Justino Díaz

Justino Díaz

Birth : 1940-01-29, San Juan, Puerto Rico

History

Justino Díaz (born January 29, 1940) is a Puerto Rican operatic bass-baritone. In 1963, Díaz won an annual contest held at the Metropolitan Opera of New York, becoming the first Puerto Rican to obtain such an honor and as a consequence, made his Metropolitan debut in October 1963 in Verdi's Rigoletto as Monterone. Díaz was born in San Juan, Puerto Rico, the capital of the island, but lived and was raised in the town of Cataño. He attended Robinson Elementary School where, at the age of 8, he started to participate in the school's activities as a singer. In his first school play, when he was 10 years old, he sang the song "Old Black Joe", which became his favorite. After finishing his primary education, Díaz attended the University of Puerto Rico High School in Río Piedras. While in high school, he took singing classes and participated in various presentations around the island. Díaz joined the choir of the University of Puerto Rico, under the direction of Augusto Rodríguez, where he sang solo. His operatic debut was in 1957 as Ben in Gian Carlo Menotti's The Telephone, or L'Amour à trois. It wasn't long before Díaz enrolled in New England Conservatory in Massachusetts. One of his professors was Boris Goldovsky, who would be very influential in his career. Díaz made his professional debut as an opera singer at the Opera Theater of New England. In 1960, Goldovsky asked Díaz to join his opera company on a 20-state tour. After the tour, he entered and participated in a competition celebrated at the Metropolitan Opera House, winning third place in the New England region. Díaz moved to New York upon finishing his studies at the conservatory. Goldovsky recommended that he be represented by Hans J. Hoffman, a talent agent. Soon, Díaz was singing alongside other artists at the American Opera Society. He also sang with the Rochester Philharmonic Orchestra and the Boston Symphony Orchestra. On March 29, 1963, Díaz won the Metropolitan Opera National Council Auditions, becoming the "first" Puerto Rican to obtain such an honor. As a consequence, Díaz made his Metropolitan debut in October 1963 in Verdi's Rigoletto as Monterone. He went on to sing 400 performances in 28 roles at the Metropolitan Opera, his final appearance there being Baron Scarpia in Tosca, in 1994. Among the opera houses in which Díaz has performed are: Paris Opera, The Vienna Staatsoper; the Opera House of Salzburg; the Opera of Spoleto; the Opera of Rome; The Royal Opera House in Covent Garden; the Teatro Colón in Buenos Aires; the Zarzuela Theater of Madrid, Barcelona's Gran Teatre del Liceu and others. In 1966 he helped to inaugurate the Lincoln Center in New York City by starring opposite Leontyne Price in the opening night performance of Antony and Cleopatra by Samuel Barber. The bass-baritone was seen at La Scala in two operas of Rossini, L'assedio di Corinto (with Beverly Sills and Marilyn Horne, 1969) and La pietra del paragone (at the Piccola Scala Arturo Toscanini, 1983 and 1983). He first appeared at the New York City Opera in Ginastera's dodecaphonic Beatrix Cenci, opposite Arlene Saunders, in 1973. ... Source: Article "Justino Díaz" from Wikipedia in English, licensed under CC-BY-SA 3.0.

Profile

Justino Díaz

Movies

The Opera House
The Opera House
Self
In this documentary, award-winning filmmaker Susan Froemke explores the creation of the Metropolitan Opera’s storied home of the last five decades. Drawing on rarely seen archival footage, stills, and recent interviews, The Opera House looks at an important period of the Met’s history and delves into some of the untold stories of the artists, architects, and politicians who shaped the cultural life of New York City in the ’50s and ’60s. Among the notable figures in the film are famed soprano Leontyne Price, who opened the new Met in 1966 in Samuel Barber’s Antony and Cleopatra; Rudolf Bing, the Met’s imperious General Manager who engineered the move from the old house to the new one; Robert Moses, the unstoppable city planner who bulldozed an entire neighborhood to make room for Lincoln Center; and Wallace Harrison, whose quest for architectural glory was never fully realized.
La familia Figueroa: una dinastía musical
La familia Figueroa: una dinastía musical
Himself
Documentary on the life and accomplishments of the members of this uniquely talented musical family. The film focuses on the Figueroa family’s history within the context of its creative universe, dating back to the 19th century. Through the use of photographs, historic film footage, recordings, sheet music, newspaper clippings, and posters, the musical trajectory of the family is brought to life and their role in transforming the musical history of Puerto Rico and the world is portrayed.
Callas Forever
Callas Forever
Scarpia
A fictionalized account of the last days of opera singer Maria Callas.
Rafael Hernández, jibarito del mundo
Rafael Hernández, jibarito del mundo
Himself
Through interviews with friends, family, and colleagues, the documentary relates the life and career of Rafael Hernández, one of Puerto Rico’s most renowned and beloved composers of popular songs.
Meyerbeer: L'Africaine
Meyerbeer: L'Africaine
Nélusko
This was a 1988 revival of a 1971 production that teamed Domingo (Vasco da Gama) and Verrett (Selika - both then very much in their prime) in Meyerbeer's discursive swan-song. Seventeen years on, they are more statuesque than sexy, but both give larger-than-life performances that contain moments of completely thrilling vocalism. The casting is very strong, with the exception of Justino Diaz's Nelusko, which has strong presence but not much vocal allure. As Inez, Vasco da Gama's fiancee and rival for Shirley Verrett, Ruth Ann Swneson sings with great beauty and has impressive stage presence, very much holding her own in the confrontation with Verrett in the last act. Domingo is refulgent of tone and dramatically convincing, and he and Verrett strike sparks. She really comes into her own in one of the most preposterous mad-scenes in all opera, where she is slowly poisoned by the scent of a giant tree, contriving to make this dramatically truthful and even moving.
Otello
Otello
Iago
Based on Shakespeare's play, Verdi's opera depicts the devastating effects of jealousy, "...the green-eyed monster which doth mock the meat it feeds upon". Believing Otello has promoted the fast-rising Cassio over himself, Iago plots to destroy both Cassio and Otello. Iago convinces the jealous Otello that his beautiful wife Desdemona is unfaithful, and that Cassio is her lover. Jealousy is followed by tragedy, then retribution, "Has Heaven no more thunderbolts?"
Rigoletto
Rigoletto
Sparafucile
A Victor Hugo play, haunting and scandalous, provided the inspiration for Verdi’s mid-career masterpiece. A vengeful but misguided court jester strives to save his daughter from a duke’s licentious clutches, but can't part with the feeling that a curse looms over all of his actions. In Rigoletto, the composer introduces several of his most iconic arias and duets—as well as an 11th-hour quartet that counts among the finest moments in opera.
Bizet Carmen
Bizet Carmen
Escamillo
This spectacular opera film was taped in 1967 and is based on the 1966 Salzburg Festival production directed by Herbert von Karajan himself, who also conducts the fabulous Vienna Philharmonic Orchestra. The production features the three greatest exponents of their respective roles at the time: Grace Bumbry’s magnificently seductive-toned Carmen, Mirella Freni’s ineffably lovely, touching Micaëla and Jon Vickers’s thrillingly manic-depressive Don José. On its release the film was hailed by Die Presse, (Vienna) as a “unique artistic event”, while Le Monde felt that Karajan’s production brought “a whole new dimension” to the opera, “combined with a magisterial interpretation”. A classical and utterly dramatic approach to probably the world's most beloved opera – Karajan’s Carmen is as much a delicacy for opera fans as it is a perfect starter for newcomers.