Interview with María Eugenia Barrios, the Diva of Cuban lyrical art

María Eugenia Barrios, a woman full of youthful explosiveness although she is almost 8 decades old, impresses with her small stature, lively eyes and completely white hair. Able to stretch to the floor, lift legs like a gymnast and... the best! sing at the top of his voice, a cappella, the Salida de la Cecilia, putting a very personal stamp on the reggaeton atmosphere that surrounds him in his home in Central Havana.

CyberCuba dresses up with a soprano that exalts, not only Cuban lyrical art in its broadest sense, but Cuban culture in all its manifestations.

Barrios, the Diva of the Cuban lyrical genre, will turn 79 on December 16. This Saturday he will celebrate his 60th anniversary of his artistic life with a concert at the San Felipe Neri hall in Old Havana.

“I was born an artist. You know that many, whatever the modality, are manufactured, molded, their qualities are used, which are put according to what you want to achieve. I don't. “I was born an artist…and I still am!”

Do you doubt it? At that moment, in the very cozy living room of her home, Barrios gets up and begins to sing an aria that leaves me stunned.

I have to confess that, although I always admired her, I joined her fan list when at the Gala for the 110th anniversary of Cuban athletics, she sang the immortal “Cecilia Valdés” by Gonzalo Roig, which made an audience of Olympic and world champions. This gigantic woman swept the stage with her enormous voice and her unbridled passion for what she loves so much: Cuban lyrical music and sports!

Teacher, tell me about your beginnings, were you always inclined towards music?

“I was born in the capital's Cerro on the same day as that genius of universal music that is Ludwig van Beethoven, and without having a musical background in the family.

“I studied at the nuns' school for poor girls 'Rosalía Abreu', owner of the well-known Finca de los Monos and sister of the founder of the city of Santa Clara and independence fighter Martha Abreu.

“At that time, the practice of basketball, softball, kikimbol, volly, and gymnastics was mandatory. I used to be the guide of the gymnastic board because of this elasticity that still characterizes me and, believe me, I was very happy. Hence my incredible love for sport, especially if 'mine' are competing."

I look at her with fixed attention. Is the teacher telling me this because of my relationship with the sport or because she really is a faithful follower of it?

“I am a fan of sports, of all of them. And if we talk about those who are or were powers in Cuba, more: volleyball, athletics, basketball, baseball, boxing. And if we refer to the figures that I admire, we would not talk about music. I love Alberto Juantorena, Ana Fidelia Quirot, Mireya Luis, Iván Pedroso, Javier Sotomayor, Dayron Robles, Mijaín López who is going for his fourth Olympic title; What do you tell me about the jumper Juan Miguel Echevarría who must win the distance in Tokyo 2020 and the Shadow Julio César la Cruz? My idol will always be Teófilo Stevenson; For me, the greatest fighter in this country.”

This sublime soprano is certainly a faithful follower of the sport.

“I return to my conversation, the problem is that we touch on a topic that I am passionate about. As I told you, I don't come from a family of artists, but I do come from one that allowed me to be what I am.

“My father, Estelio, a Guajiro from Pinar del Río very advanced for his time, instilled in my sister Esther and me that women would not be free if they did not think, if they did not use their intelligence.

“That's why the first thing I had in my house was a plate of food, because he said that without eating you couldn't live; and the second, a book, food for the soul. We had no clothes and only a pair of shoes, which were usually a birthday gift.

“My father was demand, discipline, control, correction. My mother, Eugenia, also of peasant origin, a native of Güines, compensated the couple with her tenderness, love, understanding; “She sang tenths to me and we loved listening to her.”

I have never conducted an interview as graphic as this one; These are the moments when I miss a television camera. María Eugenia leaves her comfortable chair again and improvises a tenth. Her eyes reflect the love with which her mother sang it to her, her hands fly to the beat of the guajira music. All of it is verse, poetry, chimera.

“Oh, we are not moving forward. Where he was going? Oh yeah. I am currently married to Juan Antonio Santana, and we both reincarnated the film 'The Birds Tiring the Shotgun', since his son is married to one of my daughters, María Eugenia, the orchestral woman of the family: she knits, she paints, she is an artisan and plays all the instruments despite her status as a housewife. Ha ha ha".

His other daughter is the excellent actress Amarilys Núñez.

“Yes, they are both daughters from a first marriage. Amarilys is currently married to a Frenchman and lives abroad but you know? He does not forget his passion: acting. Sure, she's more dedicated to her home now.

“In total, I have 3 grandchildren, hers is the boy, who is currently 21 years old studying at a famous university in Philadelphia. The girls, Laura and Claudia, are from María Eugenia; They are also very talented. Claudia was my accompanying pianist for 15 years and is now pursuing a doctorate in Indiana, United States. Laurita is a computer scientist and now works in an important company in Montreal, Canada.”

Teacher, we have talked about sports, about your beautiful and very cultured family, but you still haven't told me anything about how the “bug” of cultured music bit you.

María Eugenia smiles. “Contra, it's true. When I was a girl, we were poor, and in my neighborhood there was only one television that was in the house of 'Tarzanito', who would later become the famous actor Bernardo Menéndez.

“We neighborhood children would gather at his house and, sitting on the floor, we would delight in that invention that was just taking its first steps on the planet: television!, and that featured singers in all its programming. lyrical

“Imagine being able to see and hear Martha Pérez, Gladys Puig, Ana Menéndez, Estelita Santaló, Rosita Fornés, Ana Margarita Martínez Casado, Armando Pico, Ramón Calzadilla in programs masterfully conducted by professionals like Germán Pinelli. I remember 'Jueves de Partagás', 'Casino de la Alegría' and other spaces... and bel canto appeared in all of them!

“See those girls and gentlemen with those dresses, garments, suits. Listening to the 'María la O' by maestro Ernesto Lecuona, the 'Cecilia'...I left there wrapped in a mauve cloud! And of course with the mind and heart set on singing but...it wasn't easy at all!

Because? With that cannon that you have for a throat at almost 80 years old, I imagine myself in your youth.

“That's not where the thing comes from. My dad, I already told you his characteristics, stated that to be a singer you had to have a lot of money or be a light, frivolous woman. He didn't understand, he wanted me to study.

“So when I almost graduated as a normal teacher, at the age of 18, in 1959, my friends and I went to the well-known 'pits' attached to the 'Amadeo Roldán' theater, where the National Concert Band rehearsed, no less than try to see maestro Gonzalo Roig, its director, with the aim of requesting the score of the Cecilia to sing at the graduation party.

“Try to imagine the face of Roig, who by the way received us kindly, when he saw a group of girls dressed in the Normal uniform and making such a request.”

I really can't imagine, it seems crazy; Well, crazy in this case.

"Hahaha. Likewise and more so when that genius of our lyrical music tells us: 'and who is going to sing it?'

“Boldly, I said: 'ME'. He replied: 'Don't you know that that work is very sharp?' and again I, with the ease of youth, answered: 'I sing it like Martha Pérez.'

“Look, if you see it. His glasses slid halfway down his face, he looked at me astonished at what he thought was a total lack of respect and he snapped at me: 'You're going to show me right now!'

Could you sing teacher?

“Girl, Roig started the introduction twice and I was silent. He realized that it had been hard and urged my companions to play Cecilia's chorus, and there I picked up the tone and sang... Yes, I sang with all my soul, with my voice that wanted to make its way on the big stages, I sang like bird whose cage is opened. I just… sang!

“The teachers, prestigious musicians in the band, stood up euphoric, still applauding.”

And what did the teacher say?

“Simple: 'When is your graduation, little girl?' The band and I are going to accompany you that day... Tell me Julita, if that wasn't the best of the beginnings of this career that has already spanned 60 years. There I showed myself that I was born an artist, that I would fight against any obstacle that tried to prevent me.”

Generally behind a great figure there is a great story. María Eugenia Barrios is no exception.

“As I told you, my father insisted that I continue studying and I continued my higher education at the Faculty of Humanities of the University of Havana, in the school of Pedagogy, but teacher Gonzalo Roig never abandoned me; He always accompanied me whenever I did a concert, whether in Bejucal, San Antonio de Río Blanco or Parque Central.

“Even though they cut the degree due to the need for teachers, I couldn't do the thesis, because I got married at 20 years old and had my first daughter in addition to my love for bel canto and not for pedagogy hahahaha. ”

Anecdotes from that time, how did it become what it is today? Because until now he hasn't talked to me about any singing school.

"It's true, and for that reason Roig himself and the also distinguished teacher Félix Guerrero 'fought' me for a singing scholarship in Moscow, which at first I didn't like as much as if it had been in Italy or Germany, but in the end It turned out to be the best thing that could have happened to me due to the level of demand I had to assume.

“But before that scholarship, I faced tough obstacles, such as when I was not chosen for Cecilia in the University Festival because they opted for the very young and talented Alina Sánchez, who added her similarity to the character to her voice.

“Then I auditioned with the choir of the National Opera and the jury, no less than made up of enormous figures of lyrical singing such as Armando Pico, Ramón Calzadilla, Fabio Landa, Félix Guerrero himself, told me: 'you are not part of the choir; “You are a soloist of the Cuban National Opera.”

You were satisfied with that jury's decision, right?

“Well yes, it was a big step. And if you like anecdotes, I tell you that I earned 125 pesos as a cashier at a hardware store where I worked after giving birth to my eldest daughter, and the then director of the Opera, Mary Paz, called me and told me choose to earn the salary of the great singers or continue with my 125.”

The answer is obvious, isn't it?

“Well no, not so obvious, because he told me that if I made a mistake at a concert, he would simply throw me out; but if I kept the 125, I could make as many mistakes as I wanted. And since what I wanted was to sing, I stayed with the 125.

"Just like now, after 60 successful and uninterrupted years of artistic life, being a full professor, consulting professor, doctor in lyrical singing and having almost 40 years of teaching at the University of the Arts (ISA), my salary had to be 'stretched' up to one thousand Cuban pesos.

“And I still have to be grateful because it didn't come. After so many years singing and teaching! Oh, and with the increase I had 5 students increase to the 2 I already had. I mean, now there are 7, a lot for a woman my age, who also teaches individual classes. In other words, I am above them in all their details, separately.”

“I continued with my 125 pesos for 11 years, performing titles from the universal heritage of bel canto such as ´Madama Butterflay´, ´Tosca´, ´La Traviata´, ´Los Payasos´, ´El Trovador´, ´Il Tabarro´, ´la Medium´, ´El Secreto de Susana´, ´Los Gavilanes´, ´La Layenda del Beso´, among others. ”

There are things that seem incredible. So much mediocrity that tries to overshadow or at least bother the talent. How many times is this repeated, my God, in any sphere, at any time, in any country? María Eugenia, despite not having studied in any art school, and before leaving for Moscow, we know that in the period 1962-1964 she received classes from a beautiful soul called Carmelina Santana Reyes.

“Exact presentation of a TEACHER in capital letters. Carmelina is one of those people who pass through your life to be remembered forever. Teacher Roig told me: 'You shouldn't take classes with anyone other than Carmelina'... and how right he was!

“She was an exquisite concert pianist and opera singer, who despite having suffered a stroke that paralyzed one of her hemispheres, never lost her love and trust in God, she always loved and defended her students; His free hand flew over the keyboard.

“She forced her students to read poetry. It was, in addition to culture, vocal training. With Carmelina I saw my expectations fulfilled: I learned to vocalize, breathe, legato, arpeggios, general knowledge. “

After arduous years of studies with Carmelina Santana, María Eugenia Barrios, leaving part of her heart in Cuba, her eldest daughter, left for the then Soviet Union.

“It was in 1966, crossing the waters of the Atlantic Ocean and the Black Sea, after 30 days of navigation, that we arrived at the port of Odessa, in Ukraine, and from there, 24 hours by train to Moscow. I remember sharing that journey with Frank Fernández and Oscar Carrera, who is now deceased.

“Upon arriving in the Russian capital we went directly to the renowned Chaikowski Conservatory, where we studied for 6 years, until 1972.”

Language, teaching methods, experiences?

“I learned the Russian language there, not like English, French, Italian and German that I studied in Cuban Institutes. From my experiences and teaching methods, everything is related to the teacher Nina Lbovna Dorleak, wife of the great Sviatoslav Richter, whose names are engraved in gold letters in the Tchaikowski Conservatory. She sang for 30 years accompanied by him and her works are worthy of the highest praise.”

Teacher, opera is universal and is sung in several languages. How many languages do you sing in?

“In Russian, French, Spanish, German, English, Italian (the language of music) and even in Korean, since I gave a complete interpretation in Pyongyang, North Korea.”

During your fellowship in the USSR, you came and went, right? , because she even had her second daughter during this period.

" Ha ha ha. In 1962, as I told you, I gave birth to Marige and in 1968, while in Moscow, I conceived Amarilys, since their father, Orlando Núñez, was a principal engineer at the Academy of Sciences, and was in Moscow at that time. You already know!"

She smiles mischievously, flutters her hands, takes a second breath and continues ready to answer my extensive questionnaire which, however, cannot cover such a long and successful existence.

“So I return with the pregnancy early so that Amarilys was born in Cuba, and with the conviction of remaining in my land, but I am invited to sing in Sofia, Bulgaria, and I need to complete my studies in Moscow. My teacher did her best in the preparation and I met expectations at the Festival of Young Opera Singers in the Balkan capital.

“Again in Havana I performed Verdi's 'La Traviata' and the success of the performance was such that I had to return to Moscow, although the need that my 2 daughters had for me made me return... and now for good! ”.

I know you don't like to talk about favorite works, but could you make an exception this time?

“You put me at a 3 and 2 but we go there, just to please you. I had the opportunity to perform the 3 most beautiful and most sung operas by Puccini: ´Madama Butterfly´, ´Tosca´ and ´La Boheme´, as well as ´La Traviata´ and ´La Leonora de Il Trovatore´ by Verdi, ´La Merry Widow by Franz Lehar and Cecilia; but, ´Madama Butterfly´, ´Tosca´ and ´La traviata´ are my favorites. 'Amalia Batista' by Rodrigo Prats was another zarzuela that I received a lot of applause for. That's why I tell you that I love them all."

And in the case of operas, operettas and zarzuelas, what genre do you prefer?

“The operas and the Cuban lyrical song that is so beautiful; I really enjoy interpreting them. “

He dares to mention to me some of the best lyrical singers in the history of music.

“First of all, the great Enrico Caruso, Giuseppe D'Stefano, the Cubans Ana Aguado, Chalía Herrera and Zoila Gálvez. Foreigners: Licha Albanese, Antonietta Stella, María Callas, Victoria de los Ángeles and of course, the monumental Monserrat Cavallé, among so many others that it would be impossible to list.

“Contemporaries of me, Ramón Calzadilla, Gustavo Lázaro, Ana Menéndez, Ana Julia, Martha Pérez and Dora Carrals, all Cubans.”

Tell me about your album, unique by the way, in 60 years of artistic life.

“Well yes, only one. ´A los 70´ was recorded at the Gran Teatro de La Habana ´Alicia Alonso´ and in the EGREM Studios of the Musical Recordings and Editions Company, by the Producciones Colibrí Record Company.”

I have read the record notes that were written in this regard by personalities of Cuban culture such as Eusebio Leal, Digna Guerra, Guido López Gavilán, Frank Fernández, among others, and I want to refer to what was expressed by the Historian of the City and the talented pianist.

Eusebio Leal: “You continue to be the most exquisite pearl of our lyrical Island.”

Rufo Caballero: “Excellent singer, academic authority; Barrios is today one of the most virtuous, respected figures in the Cuban music scene.”

Digna Guerra: “You are a great artist and this is a very difficult term to assign… without a doubt you are one of the most outstanding figures of singing in our country and a living professor. It is very difficult to repeat it.”

Miguel Barnet: “His great talent will remain like a sound tattoo in Cuban poetry.”

Guido López Gavilán: “It is admirable that he has managed to fully preserve these fabulous faculties throughout his extensive and brilliant career.”

Frank Fernández: “María Eugenia Barrios possesses what in many countries is called artistism, which is that rare faculty of transmitting the unfathomable mysteries of art and makes these artists the first and most loved by the general public. As if that were not enough, he has become one of the most important pedagogues of our artistic education and, I am not just talking about singers, I am talking about teachers of all specialties. “

Something that I cannot fail to mention is her profile as an actress, since she has taken part in novels such as 'Violetas de Agua', 'Días de mi Vida' and 'La Otra Esquina'; detective novel ´Tras la Huella´, and is currently working on 2 current novels, one by Léster Hamlet, where she plays a retired lyrical singer, and another by Ernesto Fiallo, in which she is a member of the senior adult department.

“We are in the recording process, with young and talented actors and actresses and with one that I have always admired, Bárbaro Marín; this in Léster's proposal.

“In Fiallo I share roles with established artists such as Rubén Breña, Miriam Socarrás, Nieves Riovalles, Manolín Álvarez, among others.”

Teacher, what is the most important thing that a lyrical singer who wants to extend his career and, as in your case, keep his vital instrument, the throat, at 100%, should take into account?

“The important thing is, as in any human being, health; not your weight or height, keep your training, be measured in life.”

And you really look at this woman, all heart and voice, and feel her health, her dynamism, her integrity of character.

“In addition, I continue, as I already told you, offering my experience among 7 ISA students who receive their classes at my house.

“As for those who I graduated years ago, almost all of them are singing in the first world: Eglise Gutiérrez, Yetsabel Arias, Homero Pérez, Rosa María Pérez de Alejo and the Angolan Emanuel Mendes and many more.”

She is proud of them and of everything they have done in their long 6 decades of artistic life; However, María Eugenia keeps thorns inside her heart.

“Well yes, I think that the 'old people' are thrown aside. They did not call me for any of the multiple activities that were held for the 500 years of the city; and of course, I was not invited to the Gala of Their Majesties the Kings of Spain and I want, without belittling anyone, to tell me if my voice has any problem; even if my physique is not suitable for such endeavors.

“I am 79 years old and that is already an impediment. I have nothing against young people; I am a teacher, mother, grandmother, I love them, but why throw away what has been experienced if it still has quality?

“I go further. After 45 uninterrupted years of lyrical singing in Lorca, there is not a single vestige left, there is not a trace of that monumental art nor of those who were so proud to defend it until the 90s.”

La Barrios is the only lyrical singer who holds the Grand Theater of Havana Award and not even a photo of her or those famous singers who moved thousands of spectators for almost 5 decades appear.

And the “García Lorca”, today “Alicia Alonso” is not just ballet… it is much more! And if honor is rightly paid to our great dancers, why not to our lyrical singers?

"This is not to mention that I have been a victim, on more than one occasion, of unfair criticism by 'some journalist' who has described me as 'La Tosca de la Claque' and has called my performance 'the interference of María Eugenia.' Barrios´ in the Italian culture week 9 years ago.”

And you didn't react?

"Of course, but the only thing I got was a small apology the next day in the Granma newspaper, nothing to do with what was expressed by our Apostle who must be a true journalist when he stated that 'criticism should be healthy advice, not insulting anger.' ”

Sometimes I think that bad decisions can be blamed on the imperfection of human beings, but I am also sure that everything must have a limit! How is it possible that with the teaching results of this woman with her disciples awarded in large-scale international competitions, she has not received the Artistic Teaching Award?

How is it possible that with the validity of his privileged voice of 60 uninterrupted years of that greatest art that is bel canto, he has not been awarded the National Music Prize?

How is it possible that in the Grand Theater there is not a single sample of her presence and of the glorious singers who accompanied her for so many years? Without words or answers!

María Eugenia, are you happy?

“As a woman and as the builder of a beautiful family, I am a multimillionaire; but, with respect to my profession for which I was born and to which I have dedicated and dedicate my entire existence, I am somewhat poor.

“Seeing those followers of mine calling me 'the soprano of the 2 centuries', the mystery of Cuban lyrical art' exalts me; However, not being recognized as I deserve by the cultural authorities hurts me enormously.”

How does María Eugenia Barrios want to be remembered?

“First, I want to die singing on stage before my Cuban audience; because I will practically die without memory, only a disk, without photos, without videos, with hardly any interviews. Who is going to remember me?”

His gaze is lost in the distance, his hands rest in his lap seemingly calm, his head rises like a flaky snow.

…And I only have to add that THE GREAT DIVA OF CUBAN LYRICS is still here, among us… let us never try to ignore her light!