As a tenor, I specialize in both operatic and sacred music. With HIFIMAN headphones, I can hear every subtle detail in my voice and make necessary adjustments to improve my performance.
Could you describe what you do as a musician in plain words that are understandable to a non-musician? I am a singer, and normally I spend a lot of time rehearsing and preparing the pieces that I will perform in concerts. I try to convey to the audience the musical idea of the composer filtered through my own interpretation
When and how did you decide to become a professional musician? Did you understand what you signed up for back then? Did it turn out the way you had imagined? I decided to become a professional musician during the first few times I performed on stage. That feeling of connecting with the audience made me realize this was what I wanted to do. At that time, I wasn’t fully aware of what it really meant to be a professional musician. I just knew that I was passionate about music and wanted to dedicate myself to it, but over time, I came to understand the effort, consistency, and challenges that come with this profession.
VANDALIA en concierto. La Bomba (Mateo Flecha, 1481-1553). Fundación Juan March Madrid (20/03/19)
Do you still listen to music for leisure these days? Yes, but I listen to other kinds of music, completely different from my professional work, especially Lady Gaga, Billie Eilish, Muse, Radiohead…
What are some works of music that are in your personal sacred shrine? In relation to my work as a musician, I would say almost all of the 16th-century polyphony and the complete works of Bach. But if I had to choose just two, perhaps Bach’s Mass in B minor and Tomás Luis de Victoria’s Officium Hebdomadae Sanctae (Holy Week Offices)
What are some recordings that you were inspired by, and why? I'm not particularly a fan of idolizing recordings, but perhaps Philippe Herreweghe's St. Matthew Passion would be an exception. (2009 recording)
How important is the presentation of sound to you in a recording? Do you believe a recording can be either “musical” or “sterile”? I’m absolutely convinced of the importance of sound quality in a recording, to the point that I believe poor sound can completely ruin an otherwise great performance. As both a sound engineer and a musician, it’s relatively easy for me to understand what the performer wants when recording, because we speak the same language. But sometimes, when working with engineers who don’t understand music, communication can be quite difficult.
How does audio playback gear, especially headphones, influence the way you perceive recordings, and music in general? Does it inform your own performance? Have Hifiman headphones brought any revelations to your creative work? Since I started working with Hifiman, I've finally experienced a clarity in instrument placement and the overall soundstage in recordings that I hadn't encountered with other brands before. When I use my headphones, I simply close my eyes, and even while editing a recording, I genuinely enjoy moving instruments or vocals around in the mix with full confidence that the result will be exactly what I'm aiming for
What was your proudest work or moment you could share with us? Proudest recording? As a performer, perhaps the works I’m most proud of are Monteverdi’s Orfeo with Jordi Savall, recorded in Paris in 2023, and Scarlatti’s Il giardino di Rose with La Ritirata, recorded last year in Madrid.
Do you have any upcoming performances or albums you’d like to share with us and our audience? I usually perform around 70 concerts each year and work on an average of 15 to 20 albums between my activities as a musician and sound engineer! Every project is special, and I try to give each one the utmost care. Among my upcoming projects as a singer, I will perform the role of Uriel in Haydn’s The Creation in Slovenia this June.
Could you describe what you do as an audio engineer in words that are understandable to an audiophile?
As a sound engineer, I strive to achieve the best possible sound so that the performer can express their musical ideas without interference. When it comes to classical music, clarity is fundamental in this regard, and our work should not influence the musical aspect.
Were you an audiophile before you became an audio professional? What led to this career choice?
No, not at all. I’ve always enjoyed listening to music, but I wasn’t particularly demanding with sound quality. I cared more about the performance itself. But then I met a friend who was an audiophile, and that’s when the path of obsession began.
What are some of your favorite works that inspired you when you were an aspiring audio Engineer?
In my case, it wasn’t specific works that inspired me to become a sound engineer. I started from my perspective as a musician and the pleasure of being able to capture in a recording the sound I was looking for as a performer. The combination of both is perfect because I can bring to a CD what I interpret in the most faithful way possible.
What are some of your own works that you’re most proud of?
As a sound engineer, perhaps one of the results I'm most proud of is the CD we recorded of Brunetti's string quartets with the group Concerto 1700. Thanks to my Hifiman I can feel the instruments in the mix at every moment in this recording.
All audio professionals use headphones at one point or another in their workflow. How do you use headphones?
I love using headphones for almost the entire mixing and mastering process. They’re practically the only tool I use. There’s a moment when I have the sound almost finished where I like to check everything with speakers to make sure everything is in place, but the vast majority of my work is done with headphones, especially high-quality ones like Hifiman.
Have Hifiman headphones informed your production decisions or the way you listen/mix/master?
Yes, Hifiman headphones (Arya Stealth) have definitely influenced my production decisions and the way I listen, mix, and master. They provide exceptional clarity and detail, allowing me to hear every nuance in the recordings. This level of precision helps me make better-informed choices throughout the production process.
What are some of the exciting upcoming works you would like to share with us?
I have a lot of projects during the year. Regarding recordings, this month we will be working on a Spanish Baroque music recovery project in Madrid, and another album featuring works by C. P. E. Bach in Valencia. Normally, I produce around 20 recordings every year.
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