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Juan Diego Flórez Wiki/Bio
Peruvian opera singer Juan Diego Flórez, (born Jan. 13, 1973, Lima, Peru), has received a large acclaim for his high-tenor command.
Florence, whose dad was a popular music performer, joined the Peruvian National Music Conservatory at the age of 17. Originally interested in popular music, he later concentrated on developing his classical vocal technique. He received a bursary from the Philadelphia Curtis Institute of Music, attended from 1993 to 1996, and then went to Peru’s tenor Ernesto Palacio, and later became his director. The first break for Flórez occurred in 1996 when he replaced a singer in Matilde di Shabran on short notice at the Pesaro Italy Rossini Opera Festival. Later that year he made his debut at La Scala in Milan and next year at Covent Garden in London. He was singing at other major opera houses and concert stages across Europe and the Americas in the space of a few years.
The smooth, agile tenor voice and impeccable technique of Flórez allowed him to control the high register remarkably. He specialized in Gaetano Donizetti’s and Vincenzo Bellini’s bel canto repertoire but was recognized as a singer of Gioachino Rossini’s works. Some of her opera performances were made on DVDs, including his work as Count Almaviva in Il Barbiere di Siviglia (2005) and as Tonio in La Fille du régiment (2005) in Donizetti (2008). In addition to the performances of Wolfgang Amadeus Mozart’s recently heard early work Mitridate, re di Ponto (1999), Le Comte Ory (2004), and various sacred works by Rossini, including Stabat Mater, Flóres also appeared in several audio recordings (1998). Furthermore, Flórez has made several solo recordings, including Una furtive lagrima (2003) and works by Bellini and Donizetti; the compilation of South American and Spanish songs by Sentimiento Latino (2006), as well as Rubini (2007) by Arias, Donizetti, Bellini and Rossini, which honors great tenor Giovanni Rubini from the 19th century. Juan Diego Flórez: Bel Canto Spectacular (2008) has performed solo and cooperated with singers such as tenor Plácido Domingo. Flórez’s recordings received numerous awards, and the tenor was honored by the Order of the Grand Cross of the Sun of Peru in 2007.
The repeat of arias was frequent till the 20th century when the Met and other opera houses discouraged the practise as performances became more serious and formal affairs; Flórez’s Zug was sign of a further relaxation of the opera. Similarly, La Scala broke a 74-year ban in 2007.
Tenor with the highest male vocal range, usually stretching from the second B below medium C to G above; an extremely high voice extending over the high range is usually called counter-tenor (q.v.). Tenor refers to the instrument of more or less comparable range in the instrument families (e.g., tenor horn).
In the polyphonic (multipart) music of the thirteenth to the section “holding” the cantus firus, the plainsong or another melody on which a composition was normally constructed. The highest line above was called the superius (modern soprano), and the third additional voice was called the contractor. The four parts were used in the mid-15th century, and the contractor part gave rise to the contractor Altus (modern alto) and contractor bassus (the modern bass). Gradually the term tenor lost its association with a cantus firmus and started to refer to the alt-bass portion and the corresponding range of vocals.
The voices of tenors are often considered dramatic, lyrical or heroic (heldentenor). The tenor refers to the reiterated note in the simple recitation of psalms that most of the syllables fall on.
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At times promoted as Luciano Pavarotti’s successor, the Peruvian tenor Juan Diego Flórez is a very different one, in fact, one of the kind not seen in recent years: his voice is light, extremely athletic, and suitable, in particular, for the beautiful tenor roles of the early 19th century. One of the achievements of his young career has been the restoration to the proper place of a difficult passage in Rossini’s Il barbière di Siviglia, which has long been considered unsingable. His main vocal model is not Pavarotti, but Spanish tenor Alfredo Kraus – a less well-known and also well-admired performer among opera cognoscents.
What set him on the path to an operatic career was a free voice course that he took along with his high school choral membership. He enrolled at 17, moving from there to Curtis Institute in Philadelphia for a full scholarship. The Peruvian tenor Ernesto Palacio, who became Flórez’s manager, was one mentor.
Florence was booked for a minor role in Rossini’s Ricciardo e Zoraide during Pesaro Festival 1996 in Italy, but took over the lead role in a newly discovered Rossini opera, Matilde di Shabran, after it had to be cancelled by its tenor. Rhapsodic praising from hard-to-please fans of the Italian opera leads to a debut in La Scala in Gluck’s Armide and then in the next several years to the rest of the world’s main opera houses. His Metropolitan Opera debut in New York came in 2002 as Almaviva in Il Barbière, one of his specialties.
Career
Having good looks and brand-name curly hair that elicits almost universal commentaries among music writers, Flórez faced pressure to take on the mega mantle of the opera. But, because he took account of the unusual nature of his voice and sticks to his best-suited repertoire, he was praised by close observers of the operatic scene, most of it avoiding the heavier roles of Verdi and reintroducing audiences into something of the full fire he might have heard on an early 19th-century Italian stage. “I believe I know my limitations,” Flórez said in 2002 to The Economist. “I was offered the Mitridate of Mozart. I looked at that part, but it’s all a bit low and all the time it’s just a little too furious. This isn’t for me.” Flórez, an accomplished singing actor with a gift for comedy, has distinguished himself in roles like Tonio’s La fille du régiment and his title in Rossini’s Le Comte Ory.
Flórez has released 3 solo albums on the Decca label: one of Rossini arias, one of Bellini and Donizetti arias, and 2004 of Great Tenor Arias, which “confirms its growing reputation as one of the most exciting vocal talents,” in the words of London Observer journal. He has shown interest in the repertoire of Peruvian songs and has established a foundation to promote music education in Peru. With his first release on the label scheduled for the following year, Flórez signed with Sony in 2016.
Tenor with the highest male vocal range, usually stretching from the second B below medium C to G above; an extremely high voice extending over the high range is usually called counter-tenor (q.v.). Tenor refers to the instrument of more or less comparable range in the instrument families (e.g., tenor horn).
In the polyphonic (multipart) music of the thirteenth to the section “holding” the cantus virus, the plainsong or another melody on which a composition was normally constructed. The highest line above was called the superius (modern soprano), and the third additional voice was called the contractor. The four parts were used in the mid-15th century, and the contractor part gave rise to the contractor Altus (modern alto) and contractor Bassus (the modern bass). Gradually the term tenor lost its association with a cantus firmus and started to refer to the alt-bass portion and the corresponding range of vocals.
The voices of tenors are often considered dramatic, lyrical, or heroic (heldentenor). The tenor refers to the reiterated note in the simple recitation of psalms that most of the syllables fall on.
Lima, town, Peru’s capital. It is the commercial and industrial center of the country. Central Lima is situated at a height of 512 feet at the southern bank of the Rímac River, about 8 miles (13 km) inland from Callao’s Pacific Ocean Port and covers a surface of 27 square miles (70 square km). Its name is a corruption, meaning “Talker” of the Quechua name Rímac. The city forms a modern oasis in the west of the Andean Mountains in the Peruvian coastal desert. Area 1,506 square thousand (3,900 square km). Subway station, 8,472,935.
The huge size of Metropolitan Lima — accounting for about a fourth of Peru’s total population — has resulted in both from the concentration of persons, capital, political influence, and social innovation and has stimulated them. Lima’s unique status is only one of the most important consequences of a highly centralized, unitary state that solved inter-regional conflicts from its foundation in the early 19th century by focusing power and reputation on the city. Lima has long been the only point of contact between the country and the outside world with its port of Callao and its location on Peru’s central Pacific coast.
Like many large and rapidly expanding cities, Lima also has its detractors and promoters. Those who recall the calmer and more traditional days before millions of immigrants arrived and before the many cars and buses brought pollution and congestion are likely to use the capital’s other nickname: Lima la Horrible. It’s the noisy, dirty, dull, damp and depressing Lima, perceptions shared between short and long-term visitors. Although sunshine breaks through the dense coastal fog in the summer, Lima gets insurmountably hot and damp and the sunshine seems to be highlighting even more the grim buildings in central Lima and the lack of greenery.
Lima stretches far beyond its original Spanish site at a bridge on the Rímac River. Removing from high Andes, the Rímac has formed a flat alluvial cone, on which the early Spanish colonists have settled. As the coastal plain of central Peru consists of almost entirely unconsolidated fluvio-glacial deposits, cliff erosion and earthquakes represent constant threats. When the city expands from its original site, its fabric includes various hills and valleys that are also prone to earthquakes and flash floods. The barren unvegetated desert surrounding it on all sides is one of the most remarkable characteristics of Lima. The Grayish-yellow sands support nearly no plant or animal life, except where artificial water is provided.
Average temperatures in the winter months of May to November and in the summer months of December to April vary between 60-64 °F (16-18 °C). The cooling of the coastal air mass generates thick cloud cover during the winter and the dense garúa rolls into the city’s blankets. The condensation of garúa is usually the result of precipitation, which rarely exceeds 2 inches (50 mm) annually. Lima may be best described in winter as cold and damp and in summer hot and wet.
Because clouds tend to capture airborne pollutants, air is often tasted by Limeños (residents of Lima). Oxidation is a permanent problem due to the high humidity, and rust is a common vision. Many wealthier residents have established winter residences on the north or south coast of the town, or in places such as La Molina, a short distance east of Lima, where there is no cloud and no fog.
Juan Diego Flórez Fan Mail address:
Juan Diego Flórez
Stefan Schmerbeck Artists Management
Knöbelstr. 10b
80538 München
Germany
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Juan Diego Flórez Contact Details
Juan Diego Flórez Contact Details: +49(0)89-21 32 99 94
Juan Diego Flórez Address: Lima, Peru
Juan Diego Flórez Phone Number: +49(0)89-21 32 99 94
Juan Diego Flórez Whatsapp Number: NA
Juan Diego Flórez Office Email ID: NA
Juan Diego Flórez Social Profiles
Juan Diego Flórez Facebook Fan Page: https://www.facebook.com/JuanDiegoFlorezOfficial
Juan Diego Flórez Twitter Handle: https://twitter.com/jdiego_florez
Juan Diego Flórez Instagram Profile: https://www.instagram.com/jdiego_florez/
Juan Diego Flórez Snapchat Profile: @jdiego_florez
Juan Diego Flórez YouTube Channel: https://www.youtube.com/channel/UCfqxWM77crQuTp20kaZwmbQ
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