Rolando Villazón: Balancing Opera Direction and Performance at Elite Venues

“I thought, ‘this last act is very challenging. The character shoots himself but continues to sing for 40 minutes.’ What could I do?” he reminisced. “I began experimenting with staging, just for fun.”

Fast-forward almost twenty years, and Villazón is now making his directing debut at the Metropolitan Opera, steering Bellini’s “La Sonnambula,” which premiered recently with an impressive cast, featuring Nadine Sierra, Xabier Anduaga, and Alexander Vinogradov.

Understanding Singers’ Needs

“He is incredibly sensitive to the needs of singers,” Sierra expressed. “Some directors, often not being singers themselves, may struggle to understand the psychological challenges we face on stage. We strive to portray our characters as authentically as possible, all while navigating the demands of singing high notes.”

A Tenor’s Journey

Originally from Mexico City, Villazón triumphed at Plácido Domingo’s Operalia competition in 1999. His European debut took place that same year with Massenet’s “Manon” in Genoa, Italy. He first appeared at the Met in Verdi’s “La Traviata” in 2003 and quickly gained acclaim for his performance alongside Anna Netrebko at the 2005 Salzburg Festival.

However, vocal troubles emerged in 2007, leading to canceled performances and subsequent surgeries to address issues, including a cyst on his vocal cords. By 2015, he faced performance anxiety, prompting another operation in 2018.

Creative Diversion

“When I stopped singing for a year in 2009, I took that time to write my first novel and work on staging,” he reflected. “I wonder if I would have completed that novel under different circumstances, but directing was certainly something I would have pursued.”

Villazón’s early vision for “Werther” caught the attention of Alain Lanceron, then head of his record label. With support from director Richard Jones, he found a theater after initial setbacks in Berlin, eventually impressing Serge Dorny, director in Lyon.

After debuting in 2011 with “Werther,” he directed “L’Elisir d’Amore” in 2012 while also performing as Nemorino, and has since helmed productions of other notable operas, including Verdi’s “La Traviata” and Rossini’s “Il Barbiere di Siviglia.” His upcoming projects include Mozart’s “Die Zauberflöte.”

Staging Insights

His “Sonnambula” presents a wintry Alpine village, set against projections, and has already been showcased in Paris, Nice, and Dresden. Originally slated for the Met in the upcoming season, the production faced delays due to budget restrictions.

“During rehearsals, he was always very present on stage,” said Met general manager Peter Gelb. “Unlike many directors who watch from afar, he was fully engaged with the singers.”

In an unconventional twist, Villazón altered the story’s conclusion. Rather than Amina awakening to a fairytale ending, she chooses independence, rejecting Elvino’s ring and seeking her own path. He adapted elements for New York, enhancing the emotional depth of her character.

“At its core, it explores themes of societal constraints and the instinct to rebel against them,” Villazón explained. “This peculiar society is governed by stringent norms and laden with religious undertones.”

Both Sierra and Anduaga had previously performed these roles in a production by Barbara Llutch before working with Villazón. “He truly understands our perspective,” said Anduaga, emphasizing the delicate balance between movement and vocal performance.

Drawing from his encounters with esteemed directors, Villazón often adapts their wisdom. “Richard Jones once said, ‘If a performer can’t execute a request after three attempts, either they’re unable to, or they don’t possess the skill—move on and find another approach,’” he noted.