Aimée Puentes has sung operatic roles such as, Zerlina, Despina, Micaela, Sister Constance, Pamina, Musetta, Nannetta, Valencienne, Susanna, and Oscar. She has performed with a variety of opera companies, including San Francisco, Arizona, Pensacola, New Orleans, Cincinnati, Chautauqua, San Jose, Southwest, West Bay, Pacific Repertory, Festival, and Sacramento.
Equally comfortable with both oratorio and concert repertoire, Puentes has performed as the soprano soloist in such works as Haydn’s Creation, The Lord Nelson Mass and Mass In Time Of War; Handel’s Messiah, Israel in Egypt, and Ariodante; Orff ’s Carmina Burana; Rutter’s Requiem; Mahler’s Symphony No. 4; Mozart’s Verperae Solemnis, Missa solemnis, and Mass in C minor; Dvorak’s Stabat Mater; the Brahms Requiem; Beethoven’s Symphony No. 9; Vaughan Williams’ Dona Nobis Pacem; Barber’s Knoxville Summer of 1915; and J.S. Bach’s Coffee Cantata.
Puentes has garnered numerous awards, including winner of the Palm Beach Opera Vocal Competition, and named a
semifinalist in the Loren L. Zachary Society Competition, a finalist in the YWCA Studio Club Music Scholarship Competition, and a three-time West Coast Regional finalist of The Metropolitan Opera National Council Auditions, where she received the IIE International Vocal Competition Award.
What were some influential experiences in your youth that led you to a career in music?
My mom likes to say that I was humming and matching pitches before I spoke. My parents are both musicians and educators. I had a love and inspiration for music from my early years.
What are your goals for the next five years? The next 10 years?
I’d like to continue to study and sing roles I haven’t sung; work with companies with which I have yet to have the opportunity; return to companies with which I am familiar; work with great management; continue to “sing for my supper” doing what I love, while touching the hearts of people and sharing my gift in this amazing art form; and start my own scholarship fund for young singers in this sometimes expensive and difficult profession.
What has been your career highlight to this point?
Performing, however small the roles may be, while sharing the same stage with icons such as Frederica Von Stade, Ruth Ann Swenson, and Samuel Ramey.
What is your favorite part about being an opera singer?
The thrill of stepping on the stage knowing that I am sharing the music of “centuries-old” masters.
Who are some of your role models, mentors, or influential people in your life?
Joan Sutherland, my teacher Kathryn Harvey, and my parents.
If you could sing any one role, what would it be?
Sophie in Der Rosenkavalier.
How do you handle rejection?
I try to remember that there is a particular reason why I was not selected: look, size, experience, or that I’m just not what they’re looking for. Most importantly, I wonder how I can improve. “When he shuts a door, he opens a window.”
Jason Detwiler is becoming well known for his magnetic and energizing performances on the opera stage, with his voice and acting described as “emotionally fervid,” “richly expressive,” and “commanding.” Acclaimed
for roles such as Malatesta (Don Pasquale), Zurga (Les pêcheurs de perles), and John Proctor (The Crucible), Detwiler’s diversity runs from the comedic (Guglielmo in Così fan tutte) to the dramatic (Scarpia in Tosca). Concert credits include Handel’s Messiah, Beethoven’s Symphony No. 9, Saint-Säens’ Christmas Oratorio, and Fauré’s Requiem.
He has performed with Shreveport Opera, Apollo Opera, Sacramento Opera, West Bay Opera, Opera Idaho, Festival Opera of Walnut Creek, the Vallejo Symphony, the Auburn Symphony, and the Santa Cruz Chamber Orchestra. From 2002-2006, the young baritone was a principal resident artist with Opera San José, performing or debuting more than a dozen lead roles.
The upcoming 2007-2008 season will see him return to Opera Idaho to reprise Marcello, and debut with Rimrock Opera as Jack Rance (La fanciulla del West), Virginia Opera as Eugene Onegin, and with Syracuse Opera as Silvio/Gobineau (I Pagliacci/The Medium). In 2008-2009, he will return to Virginia Opera to portray Figaro in Il barbiere di Siviglia.
What were some influential experiences in your youth that led you to a career in music?
My high school music teacher introduced me to opera, which sparked my love and awe of it. [I didn’t choose a career in music] until 2000, when my voice teacher, Claude Heater, unlocked this dream with hours of voice and life lessons.
What are your goals for the next five years? The next 10 years?
I want to continue to establish myself as a full-time professional in the United States, examining the career’s impact on my life and marriage. After five years, we’ll see about more gigs internationally (my kids will be teens by then). However, most of my goals don’t necessarily involve a specific company, but rather what roles I’d like to sing, and where I’d like to travel.
What has been your career highlight to this point?
It would have to be singing John Proctor in Ward’s The Crucible, opposite my wife, Michele, playing Elizabeth Proctor. The humanity, self-sacrifice, and life struggle spoke powerfully to us both.
What is your favorite part about being an opera singer?
At this point, the travel is still high on the list. Rounding out that list is seeing other cities, meeting/working with new people, experiencing different languages/cultures, as well as the life journey of growth and faith that singing puts one through.
Who are some of your role models, mentors or influential people in your life?
Spiritual mentor: David Cole. Singing mentors: Claude Heater and Irene Dalis. Career mentor: my agent, Peter Randsman.
If you could sing any one role, what would it be?
Rodrigo from Verdi’s Don Carlos. An incredible role from an incredible opera.
How do you handle rejection?
Rejection is at best, for me, a learning experience. Other times, it is a test of my faith, vision, and determination. Here’s the general script in my head: “It’s not personal. Do an honest and sober examination of the ‘product’ I offered—and if I feel I could do no better, chalk it up to their indigestion!”
How do you balance career and family?
Again, honest self-examination. I take frequent inventory on the effect my schedule and travel has on my family and me. They are more important than the stage. When the lights go out on this career and the audience goes home, my family, along with extended family and friends, will still be there.
What has happened in your career that made you feel like you’ve “made it”?
In many ways, I feel I have “made it.” Since 2000, I’ve taken that leap, that risk, to sacrifice financial stability (does that even exist?) and weekends/holidays, in order to do what is in me to do: tell stories real loud!
