The Spanish dramatic soprano Lorena Valero stands out for her high vocal technique and her indiscriminate sensitivity (mundoclasico.com); Perfect interpretation of the role and homogeneous voice in all its registers (Opera Actual); Beautiful voice of particular timbre, with emotional and scenic sensitivity and with the passage of different registers with great naturalness (La Recensione, Reggio di Calabria).
During his professional career, he has played the role of Santuzza de Cavalleria Rusticana by P. Mascagni, in the Opéra -Théâtre Metz Métropole in France; the role of Elena de Mefistofele, by A. Boito, in the Théâtre du Passage Neuchâtel and in the Théâtre Equilibre de Friborg in Switzerland; Aida’s role at the Festival im Berg in Salzburg. The role of Suzuki, of Madame Butterly by G. Puccini, at the Teatro Principal in Palma de Mallorca and at the Teatro Cilea in Reggio di Calabria; the role of Rosario, from Goyescas de Granados, at the Palau de la Música in Valencia and on the anniversary of the birth of the composer E. Granados at the Theater in his hometown Lleida, as well as the role of Salud, from La Vida Breve , by M. de Falla, at the Opéra – Théâtre Metz Métropole in France.
He began his professional career as a lyrical soprano, debuting the main roles of the great operatic repertoire as Violetta de La Traviata, by G. Verdi, with the Orchestra and the Choir of the Odessa National Opera Theater and Liù de Turandot, by G. Puccini (Ukraine). Other titles in the Spanish repertoire, to which he always pays special attention, include the role of Raquel, from The Sevillian Guest, by J. Guerrero, together with the Orquesta de Radio Televisión Española at the Teatro Monumental de Madrid. He has performed Vier letzte Lieder de Strauss together with the Philharmonic Orchestra of the University of Valencia at the Zaragoza Auditorium and the main role of Aida de G. Verdi, in concert version, with the orchestra “Fundación Excelencia” at the Madrid National Auditorium .
He has won the “Grandi Voci Extraordinary Prize” at the International Singing Competition “Grandi Voci” in Salzburg.
They say that the world of music is complicated, but I consider that choosing an instrument as intimate as the voice can be even more so, at what point in your life did you choose to study singing and dedicate yourself professionally to music?
I think since baby. My mother says that at three months old I was trying to imitate her when she sang “picaditos” (staccato) to me. My mother has a wonderful lyrical soprano voice. She always sang to us. I remember very intensely singing along with her “at the top of my lungs”, while bathing, Ave Maria de Schubert or La Santa María de César Frank. I’m sure it was clear there, that I wanted to sing like my mother. At 12 years old I convinced her to join a choir, where some of her friends sang, so that I too could join, and so it was, yes, my mother was given the soloist position as soon as they heard her.
You are known as a lyrical soprano and has played numerous roles and roles in operas and zarzuelas. Have you tried other musical genres? With which interpretations have you felt most comfortable?
I played, at 17 years old, in the musical “Alias Petra”, Mother Petra’s mother and my brother were chosen to play her boyfriend. This musical was created for the Beatification of Mother Petra, Founder of the Congregation “Madre de Desamparados” of my school. We toured Italy and performed it for Pope John Paul II, one day before His Beatification..
In my time as a lyrical soprano, it was Liù de Turandot, one of the roles in which I felt most comfortable but it was the role of Violetta de La Traviata, which marked a before and after in my career, since I was able to interpreting it without having made a single rehearsal, that is, from the home study I took it directly to the stage with the public. Later came more dramatic roles at the vocal level, Salud, de Vida Breve and Santuzza, by Cavalleria Rusticana, are roles in which I have felt and still feel very comfortable.
Last weekend from February 13 to 15, at CSM Galicia, we were able to see a Lorena Valero teacher, how did you feel? Had she previously been a singing teacher?
I have been filled with satisfaction. Observing how the students improve with my instructions and feeling their joy, surprise and hope of achieving it, really, contributes a lot to me on a spiritual level. It’s hard to explain it in words …
I had given some kind of loose singing to castmates who asked me or to friends I have found in this wonderful profession of singer, but a Master Class of this nature is the first that has crossed my path.
We have been able to see his classes and we have been amazed with all the talent that was in them. The students have been very receptive with their lessons, what is the best experience of this Master Class?
That all of them have brought out positive things and have awakened in some of them a meticulous curiosity, necessary to be able to approach the career of the lyrical singer.
We also notice that despite the fact that the vocal technique is based on different bases and exercises, you knew what each of them needed by offering personalized and individualized training, how do you manage to see their possible improvements in them?
Since I started studying singing with my teacher in Valencia, José Cuéllar, at 13 years old, I have always been passionate about vocal technique, until then I sang by intuition and imitation of my mother’s vocality.
Later, more teachers came from Spain, Poland, Italy and Germany and he always tried to make the most of his teachings.
At the age of 23 I met the Master who marked me the most and with whom I studied in Vienna for 5 years, Margarita Lilova, mezzo-soprano soloist of the Vienna Opera in the Karajan era. She taught me the technique, which I currently have consolidated. During this period, I was also attending all his classes at the University as a listener, from the first student in the morning to the last in the afternoon. This helped me a lot to develop my technique and my listening ability; In the second year I remember that I already guessed, on many occasions, the corrections indicated to the students.
I also drenched myself in vocal technique books, biographies, and interviews with great singers. Even today I take any opportunity to continue learning.
The classification of the vocal registers goes beyond soprano, mezzo-soprano and contralto, such as lyrical soprano, coloratura, etc. What are the criteria you follow to define the type of voice of each person? Were there different voices in the Master Class?
This is a complicated and delicate subject. Personally, first of all I rule by the voice color. Then I look where there is the passage of the voice, that is, the change of register. It is also important to take into account the level of agility in the voice, the volume, the quantity and quality of harmonics, the extension of the range, etc.
These characteristics are developed as the technique improves. But there are voices that are very difficult to classify, such as that of the so-called “Falcone” Soprano, Zwischenfach Sopran, in German, as its literal translation indicates, this type of voice can address mezzo-soprano roles and dramatic soprano roles.
Fortunately, in the Master Class we had a great diversity of voices, in fact, each one with a different vocality. That is, six types of voices.
It has chosen its six students as participants in the opera and zarzuela concert that will be prepared by Maestro Soler. Has it been difficult to select fewer candidates?
There are several levels, but all of them are capable of participating in the preparation and performance of the concert.
About the concert, what can you tell us about what we will see?
Each student will perform an opera aria and a zarzuela romanza accompanied by a symphony orchestra, where you can appreciate the different vocal characteristics of each student, as well as the variety of repertoire.
Focusing on CSM Galicia, how would you define your stay with us? In our case, we are delighted to have had her in our center during these days and we hope to see her soon..
Finally, you collaborated with the conducting students of the Master Class of Cristóbal Soler and with the “Camerata Arven” in the final concert on Sunday, February 16. What do you think of this way of finishing the days of the master classes?
Nothing better than ending up making music and sharing it with wonderful people.