BY BRIDGET O’BRIEN
He has entertained as Verdi’s Rigoletto, meddled as Rossini’s Figaro, and bullied as Mozart’s Count Almaviva.
He has lost as Tonio. He has won as the Toreador.
A man whose voice has filled all these roles with character and class is José Carbó.
The Argentinian-Australian baritone has made a habit of winning over audiences from La Scala to The Met with his rich and generous tone, enthralling stage presence, and an inexorable spirit in his characters.
His career was propelled into prolificacy after winning the Australian Singing Competition in 2005, debuting that year in Rome as the title role in Mozart’s Le Nozze di Figaro. José’s career has arguably lifted the bar for Australian singers on a global level, and our reputation is soaring with him.
This month, José performs alongside South Korean coloratura soprano Sumi Jo in concert series Mad for Love, spotlighting classical vocal repertory’s most romantic treasures.
While back on home shores, José answered some questions about the trajectory of such a successful career, and offers some insider secrets to sustaining it.
Can you describe your first encounter with classical music?
I would if I could remember it. Let me explain.
My mother would put me to sleep to classical music in the crib from my earliest of days. Therefore, I would imagine that would make my first encounter when I was but a few days old.
At what point through your youth and study did you realise a career of such international acclaim would be on the cards for you?
My youth harboured not these aspirations, as I came to singing at the age of 24. It only became apparent that I may have a chance at an operatic career at the age of 32 when I made my professional debut for Opera Australia.
Is there a notable colleague or mentor you’ve worked with who helped you find your footing as an artist in the industry?
There are a few; initially, my first teacher Thaïs Taras. She patiently and painstakingly introduced me to the world of classical singing and all of its challenges and mystique. Her grilling in coloratura laid the foundations for the technique I sing with to this day.
As my time in singing progressed and meandered from one teacher to the next, the next obvious mentor was Arax Mansourian. She continued the bel canto regime to the point where I could sing the fiendishly difficult Figaro (Rossini) on any stage of the world. The debt I owe both these [teachers] is unpayable.
What advice would you give a young singer preparing for their first role?
Repetition is your friend! Take time to repeat phrases time and again as you mould your technique to the score. It cannot happen overnight, so be kind to yourself and trust that perseverance will have you ready.
What part of a production’s rehearsal process most excites you?
The stage when the blocking (stage moves) is married with the libretto and it’s time to create the character. This is a wonderful process to live through. How often does life give you the opportunity to become someone else and have you almost believe it?
Which role of another voice type would be your dream to perform?
Anything from the dramatic tenor fach. Unfortunately, I was born more a trombone, in the male vocal sense, than a trumpet. My ear has always gravitated towards the thrilling nature of the dramatic tenor sound, but my larynx was born to sing between a tone and a whole third lower than this.
As a global performer, do you find there’s something unique about Australian audiences that continues to draw you back?
Australian audiences are comparatively warm and receptive. Singers need to feed from this live feedback as it inspires greater effort and artistry.
Mad for Love has programmed some exciting, romantic repertoire. Of the romantic leads you’ve played and sung alongside, which has been your favourite and why?
Diego Torre’s portrayal of Canio in Opera Australia’s production of Cavalleria Rusticana and Pagliacci will go down as one of my favourite-ever efforts on an operatic stage, anywhere. I was lucky enough to sing both Alfio and Tonio in this production alongside Diego, and will always remember the thrill of getting to listen to his Vesti la giubba from backstage during a quick change. His vocal mastery and the pathos, his incredible acting ability, brought to this character were breathtaking.
Mad for Love takes place this July 15 in Adelaide, 17 in Melbourne, 19 in Sydney, and 21 in Brisbane. Sumi Jo will perform with José Carbó, accompanied by pianist Guy Noble who will also conduct the Adelaide Symphony Orchestra.
Read our photoblog with Sumi Jo and marvel at her history of fashion on the stage.
Shout the writer a coffee?
No amount is too much or little. Thanks for supporting Bridget as she volunteers her time for Australian arts journalism.
Pay what you like through PayPal. 80 per cent of your contribution will go to the writer who composed this piece, and 20 per cent to our volunteer editor for getting this show on the road. (You don’t *actually* have to take them out for a coffee.) We protect your personal information. Images supplied.
