From a beloved singer who has had his share of adversity comes optimism and sound advice on
both repertoire choices and diplomacy within the opera house.
For young singers today José Carreras (called “the other one” of the Three Tenors in a
famous Seinfeld episode) is an enigma. He has survived a traumatic bout with cancer. He
not only won his battle but also has enjoyed more commercial success after his struggle.
He is a hero, even more of a matinee idol for European audiences than for those in the US.
I got to know this Catalan tenor in his hometown of Barcelona while he was singing
the tour de force title role in the opera Sly by Wolf Ferrari (a composer best known for his
Secreto di Susanna). I was deeply touched by his humanity, both in his on-stage role and in
private life. I watched him joke around with the chorus members, arrive at the theater in a very
understated minivan and take time to meet with his great admirers with the most humble
manner I have ever seen in an opera star. His humility poured forth on the stage as well,
making him always vulnerable and fragile, even during his most strong and secure
singing. It’s easy to see why some people consider him to be the most beloved of our
tenors today. But mostly, as evidenced by our talk one afternoon, you always know that what
he says is from the heart.
How do you balance work and family while pursuing or maintaining a career? Is it possible to
have both?
José Carreras: In certain cases it is possible, but for a man it is a bit easier.
For a woman to be a mother, wife, and international opera singer is more difficult. Our culture and
traditions tell us that the mother is one that has to take care of the children and the house. The
man is somehow the one who is allowed to go out to work. But this is changing a little bit. There
is no doubt that you have to sacrifice certain aspects and family is one of these. I envy very
much the people that have been lucky, good, and intelligent enough to be able to combine both things.
At the very beginning of my career I was too far away from my kids and I still feel a bit guilty.
Because of this I have been trying very hard to compensate in the last few years. Not that I did
wrong — it was part of the situation. It’s almost impossible to be at home, take care of the kids’
homework and the little and big problems if you are eleven months of the year away.
Do you think that your children were affected by it?
José Carreras: What comforts me a little bit is my great relationship with both my
kids. Albert is 26 and a lawyer, and my daughter, Julia, who is still
in university, is 21. My relationship with them leads me to believe
that it wasn’t so bad! But the relationship between a couple and
this kind of profession is also difficult. I never traveled with my
family — I was without them. Every situation is different, but for
sure it is not an easy picture: international career and family life.
How does one choose repertoire and how do you know when the time has come to move into different things?
José Carreras: At the end of the day, with the risk of giving the wrong advice, I
would say sing whatever you feel comfortable with. Sing what you
think fits you, not only from the vocal point of view but also as a
character and style. Don’t pay too much attention to what people
say. If you don’t feel comfortable, why should you sing more
lyrically or more dramatically than you think you should? Sing what
you believe is the best for you, where you can give 100% of
yourself.
What does one say to a head of a company when they tell you that
you are singing the wrong rep? How do you respond without
offending that person?
José Carreras: Maybe sometimes what they say is true. But sometimes it is
completely wrong and we have so many examples of that.
Sometimes we mix up the extension or color of the voice with
what that voice really is. The color of the voice, the way you
deliver the text, the way you know how to give the right accents to
every phrase — this is what counts. That you are able to sing
legato or not — these are the things that determine your
repertoire, not just the extension or the volume of the voice. Of
course, in most cases, you look at those basic things. Once you
have arrived at the basics and still are not 100% sure of what you
are, then look at your temperament and other strengths that you
have. In general, we singers know our limits better than anyone
else. So to respond to an intendant you could say, “I will think
about your advice.” Take it in a positive way. Maybe through the
advice of this person you will see that you are wrong. We all make
mistakes. I made mistakes by choosing roles [that were wrong for
me] at certain points in my career. But almost every singer has
done that, unless you are very conservative and boring! It depends
on your own temperament.
What are the most important qualities a singer should have in today’s music world?
José Carreras: Well, no singer is perfect when they begin, or even much
later! The most important quality to me is this: “To be born to be a
singer.” That means being able to have the right discipline and
understanding. This profession asks a lot of you – you live under
pressure and constant tension. Also, for me, an instrument has to
somehow transmit some feelings; because of the beauty of the
instrument or the way the instrument is used. Whatever it is, I have
to receive something, some emotion. It can be developed but it
has to start with an intuition, an instinct, a talent.
What habits do you have to help keep you in good vocal and/or
physical shape?
José Carreras: I spent one year in the hospital with chemotherapy, radiation
therapy and bone marrow transplant, etc, which is not the best for
the voice. But there is a certain discipline after so many years in
the business where you know what is not allowed and what you
can get away with. For instance, if I am in air conditioning for even
two minutes I couldn’t sing for twenty years! Of course I
exaggerate but this is the same with what we eat, how we move,
how the voice needs certain training, warming up, rest times. We
learn what is the best for us to keep in good vocal shape,
especially traveling around the world all the time. What I have
learned after all these years is that everyone is different. There are
people that are born with such extreme facility that for them
nothing matters. To sing is easier than to talk. They drive me
crazy! Meanwhile there are those of us that have to work for each
of our notes. But in the end we all get paid!
How does it feel to have emerged from Leukemia victoriously?
José Carreras: I am very lucky because I overcame a very difficult, severe
disease. I give thanks, of course, to the medical team that was
treating me, my family, the closest people in my life and the
thousands and thousands of people around the world that have
supported me and have sent me messages of encouragement,
affection and love. And, of course, with the help that comes from
“upstairs” [pointing up to heaven]. We can never forget that. But
after such a severe and difficult period of my life singing has been
my profession, yes, but always my vocation since I was a child.
One arrives at a certain longevity in this business if you have a real
vocation. And this vocation was strong enough that I was able to
sing again after recovering from leukemia.
Was the knowledge that you had your music a big part of what
kept you going?
José Carreras: It was in my mind that’s for sure, but I wouldn’t be 100% honest if
I said that was the only reason. It would sound a little bit grand.
But that was probably one of the most important sources of
determination during some tough moments. Also it’s great for me
in that I now have a foundation that fights against this disease. I
established the Jose Carreras Leukemia Foundation as a way of
paying a debt to society when I was ill. Everybody was so
generous to me. It’s wonderful to be able to show people that are
suffering from the disease, families of the afflicted and young
singers or whoever, that this is something that you can beat. Not
only can you overcome the disease, you can go back to an activity
like singing; which is as you know a very demanding and draining
one. This is a very positive message. With this I don’t feel —
don’t misunderstand — that I have a big mission in life or am high
and mighty. But I think it is a message of hope for people who are
suffering.
The Three Tenors has been a tremendous event, one that has
infiltrated the popular culture like nothing else in our industry. How
does it feel to be part of this phenomenon?
José Carreras: It all happened in a spontaneous way. The three of us decided to
do a concert in 1990 for different circumstances. It created a
certain chemistry between the three. As you know, we are
completely different singers, persons and individuals but this was a
chemistry that worked. We complimented each other and this
created, thank God, the interest of people. And despite certain
criticism, it is a positive thing. At the end of the day, the Three
Tenors, the concerts we did, the recordings, etc, etc, is extremely
positive. Each of us receive, individually or as a group, thousands
of letters from people thanking us for what we did because for the
first time they have approached this music. And believe me, we
have tremendous fun doing it and we have a wonderful experience
every time we are on stage together.
If there were one piece of advice for young singers today what would it be?
José Carreras:As I said before, believe that you are born to sing!
Maria Zouves — busy these days (and nights) being a new mom
to her 8 month old son, Theophilos Zouves Milnes — is a soprano
whose upcoming appearances include roles with the Baltimore
Opera, Pittsburgh Opera and as soloist at Carnegie Hall with
MidAmerica Productions. Zouves has worked extensively with
aspiring singers, creating this ongoing series of articles to help them
bridge the gap that exists between beginning singers and seasoned
artists. She has worked as artistic liaison with the International
Institute of Vocal Arts, Opera Aegean and Five Days in May.
