An Opera Star in Isolation: Thoughts and Greetings from Tenor Ramón Vargas

Posted on April 16, 2020 by Maria-Cristina Necula in Playing Around

So what does an opera star do—and think—during this time away from the stage? I asked my friend, the wonderful tenor Ramón Vargas, to share a few thoughts with us. Ramón has built one of the longest-lasting stellar operatic careers of our time. A remarkable range of repertoire, excellent musicianship, and thoughtful interpretations have earned him constant engagements and praise on the world’s stages as in concert halls. Discover more about Ramón on his website. 

Now that the stages are dark and you can’t sing live for the public, how do you keep yourself in vocal and mental shape?

Ramón Vargas: The theatre curtains may be down and the orchestra pits empty but the public is always present, only now they are in their homes. I think of them and keep my voice in shape. I sing almost every day. Here, in Vienna, Austria, the situation is more or less under control, so now and then I can take a long walk, which helps me stay in shape.

We have watched you as Rodolfo in Puccini’s “La bohème” and Lensky in Tchaikovsky’s “Eugene Onegin” during the Met’s Nightly Opera Stream. What does it mean for you to have this virtual connection to the public, especially now?

RV: The “La bohème” you mention was actually the first opera transmitted live into movie theatres all over the world in the “Live in HD” initiative. I especially love this production. I am so happy to be able to reach thousands of homes and, in collaboration with other artists, to help alleviate some of the pain of these challenging times through opera.

Last year you received the Opera News Award and you have expressed how much this recognition means to you and your amazing relationship with the Metropolitan Opera where you’ve done 223 performances of nineteen different roles, and five new productions in over twenty-five years! You made your debut there in 1992 replacing Luciano Pavarotti as Edgardo in “Lucia di Lamermoor.” What do you find special about singing at the Met, and what do you think helped you make that surprise debut a success?  

RV: The Met is a wonderful theatre where I had some of my best artistic experiences. Being on that stage is incredible. I love the Met! Replacing someone at the last minute is a frequent way to make a debut, which happened to many singers, like Giuseppe di Stefano who replaced Beniamino Gigli, for example. To do that successfully, you have to be prepared at all times, and have a constantly active mental force and energy. I always say that to triumph, there are various elements that can serve you, but there are three you can’t do without: capabilities, possibilities, and disposition—meaning a good attitude. And a little bit of luck helps.

We are already in Week 5 of the Met’s Nightly Opera Stream and I understand that the number of viewers has never been as large and widespread. Do you believe that this virtual audience increase will translate into a live audience increase when we will be able to go to the opera again?

RV: I think that art and music are occupying a preponderant place in our society. I wonder what would happen to us if, in these weeks of isolation, music, literature, opera, films, and art in general wouldn’t be with us, at our disposal. Feelings of loneliness and depression would get worse without them. I hope that when this is over, more people than ever will come to the theatre to enjoy the magnificent experience of live opera. There is nothing like being there, in the theatre, and getting immersed in the entrancing ambience that live performance offers you. 

Any special message for your opera audience in New York City?

RV: I am sending warm greetings to those who live in New York City. I know they are going through a very tough time and I want them to know that the world is with them, that they are not alone. I was supposed to sing a concert at Carnegie Hall in December, but it has been canceled. Let’s hope that we will see better times soon. Let’s hope that we can reunite in person sheltered in the music and the emotions awakened in us by the fantastic stories from our favorite composers. A big hug!

Photo: courtesy of Ramón Vargas

About Maria-Cristina Necula (182 Articles)
Maria-Cristina Necula’s published work includes the books "The Don Carlos Enigma: Variations of Historical Fictions" and "Life in Opera: Truth, Tempo and Soul," two translations: "Europe à la carte" and Molière’s "The School for Wives," and the collection of poems "Evanescent." Her articles and interviews have been featured in "Classical Singer" Magazine, "Opera America," "Das Opernglas," "Studies in European Cinema," and "Opera News." As a classically trained singer she has performed in the New York City area at Weill Hall at Carnegie Hall, Merkin Hall, Florence Gould Hall, and the Westchester Broadway Theatre, and has presented on opera at The Graduate Center, Baruch, The City College of New York, and UCLA Southland. She speaks six languages, two of which she honed at the Sorbonne University in Paris and the University of Vienna, and she holds a Ph.D. in Comparative Literature from The Graduate Center, CUNY. In 2022, Maria-Cristina was awarded a New York Press Club Award in the Critical Arts Review category for her review of Matthew Aucoin's "Eurydice" at the Metropolitan Opera, published on Woman Around Town. She is a 2022-24 Fellow of The Writers' Institute at The Graduate Center.

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