On your website, www.ramonvargas.com, it is possible to hear you perform a fragment of a Christmas carol with the boys’ choir of the Basilica de Guadalupe in Mexico City, at the age of twelve. Tell me about that moment.
It was the end of one of the most important periods in my life, because that was the last time I sang publicly as a boy soprano. I had started performing in this chorus at the age of ten, singing professionally, and exploring a vast repertoire, from Gregorian chant to Bach and Mozart, etc. This experience was crucial in shaping my perspective on music and future development, because from that moment on, although singing to me meant having fun, I took the study of music very seriously.
Several years later, after having already sung at the Palacio de Bellas Artes in Mexico City, you experienced a huge vocal crisis. What happened?
I made my debut there at twenty-two, and a year and a half later, I experienced more than a vocal crisis; I lost the desire to sing. Perhaps I was thinking too much. It wasn’t the same as when I was a child and sang with spontaneous joy and pleasure; singing had become a burden. I began to be afraid and lose my confidence. I did not want to sing anymore. I stayed home, depressed, and I even thought of moving on to other things.
After a few weeks, I felt a longing to sing again, so I started to listen to my favorite recordings of singers of the past, and most of all, I listened to myself in that recording, the one on the website, and it made me cry. Thus, I became determined to rediscover the natural way of singing I had lost with my childhood.
Since then, I have been almost entirely self-taught. With the help of one of my dearest friends, Ricardo Sanchez, I began to experiment with and explore my voice. He was not a teacher yet, but through his knowledge of singing and his strong wish to help me, we worked for a year and a half toward understanding my voice. At the end of this period, I felt I had recovered my confidence and I was able to continue on my own. I understood that working with and by yourself is very important. You should have an idea of what you are looking for in your singing, because no one will be able to tell you. I am convinced that a singer is born a singer. Ideally, a teacher’s guidance should consist in making the singer aware of what he or she is and has.
Tell me about your “singing principles.”
When I speak of this, sometimes I become too esoteric. I consider singing to be an energy form—a light—that exists in itself and uses us to develop and show itself. I believe we are like a crystal through which singing manifests itself. Our work is to polish this crystal well, so that it could project this light in the most beautiful and brilliant way. The more talent you have, the purer the crystal; the more you work, the better cut and polished, the crystal. As the Gospel says, everyone will be called to account for their commitment and duty to the talents they have been granted. Throughout this process, we should be humble before the music, before the composer, the style, and before ourselves. Only those who are humble are capable to learn and develop themselves. There is a Chinese proverb that says: “We must never confuse merit with success.” When you follow the basic principles of singing and art, you can’t go wrong! Performing “Ave Maria” in church in front of family and friends could be the greatest success for a singer, as important as it is for me to sing a grand premiere at the Met. By the same token, for another singer, performing in an important production at the Met could mean nothing if it is not being filmed or well received by the critics. Everything is relative. Therefore, it is important to follow yourself and believe in what you are doing.
What about technique?
For me there is no “technical” way of singing. However, I believe there are three important principles in singing: spontaneity, flexibility, and depth. If we are able to coordinate these three principles, singing becomes more natural. The voice is not born in the throat; it comes from much deeper inside. It could be compared to a waterfall, which is not created where you see it as a waterfall, but it forms further back through the union of several springs. The same goes for the voice. Singing (and all the art forms) requires a spiritual formation and state of mind.
You always say: “Cantare e un modo di pensare…(Singing is a way of thinking.)”
Yes. In singing you must have a clear concept of what you are doing. There are singers who have a sensationalist concept; therefore their singing will be guided by the need to create sensationalist effects. Then there are singers for whom singing is a compromise between art and themselves; thus, depending on this compromise, their singing will be ever more real and artistic. And so on. Each individual is responsible to discover what they are searching for in the art of singing, whether they are singers or listeners.
How do you see the teacher-student relationship?
As we know, not all former singers are the best teachers. A singer already has a history with its values, successes, and sometimes its frustrations. Thus, when he has been successful, he will think that everyone must follow his method. When, on the contrary, he has had frustrations, he will try to stay away from certain ideas, to help his student avoid the same frustrations. In the end, despite all good intentions, both concepts are wrong, because none takes into account the nature of the student. There has to exist the same humility on the part of both teacher and student, and thus, create a rapport of loyalty, similar to friendship, since working together has a sole purpose: to create the conditions necessary for the student to discover his or her natural way of singing. If the student does not know what he is looking for in the music to express through singing, he will wander from teacher to teacher endlessly.
You have studied pedagogy and are a teacher by nature. How does teaching help you?
Teaching helps me a lot. Through the students I discover things that I apply myself later. I discover ways to sing or interpret I never thought of. Sometimes, when a student has a problem, in the process of helping him improve, I help myself! Unfortunately, I don’t have much time. But every time I give a lesson, I end up enriched from the experience.
If you had a student who has never sung before, how would you begin to teach him or her?
The first thing I would ask is, why does he want to sing. If he knows, it’s a good start, if not, he must try to find out. If he tells me it is “because I like it,” that is good. If he says it’s “to become famous,” that is a bad start. Studying singing in order to become rich and famous is wrong! You do it because for you, it is the best way to develop as a person, to grow as a human being. You do it because it fills up an important part of your life, of your personality.
Your attention to detail in singing is remarkable. How do you manage to be so meticulous, and at the same time, manifest an emotional abandonment that could jeopardize precision? How do you combine the two?
You are right. At first, I was doubtful, because there are some who say that singing is, above all, an emotional expression. Others say that discipline is most important in singing. I believe the combination of both is right. We cannot allow ourselves to be swept away by emotion alone, because art has its limits, its own dimension. Therefore, being guided by passion or sensation alone would produce only a partial form of expression, as would being led solely by the intellect. Going back to the idea of humility before music, if the composers worked so carefully on their operas, we have to respect them. Through our sensibility and talent, we must try to understand and express what they wanted. So, putting heart in it is not enough, it is also important to know much more: the languages, musical styles, history, etc. True, it takes longer, but when you build an aria or a role in this way, it is rewarding because once you’ve analyzed it, you understand better what the composer wanted, and you present it in a more authentic way, in favor of the music, without imitating anyone. Thus, you need to find a good balance between these two aspects and be very meticulous when studying.
You often speak of “giovanile ardore”(youthful ardor) in singing. What do you mean?
This I must be careful with, otherwise it could be more confusing than helpful. I feel that this spontaneity, flexibility, and depth in the voice all create a phenomenon that I call “la voce in movimento” (“the voice in movement”). When the voice has all of these three characteristics, well balanced, it becomes like a river that flows constantly. A most clear example for me is Jussi Bjoerling. His voice is “in movement”; it has this vibration. I don’t mean the vibration created by the movement of the chords. In Italy, they named this “la lagrima nella voce” (“the tear in the voice”), referring to something inside that gave the impression of a lament, a cry, a moan. It was said that Caruso and Rubini had it, and then everyone tried to copy it. Perhaps they were referring to what I call youthful ardor because when you are young, you have a special kind of energy. However, the voice can sound old, even if you are twenty, if you don’t give it this movement, and it could sound youthful at seventy if you are actively applying these principles.
During your life you experienced various crises, not only in your artistic development but also in your personal life, such as the short, tortured life of your first son, Eduardo, who suffered brain damage due to the delay of medical intervention at his birth, and his death in 2000. From where did you draw you strength during this difficult time?
My son, Eduardo, was born with cerebral paralysis, he was unable to walk or speak. This made me reflect on so many things. Where did I draw my strength from? I don’t know! I think that your strength comes from your principles, from your family and the people who have always stood by you, from your morals, from your reality. It is very easy to allow these experiences to defeat us! Therefore, I have a special understanding for those who have such problems…there are so many all around us! Of course, this affected my singing immensely but it was singing that healed me as well, because through it, I could express my pain. My wife and I, with a group of friends, created a foundation to help children like Eduardo. We try to maintain his memory alive by putting a smile on the faces of his other little “brothers” who have the same problems.
With which operatic character do you identify most?
I relate strongly to Edgardo from “Lucia di Lamermoor.” He is a noble and strong character who was willing to sacrifice his ego and fury for love. Love transformed him into a more evolved being.
As we’ve seen, your principles are more than singing principles. They are a philosophy in themselves. How have they changed you and your perspective on life?
I definitely believe that my work in art has changed me in every way, especially if we look at it from the perspective of the ancient Greeks, who considered art a highly evolved expression of the human being. Artists were respected for this capacity to express a superior human manifestation. I don’t feel that I am doing something more extraordinary than anyone in this world. However, the contact with aesthetics in general could make one become more respectful, tolerant, and as a result, a better person. Naturally, I became more tolerant with others and with myself. I would like to sing better and I always try to. But I have to accept my limitations, and I fight against them without frustration or fear and with a sincere desire to become better.
You have performed with outstanding American singers such as Ruth Ann Swenson and Dwayne Croft, and you have come in contact with many young American singers not only in the United States but in Europe as well. What would you recommend to an American singer in the beginning of his or her career?
American singers are very well accepted in Europe. There is practically no theater where there are no American singers on the roster. I think it is very important and helpful for American singers to spend some time in Europe, to travel, to learn, to understand other cultures. Performing La Boheme when you know Paris is a whole different experience. Singing Schumann or Schubert Lieder after having been to Vienna becomes easier in terms of expressing and understanding the music. A singer exposed to other cultures is a better singer, thus acquiring the individuality needed to create a great artist. Art is an expression of one’s whole personality.
Where could a singer who seems to have everything go wrong? When talent, opportunity, and contacts are not enough, what is missing?
To be an opera singer, you need many ingredients, and all need to come together in the right proportion. You need voice, musical talent, histrionic talent, stage presence, patience, discipline and a pinch of luck. You must be a good colleague, avoid creating conflicts and dissension, and keep your feet on the ground. Unfortunately, as public figures, we are subject to the unrelenting criticism and judgment of others, so an essential ingredient to the mix is having nerves of steel.
Let’s talk about repertory. You are a master of bel canto. Your Rossini and Donizetti arias CD from 1991 is a jewel, a true lesson in bel canto. Ten years later, when your Verdi arias CD came out, you declared that you sing Verdi in the same bel canto style. Please elaborate on this.
Well, Verdi is the son of bel canto. He was an admirer of Donizetti. While he was working on his first opera, Oberto, Donizetti was conducting the rehearsals for his own “Roberto Devereux” at La Scala. It could be my imagination, but I hear fragments of “Roberto Devereux” in Rigoletto. Verdi himself used the singers who sang Bellini’s, Rossini’s and Donizetti’s works to perform. So, it’s easy to hear the bel canto influence throughout his music and thus perform it the same way.
You are very careful in changing your repertoire. What new repertoire are you exploring right now?
I really like Berlioz and French music in general because it suits my voice. I still have more than enough repertoire to develop. I don’t want to perform anything I cannot sing well. I am slowly moving toward the more dramatic Verdi, however remaining faithful to the bel canto roles.
Are you happy with where you are now in your life?
Yes, I believe I am in the best moment of my life so far! On the other hand, besides the tragic events I experienced, I can say I have always been happy because I’ve lived every phase of my life in a natural manner. As a student, I had my dreams and devoted myself to them without anxieties. Starting my career, being able to live from my work made me extremely happy. Always moving forward, and being grateful, I am as proud and content to be doing this today as I was in the beginning.
But when life deals you unexpected blows, it is so difficult to maintain this elusive inner equilibrium so important to singing well. How do you maintain your equilibrium?
Yes, I am not surprised when I hear that a colleague has stopped singing because he had a problem. To me, singing is like yoga. Before going on stage, I need to calm myself, to look inwards and be well with myself. As human beings, we are so fragile. In the end, I think singers are as good as their physical and mental health allows them to be.
What is your fundamental philosophy of life?
Live and let live, respect others, and if you can…help them! The same applies to the voice. Let the voice live, allow the art of singing to grow inside you, respect yourself and do not force anything.
What is your greatest fear?
My greatest fear would be losing the fundamental sources of strength in my life—family, friendship, and love! Without them, I’d feel lost.
Looking back, did you ever think you would reach this career level? How did you maintain your faith?
I never thought I would arrive where I am. However, I always had the hope and I worked very hard, not to “arrive” somewhere, but because I wanted to be better and this brought me peace. I also maintained my faith through the support of my family and true friends.
What is your message to all the singers who love this art and are fighting to improve and create their way?
Be constant, be generous, believe in what you are doing, and develop the capacity to enjoy simple things in order to grow and learn. Ingenuity, from Schiller’s perspective, is a rare quality. It is also important to understand that we are part of a chain of people who serve this art, and if we can be tolerant, and work with ourselves and together, it will not only be rewarding for us but it will be to benefit of music and artistic expression everywhere.
