I am a big fan of Ernesto Ramirez and his beautiful tenor voice. I’ve seen him sing several times. The voice has a memorable sound, indeed the ideal colour for the Italian bel canto repertoire.
He is a singer of intelligence & sensitivity. I love the colour of his voice!
On May 17th Ernesto will join Holly Chaplin (another singer I admire) for Hello Goodbye, a concert of romantic duets.
To find out more about him and the concert I asked him some questions.
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Barczablog: Are you more like your father or mother?
I carry both of them in different ways. From my father, I inherited discipline and a strong sense of responsibility—he has been the source of my strength in difficult moments, but also an example of maintaining joy even when life is not easy. From my mother, I got emotional intensity and intuition, which are essential for what I do on stage. My life has been about learning how to balance those two forces: control and expression.
BB: What is the best or worst thing about what you do?
The best thing is the ability to connect deeply with others through music. It is a universal language—when it truly communicates, words are not necessary. There are moments on stage where everything aligns—the voice, the orchestra, the audience—and it feels timeless, almost like stepping into another era of human experience.
The worst part is the instability. Financial pressure, constant self-promotion, and the emotional toll of the industry can distract from the art itself. Many careers burn out because survival becomes the priority, and the artist gets lost in the process.
BB: Who do you like to listen to or watch?
My listening is very broad. I study great operatic voices, but I also listen to jazz, folk, and traditional music. Freedom of expression is what inspires me most.
Outside of music, I enjoy documentaries and interviews. I’m interested in how people think and how they build their lives.
BB: What ability or skill do you wish you had, that you don’t have?
I wish I had a stronger instinct for delegation. As artists building our own projects, we tend to carry everything ourselves. I’m learning to trust my colleagues more—allowing them to contribute creatively and share responsibility. That process has been very rewarding.
BB: When you’re just relaxing and not working, what is your favourite thing to do?
Spending time with my daughters is central to everything. Something changed in me the moment I held them for the first time—that taught me more about connection than anything else.
Beyond that, I value silence. Walking, reflecting, reading—stepping away from noise and resetting mentally. In today’s world, that feels essential. but also talk with my friends when possible!
BB: What was your first experience of music?
Music was always present growing up. It wasn’t something formal—it was something lived. Singing came before I understood what training was. That natural connection is something I still try to protect.
After traveling and experiencing different cultures, I’ve realized that we are not so different. Music reveals that. It connects, heals, and reminds us that we share the same human need to express.
BB: Who is your favourite singer?
It’s difficult to choose one, but Luciano Pavarotti had a profound impact on me. Also Plácido Domingo, especially because of his connection with Mexico—I remember seeing him on television as a child, singing in a puppet show, and that stayed with me.
What I admire most about Pavarotti is his ability to combine technical mastery with emotional truth—without exaggeration. Everything was in the voice and the language . That is something I strive for every day.
BB: Were you always a tenor?
No. Like many singers, my voice evolved. It took time and the right guidance to settle into the tenor repertoire. That process teaches patience. Forcing the voice into the wrong category can cause long-term damage.
It also requires self-awareness—understanding your strengths, your limitations, and being open to growth beyond what the system expects.
BB: What instruments do you play?
My father introduced me to piano, and like many kids I learned some guitar. But the instrument that truly captured me was the clarinet. Hearing my grandfather and uncle play at at the highest level, and later discovering the Brahms sonata, had a deep impact on me.
I trained as a clarinetist and completed university studies in it. Today, piano remains an essential tool for learning repertoire and understanding music, though I mostly play it for personal enjoyment.
BB: On May 17th you and Holly Chaplin sing a concert together—what are you singing?
The program is centered around bel canto repertoire. Holly introduced the idea, and her concept—Hello and Goodbye—sparked the narrative direction first.
The selections explore themes of love, meeting, and parting, combining lyrical intimacy with more dramatic moments. It’s a story within stories, designed to be accessible while still offering depth for experienced listeners.
BB: What was the thinking behind the program?
Balance and communication. A concert should take the audience on a journey, not just loud singing with top notes. We wanted something simple but meaningful—bringing together humour, love, tragedy, and ultimately hope.
BB: Between you and Holly, whose input designed the program?
It started collaboratively, and then we divided roles to move efficiently. There’s always dialogue—what works vocally, what creates contrast, what tells the story clearly. It’s built on mutual respect.
BB: What is your favourite piece to sing as an encore?
It depends on the audience, but something direct and emotionally immediate works best. For me, returning to my native language allows a deeper level of expression and connection.
BB: Have you ever felt a challenge reconciling the business side with the art of music?
Constantly. The business side—agents, contracts, funding, marketing—is necessary, but it can easily overshadow the art. The challenge is to build systems that support the work without compromising integrity.
BB: What can classical music learn from popular musicians?
Clarity and direct engagement. Popular artists communicate without barriers. Classical music sometimes hides behind tradition instead of inviting people in.
We also need to remember that classical music was once the music of the people. It should still challenge us, elevate us, and refine how we think—not become inaccessible.
BB: Who are your favourite artists you’ve worked with?
I’ve worked with many remarkable musicians across genres—from collaborations connected to the pianist that worked with Prince, to experiences with members of Tower of Power. and other bands.
In opera, working with artists like Sondra Radvanovsky, Tracy Dahl and Erika Grimaldi has been deeply inspiring. What stands out most is integrity—artists who are prepared, collaborative, and committed to the work.
BB: Tenors are often the romantic lead… how do you feel about that stereotype?
It’s part of tradition, but it’s limiting. The tenor voice can express far more—conflict, vulnerability, darkness.
That said, composers often use the tenor voice for romance because of its emotional colour—it can move people in a very direct way.
BB: What aria best showcases your voice?
It depends on where the voice is at a given moment. For me, repertoire that combines lyricism with dramatic weight works best.
More importantly, it’s not just about the aria—it’s about the context. Understanding what happens before the aria is essential to singing it truthfully. Perhaps some arias are better suited for the color of the voice than others. But to express would be the main goal!
BB: If you could tell institutions how to train future artists, what would you change?
Less emphasis on conformity, more on individuality. Artists need technical training, but also the ability to think independently and develop at their own pace.
The voice takes time. Growth doesn’t follow deadlines or age limits. Still they are doing a fantastic job to train the new generations to what the new era needs.
BB: What would you say to Toronto audiences about North American artists?
The level of artistry here is extremely high. Supporting local artists is not about lowering standards—it’s about recognizing excellence that already exists.
BB: What is your favourite role? Any role you wish you could sing?
I am a believer that a singer’s relationship with repertoire evolves over time. What matters is approaching each role at the right moment, I love music and each time I am involved in a project it becomes the favorite of the moment.
Many roles I once dreamed of—like Pinkerton or Don José—became realities through discipline and patience. That taught me to turn dreams into structured goals.
BB: What are your favourite melodies to sing?
Mexican melodies, especially those that feel natural and inevitable—where the emotion lives inside the line. But that quality exists in all great music.
BB: What influences / teachers were most influential on your development?
Many mentors shaped me, but what they shared was a commitment to truth.
One I will name is Bruno Pola—he planted the seed that led me into opera. Good teaching goes beyond technique; it helps you understand who you are and how to communicate that honestly. Any teacher that taught me something is and will be a treasure in my life forever.
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That voice! I want to hear more of Ernesto’s beautiful tenor.
I’m looking forward to Hello Goodbye, a concert featuring romantic duets from bel canto opera is coming up on Sunday May 17th at 3:00 pm at Beach United Church, 140 Wineva Ave. Ernesto & Holly will be joined by Narmina Efendiyeva on the piano and Ryan Hofman as narrator.
barczablog 