Hi everyone!

Wow, it has been quite a while since my last update and I apologize for that. In my behalf I can only say I have been very busy.

After my return from Texas where I sang in Elixir of Love in February I went to Philadelphia to sing a concert version of Verdi's Macbeth for Center City Opera were I did my first Verdi role; Banquo. I had a great time singing the role. And of course singing drama for a change. :)

After that I worked my regular job for 2 weeks and on February 25 I went back to Houston, Texas to start working on the Don Giovanni production of Opera in the Heights where I reprised one of my favorite roles, Leporello. I stayed in Texas for 5 weeks.

If I had fun in Elixir I can say I had a blast doing Don Giovanni. Maestro Weibel managed to gather not only one, but two magnificent casts for the show. And he also hired an awesome stage director, Mrs. Leslie Swackhamer.

During the first two rehearsals something interesting happened. The other singer that was sharing Leporello with me showed signs that he did not have the music fully learned, and that worried me. I have never seen such a thing in my life. It is normal for someone doing a role for the first time not to have it fully memorized by the first rehearsal (which is not good either, but "acceptable"), but he was making mistakes even with the score in front of him. So what I thought, happened. The maestro called me and asked me to do all the shows, so I became bi-castual. LOL!

This was a huge undertaking, because of the 3 hours the show last I am on stage 2. Leporello is by far the longest role in the show. And I think Richard that went to see the show in CA will agree with me. But fortunately, this role sits very comfortable in my voice, and I knew I was going to be able to do it. The only thing I needed was them to rearrange the schedule and give me days off as I was to do all the rehearsals. And they did. Both the maestro and the director were very good about it, and that does not happens often. Maestro Weibel was very kind to me. He forbid me to sing full voice until the orchestra dress rehearsals, and that helped. It was funny because sometimes I would get caught up in the moment and started to sing full and you would hear a voice "Jorge, what did I tell you about singing?!" It was maestro. :)

The stage director was also a great person to work with. At the beginning I had my aprehensions because she is mainly a theater director. But all of those doubts went away right away as I realized she knew what she was doing, she know how to work with singers, and her love for Mozart won me over. She is an amazing director that knows Don Giovanni as well as the maestro. And that is a blessing. We become very good friends. She and I had the same concept of who Leporello is and she gave me liberty to explore more into him, which I adore her for that. Here is a portion of an e-mail she wrote me:

"LEPORELLO, Fantastic, specific work all the way around.  You are my hero.

On Donna Anna's Genti Servi cross (she crosses down off the platform)
please counter a bit to the left so that you are not directly behind
them

I really want you to start MADAMINA up on the same level as Donna
Anna-I think you can bound up the stairs on the music  of the first
measure (when the bass goes treble there are the d,f,a notes that
should serve you well)  When Donna Anna takes the book, you can have
more glee/savor it-
When you hold the book for her to see at the end-can it be a bit lower
so we can see her face?...."

She was a very detail oriented director and I love that. Her approach was both classic and innovative. But the best thing was that she let us bring our ideas to the show which she made them work within her vision for the show. It was wonderful.

The week of the shows was tough for me. I started doing full runthroughs back to back from Saturday March 17th to Tuesday March 20th. Wednesday off and Thursday March 22nd opening night. The first two with piano I did not sing at all, but Monday and Tuesday I did. It was the orchestra dresses with public. But since I was not working during the day I had the chance to stay home quiet and rest which helped a great deal. The shows were received very well. We had high school kids on Monday and they were enjoying this rather long show. All of them stayed untill the end! :)

On Friday march 23rd the reviewers from "Houston Chronicle" and "Hosuton Press" were both present. The company volunteers were all very happy because they showed sings that they loved the shows and that the reviews were going to be good. They were right. here are the reviews:

http://blogs.chron.com/aboutlastnight/2007/03/solid_musical_values_carry_ope.html
Solid musical values carry Opera in the Heights' Don Giovanni
By EVERETT EVANS
Houston Chronicle
Monday March 26th, 2007

It takes chutzpah for a youngish, no-frills company like Opera in the Heights to not only tackle Mozart's Don Giovanni, but to do the work in a season when Houston Grand Opera already has offered its own production on a grander scale and with Big League ``names'' of the opera world.

Yet on its own scale, OIH's rendition is a worthy one, with uniformly sturdy vocal and orchestral work. William Weibel conducts a cohesive rendition of the famous score that has nuance as well as fire, where needed.

In Don Giovanni, Mozart and librettist Lorenzo de Ponte wanted to have it both ways: making light of the fabled Don Juan's outrageous escapades, but also minding the moralistic characters' warnings about his impending comeuppance. We're meant to feel genuine horror when the title character at last is swept off to hell by the avenging ghost of the Commendatore (whom Giovanni kills in the opening scene while trying to seduce the old man's daughter).

Whether one sees the work's shifts of tone as complexities or contradictions, Mozart's immortal music holds everything together.

Stage director Leslie Swackhamer handles that climactic supernatural business reasonably well, and supplies some adequate touches of comic business elsewhere -- as when Giovanni's servant Leporello pantomimes singing while his master supplies the voice. Otherwise, it's a pretty basic staging, with simple groupings and most arias sung straight out. That's fine, given the limited stage area -- and hardly a liability given the clear emphasis on musical values.

Kreshnik Zhabjaku asserts a smooth, forceful voice and presence in the title role. With an appropriately self-satisfied air, he's persuasive serenading or romancing a new flame like Zerlina -- a smooth operator.

Jorge Ocasio brings a solid voice, down-to-earth air and sardonic touch to his asides as Giovanni's long-suffering servant Leporello.

Dianne Barton distinguishes Donna Anna with a big, powerful voice, sometimes as impressive for its emotive color and beauty as for its sheer size. She conveys the intensity of her bereavement at the murder of her father.

Dana Zenobi's singing lends a throaty edge to Donna Elvira, who pursues her errant husband Giovanni like a fury for much of the proceedings. Her voice can sound a tad dry in its lower range, but soars to brilliance at its heights.

Olga Perez invests Zerlina with a bright soprano and fetching manner, correct for an operatic ingenue.

Eric Sparks brings a pleasant vocal attack to Don Ottavio, Donna Anna's reliable intended -- with a nice way of subtly building to his fullest sound.

Yoon-Sang Lee conveys the stalwart simplicity of Zerlina's easily angered boyfriend Masetto.

And Scott Tomlinson's Commendatore projects the right gravity in his crack-of-doom pronouncements.

Most of the principals, by the way, are double cast, with the two teams playing alternate performances. I heard the above team at Friday's second night showing.

Leslie Thomas contributed the serviceable setting of columns and downstage steps. Bonnie Ambrose's costumes add color and apt dashes of glamour for the ladies and elegance for the dandified hero.

*****************************************************

http://www.houstonpress.com/2007-03-29/culture/stage-capsule-reviews

Houston Press
Stage Capsule Reviews
Our critics weigh in on local theater
By Lee Williams  and  D.L. Groover
Published: March 29, 2007

Don Giovanni With a sparkling production of Mozart's sublime masterpiece, Opera in the Heights has its most consistent hit in many a season. The lovely ensemble cast has a grand time with this tale of lecherous Don Juan, his seductions and his ultimate hellish fate, and their joy in performing this work is infectious. The classical set and lavish period costumes add immense flavor to maestro William Weibel's propulsive, dramatic conducting and director Leslie Swackhamer's inventive staging. There are two casts to be savored (the Ruby and the Emerald), and if the Emerald is as impressive as the Ruby I saw, then OH has a double whammy on its hands.

As the licentious Don, Kreshnik Zhabjaku has sexiness to spare, and it's easy to see -- and hear -- why so many ladies swoon over him. He leaps over Mozart's beautiful vocal hurtles with lithe agility and palpable masculinity.

The three ladies of Spain who either torment or beguile him have Dianne Barton's commanding lung power (aristocratic Donna Anna), Dana Zenobi's dramatic coloratura (Giovanni's abandoned wife Donna Elvira) and Olga Perez's coquettish charm (peasant girl Zerlina).

And the male characters are just as impressively sung.

Jorge Ocasio (toadying servant Leporello) has rich vaudevillian comic timing with voice to match,

and Yoon-Sang Lee (Zerlina's jealous boyfriend) possesses a resonant velvet baritone. The chilling bass of Scott Tomlinson (the stone statue of the Commendatore who drags Don Giovanni down to hell) could easily rattle bones -- or raise the dead. As it is, though, this production is heavenly. Through March 31. 1703 Heights Blvd., 713-861-5303.

************************************************

It was really that great. This is one Don Giovanni I will always remember and sherish. I got so many wonderful feedback and I was proud of my work, not only as a singer but also as a performer and actor. Many people told me they were impressed by my acting as well as my singing. As one person told me, "I know you can sing, but tonight you were not only a great singer but a great actor." I did grew as an artist and when that happens it is a joyful event. One of my colleagues told me that Leporello will become my signature role, and I think so too. I just love the role so much it is like second skin. One of OIH patrons told me that he didn't think I was going to be able to top Dulcamara, "but you certainly did. You are Leporello!"

The Maestro was really happy. The things he said about me were so great he made me cry in few ocassions. I never dreamed I was going to hear a conductor talk about me the way he did. And I have witnesses, one of them my agent whom he was constantly e-mailing to tell her about my performance. Here is a portion of an e-mail he sent me replying a thank you e-mail I sent him on my return to NY;
(Unfortunately I can't display the whole e-mail. There are some private matters which I can't disclose.)

"Dear Jorge,

I want to thank you for taking the time to write to me in your very warm and appreciative E-mail. There is no doubt that the performances you gave here last month were on a world class level. You are the perfect example of what Opera in the Heights is all about. It is not just about performing, but about learning. Taking a role one already knows or perhaps has learned for the first time and taking it apart and doing something with it. 

I was so impressed with your progress from day to day and with your work effort, concentration, and willingness to apply yourself and listen to what I suggested to you, that I only wish we had had more time to go even further. It was such a joy to watch you add something new at every rehearsal and every performance.  The constant artistic growth that blossoms is important. It sets you apart from everyone else.  Of course, one has to have ability and talent to work with and you certainly have that. I was indeed proud of you. More than you can imagine. You know Jorge, hundred of singers have passed through here and hundreds more will come in the future but I can only think of two or three that gave me complete satisfaction. You head that list. I felt we were accomplishing something.

As great as you are now in the role of Leporello, there is still much that to be said to make it even better. I told you and I told Celia that I had worked closely with three great Leporello's, Fernando Corena, Geraint Evans and Ezio Flagello. In all three instances, I feel that your performance ranks on the same level as theirs, despite their fame. I would even go so far as to say that there were certain moments in the score that you brought something new that they had not thought of.  That to me is unique......

And those are the things that will always be with me. The satisfaction of knowing that I did my job and that my job pleased so many people is something that gives me an undescribable job. As well as it gives me the strength to keep on going and to grow more as an artist. As I always say, the day I stop learning and growing, that day I'll stop singing because there will be no purpose anymore.

If you got to this point, I can only say thanks for being such a wonderful friend! :)

Love you all,
Jorge.
PS: My next gig is Dottor Bartolo in Barber fo Seville in NJ April 21st. I will tell you more about that soon.

Hi guys!

Just want to let you know I am flying to Houston, Texas this coming monday. I was hired to sing the role of Dulcamara in Opera in the Heights's new production of Donizetti's "The Elixir of Love"
at the end of January.

This came as a last minute substitution. A singer was fired and I got a call yesterday night to offer me the part and after making arrangements at work I was able to accept the role today. I am very excited about this as all of you can imagine.

I will keep you posted! :)

Love,
Jorge.

Just a quick update. I am back in NY after spending Thanksgiving with my family in Puerto Rico. I had a great time and above all I had the chance to relax and to rest. It was a week that was totally for me as I needed this break desesperately. I have to say it went better than I expected. I went to visit friends and family and ate great food. But don't worry, I didn't gain weight. I even met someone over there, but that is another story. ;)

On other notes the Amahl and the Night Visitors I was doing in California the second week of December got cancelled. But at least I am doing the one here in NY with Chelsea Opera the third week of December. If you are in the city go and see it. It is such a charming piece.

Well, that's all for now.

Love,

Jorge.

Well, I have been back from Los Angeles for almost two weeks now and I have to say El Dorado Opera "Don Giovanni" in Los Angeles, California was a success. But it was a success that took a lot of work, sacrifice, devotion, patience and love.

Since my arrival in Los Angeles Saturday November 14th at 12:00pm I can say without risking of exaggerating, I was working almost constantly. But, this is work I do not regret at all because I enjoy every minute of it. Yes, I get tired, but happy tired if you know what I mean. :)

When I got to the airport, Alex Britton (one of the producers) picked me up and I got my first assignment. I was invited to go to a concert at the LA Music Center. It was an opera in concert that was written by Richard Sparks who was going to be our stage director. So, even though I had a little jet lag, (not to mention I had to wake up at 4am to go to the airport), I went to see the concert that fortunately only lasted hour and a half. It was a very interesting concert showcasing the story of Rafael Melendez the famous MGM trumpeter form Mexico. A musical "genius" that also played for the army of legendary Pancho Villa. He became one of his soldiers at the age of 12.

I also found out that the Don Giovanni was going to be Jason McKenney who was also the Don during the Martina Arroyo summer program where we became very good friends. I was pleased to know he was going to be singing with us. I got the surprise to meet him there at the concert, and I have to say I was very happy to see him, and by the hug he gave me, he was very happy as well.

I also had the chance to talk to Alex about the concept for the production, and I knew right then it was going to be hard work. The stage will consist of architectural pictures of Seville by Jenny Okun projected on several walls. You can see her work for the show here: http://jennyokun.com/opera/index.htm The concept called for a multilevel stage and three huge walls where all the pictures projections where going to be displayed. And the stage was going to be extended to surround the pit and put us almost inside the auditorium. This one would be used in two occasions during the show. I immediately knew this concept was very ambitious for this very young and small company. And I thank God I found out about it right away. It served me to prepare myself mentally, emotionally and physically for what was about to come. And I was right, it was very hard work on all the people who was involved in the project. A true rollercoster. But in the end it was all worth it.

The first three days of staging were almost brutal. We rehearsed from 10 in the morning to 10pm. 3 sets of rehearsals divided in 3 sections; 10am-1pm, 2pm-5pm and 7pm to 10pm. The reason for this was because of the complications of having 2 different casts and a very abstract stage concept which we had to get used to. Try to rehearse that on a flat surface and you have to be constantly reminded of the levels. And also because this was the stage director's first opera and he had no idea how to work with singers. He thought of us as actors, but voices do get tired, not to mention the physical involvement of singing. But that was about to change when I discovered I was going to do all the shows. Originally I was schedule for three. Two shows in italian and one show in spanish. But Alex, who was going to do one show as Leporello (my character) and one show as the Don (plus he was the producer and set constructor) decided he was not going to sing Leporello because of all the work he had ahead of him and quoting him, he knew I was going to do a great job he officially passed the baton to me. I only had one condition, and that was shorter rehearsal periods. My request was granted and all the cast thanked me dearly. By Friday everything was set to a more relaxing schedule.

Weekend at least was much easy going, even though we had staging rehearsals we also had musical rehearsals and I love those. I love exploring the music. Talking about the possibilities of it and also seeing the conductors ideas of the work. It is the time you really delve into the role you are playing musically and the time when you discover new things. That is what I really love of being a singer. The moments when you discover new things on a score. Things that you didn't see before. Or even discovering you can do things in a different way as your voice matures. I live for those moments. That is when you truly become an artist and you feel free to create.

We also had our first rehearsal with the orchestra. I love sitzprobes. That is what they are called. It is exciting to hear the piece with orchestra. See how good or how bad the orchestra is and the moment you really feel the piece is coming alive. In this case I was happy to hear that the orchestra was good. Even thought they were mostly students, they sounded really good. Carmine Aufiero (the conductor) is really a great musician. His knowledge of music and styles is remarkable. He knows what he wants and he knows how to get it from his players. Even knows how to get it from the singers. The way he transmits his concepts and his ideas is very clear and contagious. You just want to be part of his vision, and I love that from a conductor. He makes you be part of the piece and not a mere vehicle. He wants you to be an integral part of the work and that is wonderful in my humble opinion.

Opening night week was hectic. Monday and Tuesday were supposed to be for our tech rehearsal and the dress rehearsal but neither of them took place. Reason for this being the fact that the stage was never ready until hours before opening night Wednesday October 25th. So we did some staging brush ups and Wednesday afternoon was our "tech-dress" until 5:30pm. We all rushed to eat and came back for an opening night that almost didn't happen. But mysteriously everything went fine. Like they say in "Shakespeare in Love" 'It's a mistery'. All went well but one thing. At the end of act one I was supposed to jump with the Don to the auditorium as our scape to finish the act. A very nice touch and not a high jump at all. I would say about 4-5 feet high. But since we didn't have a proper tech rehearsal, the blackout happened to early and when I jumped the lights went out. Meaning I did not see where or when I was landing. Meaning all my weight fell on my right leg. Meaning I hurt a muscle. To make the story short, next day I realized I was not going to be able to jump at all.

Fortunately the director was very nice to me and he changed the ending. He was really concern about me and felt it was his fault. But I told him it was the circumstances. Nobody could have predicted that the blackout was going to be early.

Overall the performances went along really well. The only problem we encounter was that we were not going to have a Don for the spanish performance as Alex canceled. Fortunately Jason McKenney our italian Don came to the rescue. When asked to do an extra show he said yes. But there was one tiny detail, he does not speak spanish and he did not know the opera in spanish. So interestingly enough we had a Don singing in italian and the rest of the cast singing in spanish. But since this two languages are much alike it worked. I am not going to say it was easy, because it was tough, specially for me. A big percentage of my scenes are with the Don and listening to him in italian and replying in spanish was not a piece of cake. I was switching from italian to spanish all night long and my replies sometimes had a 2 second delay which to the cast and crew was very funny. The audience never realize it, which was good. Overall my spanish translation shinned against the odds that night! :)

The concept of the production was well received and the singers were very understanding and supportive. In my humble opinion the strong part of the show was the singers and the orchestra. The other elements were there to support us. The staging was good and the projections were magnificent. Don Giovanni is not an easy opera to stage, but this one I have to say made sense and judging by the people's reaction the message got across. I got very good feedback from my colleagues and the audience and I am very pleased with my work. I know for sure this is a role I will be able to do for a long time and it can easily become a signature role God willing. By the time I go to perform the role in Texas and in New York next year it will be like second nature. :)

My only regret is that I was not able to go out in LA. I was mostly working all the time so one of the big sacrifices I had to make was not to be able to spend time with my friends from Livejournal. Adam (pinkvinylangel) and JT (pansyfilmmaker) went to see me Thursday night and I was not able even to see them after the show because of the length of the opera (3 and a half hours), they had to leave early. Boy, did I miss seeing you guys! :( But fortunately I was able to meet and go to dinner with my dear friend and soul brother, Richard (prchicano). He came to see me to the last show on Sunday and he went with me and the cast to eat after the show. We had a great time and I was very happy to meet him and in a way say thanks for all the things he has done for me. Richard, that will be an evening I will never forget. I felt like I have known you all my life and I pray to God that we stay friends always :)

Now I'm back in NY. Back to my normal (yet boring) day job. And getting ready for the next engagements. Next week I will be part of Maestro Peter Mark's Masterclasses. He is the artistic director and principal conductor of Virginia Opera. I will also start rehearsing for the "Amahl and the Night Visitors" here in NY. And in early December I will be back in LA for Amahl with El Dorado Opera. Busy me, right? Wish these things start paying more, but for now it is a great boost to my resume. ;)

Love,
Jorge.

PS: I hope this wasn't too long! ;)

Well, this past weekend I sang Leporello in Don Giovanni with Little Opera of NJ in Union, New Jersey.

After a semi-chaotic dress rehearsals all was good for the first show. I have to say this is a role that can be one of my best, if not by far my best. It suits me really well and I can have fun on stage with it! (Not to mention the fun I have off-stage, but hey you all know that if I'm there is going to be fun, fun, fun! LOL)

What can I say about Little Opera? This is a very nice group of people that are really devoted to the art of opera. They are very passionate in what they do and the results are well, maraculous. The most interesting thing is that the ensemble (or choir in other terms) is made off almost a 100% of very young singers. And I mean very young. But they are as serious and professional as the oldest. They like what they do and they are very good at it.

I had so much fun at times it seemed I was not working at all. And I made really good friends, some of them have already joined me here at MySpace! This truly was an awesome experience, and I hope that I can work with them again soon. They are indeed a family and I like that kind of atmosphere. Hopefully I will be able to join them for Barber of Seville next year in April!

To all my friends here from Little Opera of NJ, BRAVI TUTTI! :)

It was really an excellent show! I miss you all!!

Now I am getting ready to go to California Saturday morning to once more perform Leporello with El Dorado Opera in Los Angeles, CA. This time is a challenge because I am also going to sing a performance of it in Spanish. But it is going to be a lot of fun as well. El Dorado Opera is also a very nice group of people with whom I have worked before, so it is a very relaxed atmosphere. :)

Talk to you soon!

Love,

Jorge.

This are the latest news regarding my whereabouts and what I will be doing for the next couple of months:

1) I got a new gig! I will be singing Leporello with Little Opera Company of New Jersey in Westfield at the beginning of October. Two shows on Oct 7 & 8.

2) This coming monday September 11th I will be recording a new demo. This time no opera selections. It will include 4 pieces; one from a mass, one from an oratorio, one spanish song and one aria from Zarzuela. As soon as it is available it will be added here!

3) On September 17th I will be singing in a operatic concert for New Rochelle Opera at Iona College in New Rochelle, NY. This will include selections from the Romantic Period of Opera. I will be singing "La calunnia" from Barber of Seville and possibly "Preghiera" from Nabucco. And also the sextet from Donizetti's "Lucia di Lammermoor."

4) On October 9th I will be doing a new photo shooting to select a new and most needed headshot. I will post the new one as soon as I have it. My agent will be present at the shooting, so I know it will come out really well.

5) On October 16th I will be on my way to Los Angeles, California to sing in El Dorado Opera production of Don Giovanni. I will be reprising the role of Leporello and Il Commendatore. Shows over there will run between October 26th to October 29th. I will be singing in both the italian and spanish versions.

That's all for now. Hope to have more news for you as things develop!

Love,
Jorge.

To all of you who want to follow my artistic footsteps, I created with the invaluable help of my dear friend Benjamin Marcantoni this MySpace page so you can all join me on this fabulous journey!

Sit back, relax and enjoy!

Jorge.