Singer and instructor at the Mazatlán Municipal Center for the Arts, José Miguel Valenzuela performs the role of Sarastro in Wolfgang Amadeus Mozart’s *The Magic Flute*—a production by the Philharmonic of the Arts presented at the University Cultural Center in Mexico City.
Sarastro—a figure representing wisdom, temperance, and moral authority within the opera—is one of the great roles written for low voices. For Valenzuela, it represents an opportunity to explore a more solid and firm vocal texture, aligning with the stage of maturity his instrument has reached.
“It is my first role utilizing a more solid texture in the lower register. Maestro Enrique is the one who recommended me for this type of character and provided the opportunities and encouragement for me to establish myself in this repertoire,” he stated.
The staging concept also allowed him to approach the character from a more personal perspective. Instead of portraying the traditional solemn elder, the costumes and dramatic vision present a younger-looking Sarastro; this facilitated a natural performance, eliminating the need to artificially construct an age or physicality far removed from his own.
For the performer, this approach marks a turning point: his voice is beginning to show greater firmness and fullness, paving the way for roles that demand authority, sonic breadth, and a commanding stage presence.
In this evolution, he clearly recognizes the formative influence of Enrique Patrón de Rueda, grounded in technical solidity and meticulous attention to every aspect of the production.
“The hallmark lies in technical solidity and the importance of attending to the details of a complete work: technique, interpretation, aesthetics, and presentation quality,” Valenzuela highlighted.
From the stage to the pride of shaping new voices
His participation in *The Magic Flute* also holds deep emotional significance: sharing this nationally acclaimed production with Vanessa Gama and Rosa Ferreiro—singers who were once his students at the Municipal Center for the Arts. Valenzuela expressed his joy at witnessing the artistic growth of both performers on stage and recognizing his own role in their respective vocal training journeys. The experience holds special significance due to Vanessa Gama’s professional debut in a leading role.
“It is a wonderful feeling to know I was part of their journey,” the artist remarked, noting that both young singers had been his students and were now sharing the stage with him in an opera production of this magnitude.
Thus, his participation in the production carries a dual significance: while he solidifies a new phase of his career performing the low-voice repertoire, he also sees the knowledge he imparted in the classroom finding continuity and a platform on a national stage.
Bass-baritone José Miguel Valenzuela has performed at various venues across the country and is currently a member of the Enrique Patrón de Rueda Opera Workshop. Supported by Escena 77, he also pursues significant teaching work at the Municipal Center for the Arts, where he gives lessons and actively contributes to training new voices and promoting the art of operatic singing.
