5 minute read
The Discovery Opera Project
Conductor Marlon Daniel on developing young talent in Cuba
BY DAVID SALAZAR
This story originally appeared in OperaWire. It has been edited for style and space.
In most countries around the world, once you leave the conservatory setting, you have a number of options through which you can build your career. Whether it be working with independent companies, engaging with young artist programs or even doing residencies, there are options — albeit competitive ones — available to the burgeoning opera artist. In some countries, there are even the means to create your own projects, start your companies, put on your own performances and build your career in that manner.
But not in Cuba. When conductor Marlon Daniel (Mu Xi, New York City Alumni) headed to the Festival Mozart-Habana 2021 to lead a performance of Mozart’s “Don Giovanni,” he was struck by something he hadn’t encountered before.
“In Cuba there are no vocal young artist programs like in the U.S. or Europe. It’s the school or the opera and no in between,” said Daniel, who is also the founder of Festival International de Music Saint-Georges in Guadeloupe and the first conductor to lead a performance of the composer’s long-lost opera “L’Amant Anonyme” in over 230 years.
Marlon Daniel (right) collaborated with Ubail Zamora and Ivette Betancourt, both professors at the University of the Arts in Cuba, to launch the Discovery Opera Project.
What inspired you to create this Discovery Opera Project?
I was hired to conduct Mozart’s “Don Giovanni” for Cuba’s prestigious Festival Mozart-Habana 2021. Since many of the singers from the National Opera were already involved in another opera at the same festival, we decided to do a national audition for new singers.
What we discovered was that there is an abundance of vocal talent in Cuba, not necessarily all well-known or following the standard path to the Teatro Lírico Nacional de Cuba, an organization I respect, love and also worked with this season.
You chose “Don Giovanni” as the first opera to showcase with this program. Why was that work the best one to launch this project?
Mozart’s “Don Giovanni” is a masterpiece. Like all Mozart, it is a great showcase for vocal technique, and it uses a variety of voice types. We were able to mostly double cast the performances and to use more singers.
“Rigoletto” and “The Abduction of the Seraglio” are among those that are in plans for the future. What makes those works ideal for this program? This first group of singers influenced our other opera selections. What we could do with the vocal talent we readily had available was obvious. I knew I wanted to do something with a fantastic bass who auditioned: Marcos Lima. Already a seasoned singer, there are few roles for his voice. So, I thought “let’s use what we have.” He would be an incredible Osmin in Mozart’s “Abduction” and Sparafucile in Verdi’s “Rigoletto.”
I also have plans to bring guest artists as collaborators, both on and off the stage. This year we have internationally renowned baritone Stephen Salters. I’m still trying to convince him to not only teach and advise, but also play the title role in “Rigoletto.” This would be fantastic!
What has working in Cuba taught you as an artist? What has surprised you about the young talent you are engaging with?
Cuba has taught me that being an artist really brings a plethora of possibilities. It’s a place where I can share all the knowledge I’ve learned from places like Manhattan School of Music, the Prague Academie and from great people like Jorma Panula, and synthesize it to really engage the next generation of artists and help them get started.
Being in Cuba reminds me why I do what I do. The young talent have surprised me with their passion and desire to learn, making the most of the limited resources in their country. They have a deep hunger for knowledge and this inspires me to give my best in coaching sessions, rehearsals and on the podium.
What was most apparent to Daniel was the strength of the soprano voices in Cuba. Dayri Llanes Díaz particularly stood out.
Anyelín Díaz Oviedo, who sounds like a young Gruberová, also impressed Daniel.
Marcos Lima’s fantastic bass voice inspired the selection of works for future performances.
Looking forward, do you think this project will only focus on Cuba or do you think there’s an opportunity for it to expand globally into other countries that might not have as developed an opera industry?
This could happen, look at El Sistema. I believe if you nurture a seed it will grow. I’m content with making it be the best it can be at this place in this time. I think it not only makes these talented young artists better but also myself. If it can grow or expand beyond Cuba’s borders then I would love to see that happen, but I also do not want to set my sights globally and miss on the opportunity to really build something substantial from what we have started here.
My immediate goal is to create a bridge to Teatro Lírico Nacional de Cuba and other organizations outside Cuba. Maybe in the future organizations from abroad will also offer opportunities to these singers.
What do you hope this experience will provide for participants?
I am hoping that they see there is a whole world of singing opportunities and that there are people like me and my colleagues to help in any way we can, regardless of the seemingly limited situation.
And what about for you personally? What do you hope to take away from this project?
With this experience, I personally want to make myself a better musician, organizer and teacher so that I can help nurture more of these vocal talents in Cuba.
