Every July, Toronto Summer Music offers a delectable program of chamber music, piano, violin and vocal concerts, featuring big name musicians as well as aspiring young artists. Within TSM’s Academy component is its Art of the Song program, where audiences gain insight into the complex process of training and nurturing young talent, to help them hone their craft and prepare them for professional careers.
To this end, each July TSM brings in internationally renowned artists to serve as mentors to the young musicians. Previous mentors included such prominent singers and pianists as Matthias Goerne, Gerald Finley, Soile Isokoski, Benjamin Appl, Martin Katz, and Julius Drake, just to name a few. I have fond memories of hearing these artists perform, either in the state-of-the-art Koerner Hall or the intimate Walter Hall.
In this summer’s Art of the Song program, the visiting mentors are soprano Ana María Martínez and pianist Craig Terry, together with TSM’s resident Art of the Song Program Director, pianist Steven Philcox. A native of San Juan, Puerto Rico, Martínez is a veteran of a distinguished 25-year career, performing in the great opera houses and concert halls around the world. I had the pleasure of hearing her beautiful voice on multiple occasions at the Santa Fe Opera, as Fiordiligi, Mimi, and Cio Cio San.
Many may also remember her singing opposite Andrea Bocelli and Placido Domingo in high profile engagements a few years ago. Recipient of an impressive list of awards and accolades, including the Opera News Award and Grammy Award, Martínez is also a noted teacher, dedicated to passing on her artistry and wisdom to the next generation. In 2021, Martínez was appointed Professor of Voice in the Shepherd School of Music at Rice University in Houston.
At TSM, Martinez will be giving a free masterclass on July 7, followed by a Spanish-themed recital on July 10, both events to take place at Walter Hall. Her recital features songs by Hispanic composers including Rodrigo, Turina, Montsalvatge, de Falla and others. Song aficionados will likely be familiar with Manuel de Falla’s delightful Siete canciones populares españolas. My personal favourite is the gorgeous “Estrellita” by Mexican composer Manuel Ponce, either sung, or played on the violin, cello, or guitar. Definitely a recital not to be missed.
In anticipation of her arrival in Toronto, I contacted her for an interview by email.
LvT: We are looking forward to your recital here in Toronto. I am curious if you have sung in Canada before, if so, where? Or is this your first time?
AMM: Yes, years ago, during the initial Andrea Bocelli concert tours, I had the pleasure of joining him in concert and performing for the wonderful Toronto audiences. I am thrilled and grateful to make my return to your city to perform with Craig Terry in the Toronto Summer Music Festival.
LvT: I found an interview you gave to Eric Peterson when you sang an All-Spanish program at the Philadelphia Chamber Society. It was also with pianist Craig Terry. Is your Toronto program the same one? How do you decide on what songs to include in your program? I understand these songs have been part of your Hispanic cultural heritage, and you’ve been singing them for many years. Have your interpretations of these songs changed over the years?
AMM: The recital Craig and I will present as part of the TSMF is similar to the one that we presented at the Philadelphia Chamber Society. I greatly enjoy programming music I am passionate about, and which is part of my cultural heritage and upbringing. I have always made this a priority since my days as a student at The Juilliard School. Sharing music I adore is a privilege I cherish. I think interpretations become more profound with time, and with experiences lived and shared.
LvT: If you had to choose a favourite Hispanic song composer, who would it be? And your favourite song? Please forgive me if this is unanswerable — I know it’s like asking a mother who is her favourite child…
AMM: Choosing a favourite song and composer is, as you pointed out, much like asking a mother to choose her favourite child. I will say that I found my source of connection and inspiration for the first time in my life while at Juilliard, when I presented the Manuel de Falla Seven Popular Spanish Songs. That opened my heart and my mind to expressing within me what I had not yet tapped into.
LvT: You are not only a wonderful singer, but also a dedicated teacher and a great advocate for young artists. What draws you to teaching and the mentoring of young singers? Are you currently a professor of voice at Rice University? How much time do you devote to teaching versus singing?
AMM: Thank you, I have the great fortune of stepping into the role of teacher and mentor while still maintaining an active performance schedule. I teach at the Shepherd School of Music, at Rice University. Teaching and sharing knowledge, both technical and interpretative, is a tremendous joy and very important. There is an historical knowledge that comes from being active in the classical music field, which is also important to share. My aim in life is to find a balance on a daily basis; a work-life balance is vital. Embracing my performing, teaching, family life is who I am, and I devote equal energies to all these wonderful aspects of my life.
LvT: What do you look for in a voice student wanting a career? What are the qualities necessary in a young singer in order to have a successful career? What advice(s) would you give to a voice student who wants to become a professional singer?
AMM: I think the first and most important characteristic/quality is the voice itself, the timbre. All other important characteristics, such as good musicianship, a strong work ethic, interpretative skills, can be taught and learned. I advise singers aspiring for a professional career in classical music to emphasize their discipline/structure, focus on their goals and to always believe in themselves, in their calling. A career in this art form is difficult and challenging — just as it is in any specialized field. Hard work and patience are the key. Seek out mentors and guidance throughout one’s vocal and artistic development and career.
LvT: I heard your Fiordiligi at Santa Fe Opera quite some years ago, and I just noticed that you’ve switched to singing Despina. What are your thoughts on making this change? Is it a natural progression of a career?
AMM: Mozart is the key for so many singers, and to sing his music helps every instrument to remain healthy and vibrant. The idea to begin to interpret the role of Despina — a very funny and witty character — came from the invitation to portray her at Washington National Opera. Normally, one sings Despina before singing Fiordiligi. I find it a gift to have the “order” in this case be different for me. But also, it is not rare to sing these roles in this order.
LvT: You’ve already had a long and distinguished career, but I am curious if there are still roles you have not sung and look forward to tackling?
AMM: There are always roles I dream of incarnating. Throughout my career I have taken on roles that have taken many by surprise, as in not a logical choice for my voice type, and I love doing things this way. I am always open to something surprising and new.
LvT: Thank you so much. Safe travels to Toronto, and we look forward to your masterclass and recital.
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