A chat with Carlos E. Barcenas, young opera star

BY LUCY RASH

 

Young tenor Carlos E. Bárcenas continues his rise through the ranks of opera royalty in Victorian Opera’s latest production of Lucia Di Lammermoor. The Colombian-born singer took part in the company’s Young Artists program, and as he progresses into the spotlight in his role of Edgardo he describes the experience as “exhilarating”. CutCommon chats with this Green Room Award winner as he reflects on opening night of this Donizetti show, the importance of young artist programs, and the factors that determine a successful performance.

 

Tell us about the opening night of Victorian Opera’s production of Lucia di Lammermoor.

It was an electric night. The theatre was full – the lights, the orchestra, the music, the costumes! With an audience, our work finally comes to life. I think the audience loved our performance. Jessica Pratt, Jud Arthur, and José Carbó were incredible. I’m really lucky to share the stage with them – especially considering this is my first major role. Working with them made everything so much easier. I cannot wipe the smile off my face.

What kind of character is Edgardo?

He is a young noble man; someone of honour with strong convictions. He’s not afraid of any type of commitment, but conflicted between the love he feels for Lucia and the pain of losing his family at the hands of Enrico, Lucia’s brother. He is so in love that he is willing to move past this hatred for Enrico to be with Lucia. His word is a signed contract, he will honour it and expect the same in return.

Lucia di Lammermoor is a confronting piece of theatre, to say the least. How do you prepare – both vocally and emotionally – for a production like this?

You need time to make a role like this drop into your body; also, your emotions are tested and you need to compose yourself and deliver. I have been training vocally for a long time, and working on this role for the past six months. You need to know every word, and use the music to understand the dramatic moments. It is a process that never ends; even on stage, every night is different, every night you discover something new.

What role has the Victorian Opera Young Artists program played in your career?

A really important one. I would not be performing the role of Edgardo without the Young Artists program. It helped me develop many skills from language to stage craft; it gives you the opportunity to perform and gain experience on stage in front of an audience. I’m so thankful to Victorian Opera for nurturing me and my development to such a defining moment.

What is the most challenging aspect what you do?

Finding a healthy balance between the career and life. This career could take over of your whole life. You spend a lot of time thinking, studying music and rehearsing. I believe it’s healthier to have other hobbies or passions that will bring other interesting angles to the performances. You just need to live.

What factors do you think determine the success of a performance?

The most important one for me it is the truthfulness of the performers, from the director to the orchestra. You could have the most amazing sets, scores, performers, directors, but if no one is connected to the story then the performance won’t be successful.

Also, the human factor, the unity of the parts. From the office staff of the company through to stage managers, technicians, directors, players, actors, chorus, and soloists, if everyone is working to the same end, the performance will have a greater chance to be a successful and meaningful work.

When can CutCommon readers next catch you in action?

I’ll be performing with Victorian Opera throughout their 2016 Season: Cinderella by Massenet, The Pied Piper by the company’s Artistic Director Richard Mills, and Laughter and Tears – a double bill that features Circus Oz and includes Leoncavallo’s I Pagliacci.

 

Image supplied. Credit: Jeff Busby.