dear friends of OPERA Charm Magazine! The honor is mine! I’m living in Rome, Italy, but now I’m in Parma! Singing for the Orchestra Conductor’s Competition “Arturo Toscanini”, this competition includes a Masterclass with maestro Fabio Luisi, and I have to say it’s been super interesting to work “for” the improvement of these very talented young conductors.
Do you remember your first encounter with the opera, the moment when you knew this was it?
Impossible to forget! My first encounter with Opera was actually working on it. I was in the university and the opportunity to work -as maestro di palcoscenico- came up in the opera production in my hometown. There I had the opportunity to work behind the scenes and the chance to get to know some great singers of my country. They were rehearsing Don Giovanni, and with my poor opera knowledge, I asked the singer who was doing the title role, (Christian Senn, a Chilean baritone, but with a big career in the whole world) to hear me singing, and I feel that was the point when I said “I want to make this for the rest of my life”.
From that point on, could you give us a quick timeline of the most important events of your career, telling us what each of these experiences taught you, building brick by brick the artist that you are today?
There is actually a big list of them, but maybe I will mention the ‘jump’ events that allowed the rest of them to come true. The first – and for me most important one – was the encounter with my mentor and maestro. Since then, I have to deeply thanks to him because I’m sure if I hadn’t met him, I would not be here right now. He’s one of those artists who believe in young people and push them to their dreams. It’s not just me. There’s a small group of his alumni who are in Europe developing their opera career with amazing results. I believe the relationship with a teacher is crucial for the development of an artist.
And the second one, the jump to Europe, was auditioning to take part in the “Centre Placido Domingo” at Palau de Les Arts, Valencia… The final audition and having the opportunity to meet Maestro Placido in-person (and sing for him) was one of the most overwhelming moments in my life. Also because it means the start of a life of preparation here in one of the biggest theatres in Spain and in Europe.
Read the entire interview here, in the 4th/2021 issue of OPERA Charm Magazine.0