Meet the Artist: Luis Alejandro Orozco
Luis Orozco sings Riolobo in Arizona Opera's production of Florencia en el Amazonas. Below, find out how Luis gets into character, his favorite parts of Florencia en el Amazonas and more!
Tell us about your dream role.
I actually got my dream role when I was in college in Cincinnati, but haven’t played it since. I love to sing the Count in The Marriage of Figaro. I love singing Mozart, and I also think the Count might be one of the most interesting characters that are on my list. I think his life journey is amazing and very human. He is a very conflicted character, and it is a very nice contrast to the stability that the rest of the characters in this opera have. I think the character has more layers to play with.
What are your operatic favorites?
La traviata is my favorite opera. I think that, from a musical standpoint, it's perfect. Violetta is, perhaps, one of the most interesting characters in opera. It's one of those moments in opera when we see true unconditional and sacrificial love on display. When it comes to arias, Salut demeure chaste et pure (I greet you, chaste and pure) from Faust is my favorite.
What are your favorite parts of Florencia en el Amazonas?
Honestly, there might be too many to pick a few, but I will do my best. The first duet between the Captain and Arcadio might be my favorite moment. I think, musically, its insanely gorgeous and very clever. I love the way that the sounds of the boat are played by the orchestra when the Captain tells Arcadio that the boat is alive. I love the river theme that the orchestra plays. I think its beautifully written for the voice, and I think for a traveling musician, the context of this show can hit home pretty hard. There are things in life that are a little trickier to figure out when you are on the road. The sacrifice Florencia makes and the feelings that arise from it is something that is pretty relevant to a lot of traveling musicians.
How do you get to know your character?
I have a list of questions I have to answer about each character I play. I break it down by scene and ask myself: what does the character want, how high are the stakes, what will happen if he does not accomplish what he wants, and, finally, what stands in his way? Sometimes, there is an overall desire for the character, which also helps to answer those questions.
What would you like any first time attendees to know?
It doesn’t matter how old these operas are, I still very much find myself identifying with the characters, their conflicts and their struggles. There is a misconception that classical music and jazz are not accessible. I think that is not even close to the truth. I think it does take a little bit more personal investment when we experience this music, but what you experience is far greater and more meaningful.