The international world of opera is embracing tenor Sergio Blázquez of Monterrey, Mexico for his uniquely powerful voice and vital presence. He began his career in Mexico at the Opera Company of Monterrey, where he participated in the 1995 Opera Festival at the Palacio de Bellas Artes, performing the Sextet from Lucia di Lammermoor, conducted by Enrique Patron de Rueda. After a concert and recital tour of Mexico with pianist Eric Steinman, he performed the role of Ernesto in Don Pasquale, under the direction of Maestro Vladimir Kiradjiev in Houston, Texas. Subsequently, Opera Metropolitana de Monterrey invited Mr. Blázquez to perform the role of Edmondo in their 2000 production of Manon Lescaut, once again under the direction of Vladimir Kiradjiev.
In November 2001, he made his European debut playing the role of Alfredo in La traviata, and Edmondo in Manon Lescaut, at the Prague State Opera. In 2002, he performed the roles of Rodolfo in La bohème and Alfredo in La traviata for the Montauban Opera in France, then returned in January 2004 to sing the role of Nemorino in L’elisir d’amore. That same year, he won third place in The Metropolitan Opera National Council Auditions, and played Don José in a San Antonio, Texas production of Carmen, singing with the great international tenor Fernando de la Mora.
Mr. Blázquez recently signed a two-year contract with the Gelsenkirchen Opera Company in Germany, where he will sing Nadir in Bizet’s Les pêcheurs de perles, Alfredo in La traviata, Corasmino in Bellini’s Zaira, and Don Ottavio in Don Giovanni. In 2006, he will make his debuts at both New York City Opera, as Rodolfo in La bohème, and Carnegie Hall, as Gerald in Lakmé.
What were some influential experiences in your youth that led you to a career in music?
My best influence came from listening to my father playing opera music at home. After that, watching Fernando de la Mora singing in an opera concert when I was 18 years old.
What are your goals for the next five years?
Improving my languages in order to better interpret my roles.
For the next 10 years?
I see myself singing in the most important opera theaters in the world, with a solid career.
What has been your career highlight to this point?
To have had the opportunity to get out [of] Mexico three years ago, to perform in France and [then] start coaching with important coaches from [the] Met and the Scala.
Who are some of the role models, mentors, or influential people in your life?
Placido Domingo, Fernando de la Mora, and Neil Shicoff as role models. Cesar Ulloa, Joan Dornemann, Miguel Cortez, Graciela Suarez, and Alejandro Perez as mentors or influential people.
If you could sing any one role, what would it be?
Otello by Verdi.
How do you handle rejection?
I believe that everybody has their own gifts and talents from God, and if I [have] been rejected by something or someone, I have to act with wisdom and not allow it to affect me.
How do you balance career and family?
[By] doing my best [at] being a good husband, in addition to having a wife who encourages me every day to make it possible.
Mezzo-soprano Holly Sorensen resides in Greenwich, Conn., where she studies under vocal coach Braeden Harris. She has participated in festivals in Chautauqua, N.Y., the Summer Sol-Fest with the Key West Symphony (Florida), and Opera in the Ozarks (Arkansas). Some of her operatic roles include Dorabella in Così fan tutte, Prince Orlofsky in Die Fledermaus, and Second Witch in Dido and Aeneas. Recently, Ms. Sorensen performed the title role in Carmen with the Ardamoore Chamber Opera. She was featured with the Boston Classical Orchestra as La Prima Donna in Salieri’s Prima la musica e poi le parole; and made her debut with the Bronx Opera as the Secretary in Menotti’s The Consul. She has toured with the Dicapo Opera Theatre (New York) to Venice, Italy, where she appeared as the mezzo soloist in both Mozart’s Requiem and Vivaldi’s Gloria. Other recent oratorio engagements include Handel’s Messiah with First Congregational Church of Old Greenwich, the St. John Passion with the Ben Woodward Orchestra in Connecticut and Manhattan, and the Yizkor Requiem with the Greenwich Symphony.
This year, Ms. Sorensen garnered Second Prize at the Eugene Opera’s National Belle Voci Competition. She has also placed as a semifinalist in the National Association of Teacher’s of Singing Competition, and as a finalist in the Santa Fe Opera’s Young Artist auditions. Upcoming engagements include Cecily in a production of Thomas Pasatieri’s La Divina with the Opera Company of Brooklyn, and the role of Mrs. Noye in Benjamin Britten’s Noye’s Fludde with the First Congregational Church of Old Greenwich.
What were some influential experiences in your youth that led you to a career in music?
When I was 10 years old, against the advice of my mother, I auditioned for a musical with the Southern Arizona Light Opera Company. After learning a song off a record, I walked downtown to buy my sheet music, arranged for a ride to the audition with a friend’s mother, and sang against several hundred eager and determined young girls. I won a role in the production, and from that point forward I knew I wanted to be a singer. When I was 15, I started taking voice lessons with a wonderful woman named Deborah O’Brien. She trained me classically and was careful and gentle with my young voice. She became a dear friend and continued to follow my career until she passed away tragically in her early forties.
What are your goals for the next five years? For the next 10 years?
My goal is to continue along the path I’ve been on, singing for as many audiences, companies, competitions and auditions as possible—and land where I land. So much of this business seems to be out of my control, so I just keep following my dreams. I feel confident that I will have a full opera career at some point in the future.
What has been your career highlight to this point?
This past year I had an inspiring and uplifting experience at the Eugene Opera’s “Belle Voci National Voice Competition.” I placed second, and in the finals, had an opportunity to sing on the big and beautiful stage of the Hult Center, in front of a large house. It was the first time that I felt the excitement and thrill of the competition, the stage, and the audience, all reflected in my vocal performance.
What is your favorite part about being an opera singer?
I love being able to share this God-given gift with an audience. One of my favorite times is often after a performance, when I meet someone who has been moved by the music. Simply connecting with them and feeling their joy is very rewarding.
Who are some of your role models, mentors or influential people in your life?
My mother is probably the most influential person in my life. She is my mentor and my role model. Following a harrowing year of voice study in college, it was my mother who kindly insisted that I “try a new voice teacher.” She then nudged me into the studio of Braeden Harris. My teacher, Braeden Harris, and his wife, Brenda Harris, have been most encouraging and influential in my singing career. Braeden has introduced me to the idea of abandoning all inhibitions and trusting the natural voice. Brenda has been my opera singer role model, and I have learned a great deal by simply observing her accomplished career. This year, I appreciated the opportunity to sing with Brenda in some recent local concerts.
How do you handle rejection?
Poorly. Initially, I don’t like how rejection feels, and I often struggle with accepting it. However, I have learned, from a background in competitive swimming, that although there may be disappointment, there is always another opportunity around the corner.
How do you balance career and family?
I have always had tremendous love and support from my family, and for that I am extremely grateful. I do not have children of my own as of yet—so I will cross the bridge of balancing career and family obligations when that time comes.
