We had the chance to sit down with Boulder Opera Music Director, Steven Aguiló-Arbues, ahead of our upcoming production at The Spark, The Marriage of Figaro. From Steven’s robust background and his involvement in the community, to his dissection of our upcoming operas that he is conducting—please enjoy this special interview with the maestro.
Boulder Opera Company: This is Steven Aguiló-Arbues. He's the music director of Boulder Opera and we're really lucky to interview him as he will be the director for our upcoming production of Marriage of Figaro at The Spark. So thank you, Steven, for joining us. I appreciate it.
Steven Aguiló-Arbues: It's a pleasure to be here. Thank you.
BOC: Thank you! So, I have a fun list of questions for you. I'll get started with number one, which is very general. It's about yourself. Being a music director as you know, is just very unique. So my first question is: How did your path lead you to becoming a music director?
Steven: Well, it all started when I went to see my first opera. I was four years old at the time, and I went to the LA Opera. I saw Verdi’s Aida and I absolutely loved it. So when I was seven years old, I started taking piano lessons. Also growing up, I studied solo repertoire.
BOC: So you were a pianist first before the music director passion came along?
Steven: Oh yeah. I mean, seven years old, you gotta start somewhere! So growing up I would go see operas. But when I was 16, I saw a lecture on Italian opera, by a great Italian conductor, um, Edoardo Müller. And afterwards we were talking and he asked me, are you interested in conducting? And I said, Yes. Yeah, I was 16, so he invited me to come see all the rehearsals of The Marriage of Figaro at San Diego Opera where he was conducting. And, I got to sit right next to Maestro Müller. It was just an incredible experience to, I mean, be sitting right next to them throughout the entire rehearsal process. I was asking him questions, you know, about conducting the score, seeing him coach, etc. I really got to see how an opera was put together. So, I mean, I was hooked. You know? I decided this is what I want to do. And so being a pianist, I was advised to take a traditional route to becoming an opera conductor. Studying collaborative piano, you know, playing in the opera scores, training in vocal coaching and conducting in my years in conservatory. And I've had the opportunity to work with some really great people over the years, and at some wonderful companies.
BOC: So quite a once in a lifetime opportunity and I love how it circles back to your conducting of Figaro in just a few weeks. I mean, that's amazing.
Steven: It's really, really, I was just very fortunate to, to have that experience and to have met him and just be part of that world, you know?
BOC: Absolutely. It's a very, I wouldn't say it's an exclusive world, but it's very mystique in the sense that, I mean, you can be a musician, but many musicians don't get the chance to be music directors, and they work under so many great ones and you're collaborating all the time, but to get the chance to be able to have that exposure at the young age and to see how magical that experience was, must've been really profound on you.
Steven: Oh, definitely. Definitely.
BOC: That leads nicely into the second question: Steven, as a music director, obviously you work with many performing arts organizations, I'm sure here in Colorado. So the question is which performing arts organizations are you currently working with right now and throughout this pandemic period?
Steven: Well, you know, I think now it's still a very tricky time for the arts in general. I've worked for a number of organizations in the past, but really there's so many still that are not operating as they used to. I was fortunate to do some outdoor and socially distanced concerts with Central City Opera this past summer. I'm very glad that Boulder opera has found The Spark theater, to rehearse and perform in, which is a semi outdoor setup--the side, and the bay doors being able to open. So it's great to be in that kind of space to rehearse and perform.
BOC: It is, it is. We just came off of a production of La Boheme at the wonderful Dickens Opera House and I think we did a really good job of accommodating for the circumstances, but it is nice to have the luxury of the open air venue with The Spark. And I know they have lots of accommodations, like you said, the open side doors and the rehearsal room has garage doors that open. Even the performers backstage have some level of open air. They have the heat lamps, et cetera, et cetera. They're just really good at involving the community right now. And so, you know, to your point, we're just really excited to be partnering with them for this. So, about Boulder Opera then: What's been your involvement with Boulder opera in the past?
Steven: So the first time let's see, I worked with bolder opera was in 2015 and I conducted the Barber of Seville. And then I think the next year I conducted their annual gala concert as well.
BOC: Sure. So you've been around, you know, for the last five years which is substantial. You've been exposed to some of the productions going on and you've had some involvement.
Steven: Yes, yes, yes, definitely.
BOC: I'm sure our audience members who are fresh will appreciate learning about your prior involvement with Boulder Opera. It's nice to see you coming back and staying involved with the organization. So let's get to the point about the upcoming opera: Marriage of Figaro. In your opinion, as a music director, what are the great musical moments in Marriage of Figaro?
Steven: Oh, wow. I mean, the great thing about the Marriage of Figaro is that everything is so good. I mean, there are just so many wonderful Arias, I mean, brilliant ensembles. If I had to start with one of my favorites, I think it would be the Act II Finale.
BOC: Okay. And why is that?
Steven: Yeah, I mean, just the progression that this finale makes; from the structure to the interplay of characters and voice parts to the dramatic build. Not to mention that it's just so funny. It's, it's really, it's really, uh, quite, quite a wonderful piece of music. So, I think Mozart and Da Ponte did a fantastic job all around with all of the ensembles. I mean, you know, from the trio from act one, the act four finale, I mean, they are all so wonderful. But he also has some really memorable, and you know, such a variety of beautiful Arias, like the countess's aria Dove sono or Susanna's Deh vieni, non tardar, or the Count’s Hai già vinta la causa! I can just go on and on and on about all the wonderful moments of this opera. It's like one big miracle.
BOC: It's essentially just one huge master work in the repertoire for all the reasons you just hit so perfectly. From the comedic relief to the masterful music, it's exciting to see it all come together and in this form of opera, it's just, it's a special, it's a special thing. So that kind of bleeds into the next question: Marriage of Figaro is clearly a great masterwork and opera's repertoire. If you can elaborate, why do you think this work gets performed so often in today's society?
Steven: Well, I mean, like I said, there's so many great moments in this opera, and one just flows seamlessly into the next. But I mean, not, not only is the music exquisite and the libretto is just, uh, so witty, I think Mozart and Da Ponte capture the essence of love, of life, and that pursuit of happening happiness that so many of us long for. The story, you know, of those maybe born into less fortunate circumstances, maybe with less power, with less money, uh, being able to stand up for what's right and using their intelligence and cleverness to overcome; I think it's just something that really speaks to us. I mean, even though, even though it was first performed in 1786, I think it's still relevant today.
BOC: Very much so, we couldn't agree more. It's very relevant. I, for one, as an individual can definitely relate and I think, you know, lots of today's society can too. So that's a great answer. Even with symphonic works, there's this, this urge to, to have to program the masterworks. But I think Figaro, it's not just that, it's just so relatable and it's worked so well in the context of today's society. Thank you for just elaborating a little bit on that. It's good for our audience to hear, you know, your thoughts about that. So thank you.
Steven: It's a holistic piece.
BOC: It is. It is. And you know, we have a very holistic and amazing cast for this production too. So my next question is, why are you excited to work with this cast in particular?
Steven: Well, I mean, yes, we have a wonderful cast and I just cannot tell you how, how happy we are to actually be rehearsing, you know, and eventually performing in these times. We've already had our first few rehearsals and I can, I can feel the excitement. And that's positive energy coming from everyone. So I mean, I have worked with some of them in some way or another. But really diving into this masterpiece, with everyone, is a real pleasure.
BOC: I mean time really does fly when you're having a good time in rehearsals! It's true. And it's, it's really touching. We just interviewed Dillon Kenyon, who's the executive director of the spark and she really spoke very well on, just how special it is to be able to program any sort of artistic expression right now during this time. I know we've been bereft of it for a year. It feels like at this point, organizations are still struggling. I mean, we are not at the finish line right now, with the public health crisis and with learning how performing arts organizations can function in that new dichotomy. So we're very lucky here to be able to start to broach functioning in this new world and to have these virtual concerts and these open air concerts. So another question about the cast, piggybacking on my last question, not necessarily your favorite performer of course: What's your favorite role in Figaro? Traditionally, do you have a role that you've just really enjoyed whether it's comical or passionate?
Steven: Well, that's a, that's a tough one. I would have to say Susanna.
BOC: And why is that?
Steven: I mean, she is smart as a whip. Probably the, I mean the smartest person in the entire show. She's very astute. She's fiery, she's confident. She's devoted to Figaro, her love, um, to her, to her friends, the Countess being her closest one. She has such a great sense of humor, she just has a good head on her shoulders. She's also like the connecting glue in many ways to all of the, almost all of the other characters of the show. So it's just, it's no wonder it's right before the end of the opera, before the last finale, I mean, you have one more Aria just for her and it's just, it's just stunning. So, um, yeah, I would have to, I would have to pick Susanna.
BOC: Okay. So for our audiences who are reading this. We can just say that, uh, just keep an eye out for Susanna's role when we do this, and all of her beautiful Arias to come, because those are great reasons and that yeah, she does seem like the glue that kind of holds everything together, and helps synthesize the whole concept. So other than Figaro, I know that you have other works that are coming up with Boulder opera that you're collaborating with us on, which is fantastic. And I wanted to touch on one of those. L’enfant is coming up in May also at The Spark, and I wanted to ask you: what are you looking forward to for that performance?
Steven: Well, I mean, it's just such a delightful and very imaginative opera. I mean, when you have objects like furniture or, you know, maybe some, some toys, wallpaper, I mean, coming to life, you have animals speaking. It's just so creative. It's really quite enchanting. No matter how old you are, it makes you feel like a kid again.
BOC: Yeah.
Steven: I mean, Ravel’s writing style just makes everything sparkle. It really feels magical. You know, like, like you were saying, and, also some of our Marriage of Figaro cast will also be in this production which I'm really looking forward to diving into, a different style with them as well.
BOC: Yeah, that must be interesting to be able to work with these amazing performers and kind of test them and then to see them, you know, change themselves and their singing in their performances, depending on the production. And like you said, Ravel, and Mozart's very different styles of works, albeit both, you know, being incredible works. So it must be cool to see that kind of transformation and to see the artists, you know, their malleability when it comes to their skill sets, and the performing and the singing between the two styles.
Steven: Yes. L’enfant, is such a youthful opera, I mean it’s maybe not even an hour long, so it's also great for families to come. Especially with little kids, they don't have to...
BOC: …Sit there for two to three hours, fall asleep or take a nap or all of the other things! So on that note, whether it's doing children's operas or family style concerts or engagements, one of the more interesting questions I wanted to kind of wrap us up with here is: As you know, Boulder Opera has been around for about 10 years now in the Boulder community. Obviously you've done some great work with us in the past and you will continue, but in the context of a changing society and in the context of everything being flipped upside down, whether that's programming, access to concerts, or getting younger audiences to come to the concerts—all of those things considered: Do you have any suggestions or ideas on how Boulder opera can kind of navigate this new path? What would you like to see Boulder opera doing in the future?
Steven: Well, I mean, I think yes for, you know, for the past 10 years, Boulder Opera has been doing a nice job of keeping opera vibrant in the community. I mean, on top of selecting these great timeless works of the operatic repertoire, as well as, providing innovative and relevant, standalone concert programs, these are great ways to connect with each other and with the community. I know you’re setting up public masterclasses, as well as starting an artist-in-residence program—these are all great steps in a more expansive direction. And yes, for Boulder opera to embrace the fact that that opera can be educational and entertaining for young kids is really great. So I'm definitely eager to see that growth continue through all of these avenues, you know, it's, it's really great to see that.
BOC: Absolutely. Well, thank you, Steven. Those are great words of encouragement for us. I believe that we will continue to try to push those boundaries and to continue trying to, you know, work on our masterclasses, work on our community engagement, work on bringing younger audiences to such a beautiful art form. And, we'll keep trying to work on pushing our mission to the community. Just to top things off here. I wanted to give you a chance to, you know, I'll shut myself up and see if there's anything else that you wanted to say. Whether it's about yourself, anything upcoming that you have in your life or anything else you wanted to say about the opera— take the floor, the mic is yours!
Steven: Well, I would say, definitely come and check out these upcoming performances. We're confident in the safety protocols that The Spark theater has put in place. So, if you love opera, then there's some great opera to experience. If you've never seen an opera before, I would say The Marriage of Figaro is a fantastic first opera. So come check us out!
BOC: Well there you have it. From our Music Director, Steven Aguiló-Arbues. Thank you so much for your time and for the wonderful interview. I think people will really enjoy reading this. So again, thank you, and we'll see you very shortly at The Spark.
Steven: Great! Thank you so much for having me, I really appreciate it.
BOC: Thanks Steven!
If you are interested in attending our first production at The Spark—The Marriage of Figaro—you can learn more here or buy tickets below: