Cristina Diaz is a triple threat. She has beauty, a great personality and a brilliant, angelic voice.
Diaz, a native of Spain, is starring as Dorina in the opera L’Osteria de Marechiaro or The Tavern of Marechiaro, in Cagli, Italy. It is her fifth opera performance and her first lead role. The president of the opera house recruited Diaz to join the Cagli Opera after he heard her in an opera competition. Diaz’s character Dorina, a lady of high social standing, falls in love with her father’s valet. The couple’s love stays true throughout the entire humorous story and finally Dorina’s father accepts their love.
“Life needs to be filled with fun,” explains Diaz on her role in the comic opera, “If I can give people that fun in their life, then that is great.”
Growing up in Spain, Diaz was constantly surrounded by musical talent. Her grandfather, who was skilled in five instruments, was her biggest musical influence. He taught her the importance of communication through music. “I like people, and I want people to like me,” Diaz says. “I want to communicate with people, and singing is the most emotional and spiritual way to do that.” |
Diaz got her current role because she worked and studied extensively. Her resume includes four previous opera roles, numerous concerts both contemporary and classical, and training with Margit Jerenias, a Hungarian opera singer. She has now mastered five languages, all for the purpose of performing operas in their original languages. Her career has taken her to France, Germany, Hungary and now Italy. The president of the Cagli Opera noticed her impressive vocal range when Diaz placed fifth at an opera competition in Hagen, Germany. Diaz says, “I was in the right place, at the right time, surrounded by the right people.”
Diaz was hired in Italy to play the role of the Desdemona in Verdi’s Otello. When Diaz arrived in Italy, however, Otello was no longer in the lineup at the Cagli Opera Festival. Although disappointed about losing such a substantial role, Diaz is still enthusiastic about being able to do an opera in Italy.
“If you want to be recognized as an opera singer, you must go to Italy.” Diaz says. Playing any role in Italy is a dream come true.
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“One day, I hope to be as well known as my favorite opera singers: Maria Callas, Virginia Zeani, and Elena Obrazsona.” Diaz explains. “My voice is not mature enough yet to sing the roles that they are famous for.”
Before Diaz retires as an opera singer, she would like the chance to attempt some of the more challenging roles. She would like to perform in three or four more major roles and explains that playing the part of Lady Macbeth would be the highlight of her career. “My body is not ready yet for this part.” Diaz explains. “If I tried to sing Lady Macbeth now, I would destroy my voice.” She will have to wait another six or seven years before her voice will be able to handle such a role. Most singers need to be at least 35 before their voices and bodies are fully matured, she says.
Once Diaz has accomplished these feats in her singing career, she would like to be able to communicate with people in another way, writing.
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“When you are an opera singer, your life is constantly being managed. I would like to have the freedom to manage my own life and my own time.” Diaz explains. “Singing opera forever would make me crazy.”
While rehearsing for the opera, Diaz can only write in her limited free time and in the winter, when she can be found writing from the early morning hours to as late at 11 o’clock at night. One day she would like to be able to be a full-time writer of novels that could be turned into movies or musicals that she would produce.
“As a singer, you are always looking for a job.” explains Diaz. “I just want the comfort to live.”
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