When reviewers commended the world premiere of “The Righteous” for its stellar vocal performances last summer, their write-ups included praise for two Young Texas Artists (YTA) Gold Medalists in Voice. They are Baritone Michael Mayes (2002), currently a nominee for a DER FAUST (Germany’s most prestigious theater award), and soprano Elena Villalón (2020), who made her Carnegie Hall recital debut earlier this fall.
Santa Fe Opera presented “The Righteous,” written by composer Gregory Spears and former U.S. Poet Laureate and Pulitzer Prize-winner Tracy K. Smith, July 13-Aug. 13. The opera explores the tension between faith and politics in the 1980s through Mayes’ character, David.
Powerful Performances
“David is a preacher from the ‘70s and ‘80s who eventually becomes the governor of a southwestern state (not explicitly mentioned but it looks a lot like Texas) who mistakes his own ambition for the voice of God,” Mayes wrote in an email interview with YTA. “The course of the opera winds through the wreckage that this misconception wreaks in his life and the lives of those around him.”
Mayes’ performance in “The Righteous” was described as “impressive, vocally and dramatically” by San Francisco Classical Voice. OperaGene wrote, “The opening prayer aria sung by Mr. Mayes clearly demonstrated the power and the beauty of his voice and singing, as well as his believability in the role.”
Portraying David’s wife, Sheila, was Villalón. It was the first time she and Mayes performed together.
“Elena has such a beautiful voice, and the role was so wonderfully executed for her,” Mayes wrote. “It was a pleasure to hear her use the kaleidoscope of colors she has at her disposal in a role that was so expertly catered to her strengths as a singer and actor.”
Villalón received praise from reviewers as well. OperaGene wrote that Villalón sang “with clarity and great depth of feeling…Her well-played journey in the opera as Sheila was the most engrossing of the evening.”
International Recognition
In addition to commenting on “The Righteous,” Mayes answered questions about his recent DER FAUST award nomination, which he says has been incredibly humbling, but also vindicating.
“I have always considered myself to be an American opera singer, but as often is the case, It wasn’t until I was able to take advantage of performance opportunities abroad that I was able to truly be seen as an artist, and I will always be grateful to the European community for providing me with opportunities that simply weren’t available to me domestically,” Mayes wrote. “For an artist like me who has been largely ignored by mainstream operatic gatekeepers in this country, it is an incredibly humbling, yet vindicating experience to find an artistic and cultural home in Germany and have a lifetime of work and dedication to my chosen art form so highly recognized in a place where opera isn’t a curiosity, but rather an intrinsic part of their cultural tapestry.”
Currently, Mayes is rehearsing the title role in a new production of Benatzky’s “Casanova” at Staatsoper Stuttgart, which will open in late December.
The production will “dovetail with my role debut at The Atlanta Opera with ‘Macbeth’ — one of the triple crown roles of the Verdi baritone repertoire,” Mayes wrote. “Directly on the heels of ‘Macbeth,’ I will be heading to Houston for a role in ‘Breaking the Waves.’ Working in Houston is always such a joy because my family and home folk are able to attend, which is a rare treat.”
Advice for Emerging Artists
Mayes said if he could offer any advice to emerging classical artists, it would be — unless they’re on a career fast track in the U.S. — to head to Europe as soon as possible after completing their training.
“The number of opportunities there for emerging talent and established professionals alike are just staggering in comparison (to the U.S.), and it is a move I wish I had made long ago,” he wrote. “Moving forward, given the general arc of what we are seeing in the classical music industry, a healthy and viable career will need to have strong ties to Europe and the emerging markets in the East to remain so.”
Mayes also expressed appreciation for YTA and other Lone Star arts nonprofits.
“I encourage the folks at YTA and other nonprofits in Texas to double and redouble their fundraising efforts with respect to classical musicians and the institutions that provide them opportunities. I remember Texas always being the envy of the nation when it came to arts funding in education; the phrase ‘Texas: State of the Arts’ springs to mind. It was always a source of pride for us Texans who are known far and wide as striving to be the best at everything.
“In these times of shrinking public funding for these artists and institutions, it has never been more important to the health of our artistic ecosystem in Texas that nonprofits and those that fund them step in to fill these gaps and help us ensure that Texas will always be a leader in the arts, and a place known to produce some of the most important figures in classical music.”