“For me, singing is my life,” José Estrada
José Estrada’s journey into opera wasn’t shaped by a clear path or a family of musicians, but by a chance moment in his childhood that ignited a passion that would change the course of his life. From the streets of Oaxaca to international stages, his story is one of resilience, self-discovery, and the powerful draw of music. In his own words, he recalls the pivotal moment that opened the door to his musical future—a moment when art, imagination, and destiny connected.
“I am originally from the city of Oaxaca, in Mexico, in the southern part of the country. I was born in the city of Oaxaca, and we are known as vallistas. Interestingly, I didn’t have a big musical education when I was a child. However, I can tell you a brief story: When I was young, at the age of five, I watched the movie The Fifth Element for the first time, which stars Milla Jovovich. I remember there’s a scene in a spaceship with an alien named Diva Plavalaguna, who looks like a blue figure with a large head and a pink spiral, and she sings an aria from an opera, a fragment from the opera Lucia di Lammermoor.”
As José explains, “The aria is called Il Dolce Suono, and it’s a small fragment that was artificially edited to enhance the tones. It’s known as the diva dance. So, at five years old, I watched this movie, and I heard this piece, and I was just amazed. I asked my father if aliens existed, and he told me, ‘No, they don’t exist. It’s a movie, it’s fiction, it’s all made up. But the people who do this art are humans, like you and me.”
His father, explained, “They are people who scream. They are called opera singers.” So, at the age of five, Jose realized, “Wow, then I could do the same!” And his father said, “Well, if you study.” José remembers that realization with great clarity. “So that was my first encounter, a big impact from watching that movie and hearing that scene. I was able to immerse myself in it, and from then on, I was totally captivated. And well, that was really the biggest encounter I had with it. No one in my family is a musician, so, I ended up becoming an opera singer.”
José says that initially his family didn’t grasp his musical talent, “interestingly, since kindergarten here in Mexico, I had music classes with solfeggio and notes, and also in elementary school, but I remember that I sang since I was a child, yet my parents never said anything to me, you know? It was simply like making noise, and as far as I remember, I was quite in tune.”
With no formal support, José learned to rely on his own resourcefulness. “I had to learn on my own and start saving every penny to be able to pay for my classes,” he reflects. ”Unfortunately, my family couldn’t support me much because here in Mexico, it’s difficult—especially since I was born in ’95—it’s hard for parents to support you with this. So, unfortunately, I wasn’t supported the way I would have liked, but I made it. So, I had to learn on my own and start saving every penny to be able to pay for my classes.”
The reality for many in Oaxaca, especially in the ’90s, was that pursuing a musical career was a difficult and uncertain path. “When I was a child, I always wanted to join the student choir, but they never accepted me because, according to them, I didn’t have talent,” he shares.
It wasn’t until middle school that José’s passion for music truly began to blossom. “When I started singing, around 14 or 15, my best friend noticed I had a voice and said, ‘You can sing, and I’m going to teach you vocal technique.’ She trained me and helped me prepare for my audition at the Fine Arts School.” Her guidance in vocal technique set José on a path that would eventually lead him to formal music education.
José’s first real exposure to music theory and orchestral performance came from a teacher who expanded his musical horizons. Not only did this teacher instruct him in solfeggio, violin, piano, and guitar, but also gave him the chance to perform in school concerts. It was during this time that José began to connect more deeply with his voice, laying the foundation for his future in opera.
Reflecting on his journey, he identifies the official start in the world of opera at around 16 or 17 years old. “I joined choirs here in Oaxaca, where I began singing works like Mozart’s Requiem, Vivaldi’s Gloria, and so on. I had a second teacher, an orchestra conductor, named Jorge Mejía Torres, who is the founder of CIMO here in the city of Oaxaca. He gave me all the training at the undergraduate level to be able to present my exams. With him, I was able to experience many aspects of music. He was also my singing teacher for a while.”
José offers a fascinating perspective on the world of opera, describing it as both timeless and deeply connected to the past. “Opera is a very peculiar world because we sing music that has been written for years, centuries. For me, it’s really incredible because, in those times, operas were like the soap operas of today, you know? But sung. It was the entertainment of the time. But it’s an incredible art, and for me, it’s marvelous,” he celebrates.
When asked about his role as a tenor, José sheds light on the technical aspects of his craft. “What can I tell you about what it means to be a tenor? Well, I get asked that a lot. A tenor is really the vocal range of the instrument. We, as instruments—both men and women—have a classification. For example, there are violins, cellos, violas, double basses,” he explains, offering a clearer understanding of how voice types are categorized in opera, much like instruments in an orchestra.
“Similarly, voices are divided by size and especially by sound, such as bass, treble, or mid-range. In women’s voices, for example, the highest voice is soprano, the mid-range is mezzo-soprano, and the lowest is contralto. In men, the highest voice is tenor, the mid-range is baritone, and the lowest is bass, with the countertenor in between, which is a falsetto voice similar to that of a soprano but coming from a man,” he continues.
“So, I’m a tenor. And, well, because of singers like Pavarotti, Plácido Domingo, and José Carreras, the title of “tenor” is often given, but it’s not really a title—it’s a vocal range,” José clarifies.
However, the path to professional opera wasn’t paved with easy opportunities. To fund his training, Jose worked tirelessly, singing in the streets, markets, and restaurants. ”To train as a singer and be able to pay for my lessons, I started singing in the streets. Since I already knew how to play the guitar, I would go and sing boleros and ballads to the buses, to the markets, to restaurants, and all the money I made went toward paying for my music studies,” he shares.
“So, as I progressed, I also started to move up in levels. I was a popular musician for a long time, so we were able to buy our equipment, sing in restaurants, events, and masses. We kept raising more funds, and all the money was specifically for my studies.”
Before becoming a classical musician, José was a popular musician—”I was a rondañero. I started competing at 15 and got used to gathering money for transport, expenses, accommodation, and costumes for national competitions. So I can share that it’s been very interesting because I started from the bottom, until I managed to finish my degree. And, well, I always trained with private lessons. On top of that, I got used to working, and all the money I earned went toward covering my studies.”
From an intrigued child watching a movie to a professional opera singer, José Estrada’s story reflects the power of perseverance and the passion that can drive us to achieve greatness, no matter where we begin. His voice, honed through years of dedication and focus, now echoes with the beauty and depth of someone who truly understands the transformative power of music. As he reflects on the balance of highs and lows, he paints a picture of a life that’s deeply rewarding yet demanding.
“The life of an opera singer is very beautiful, but at the same time difficult, because, you see, at least for opera singers, it’s a somewhat solitary life. The career demands a lot,” he explains. “It’s an expensive career, requiring a lot of dedication, where, well, you know, you have to sacrifice your family, your friendships, your place of origin. Maybe even a partner. So, it’s complex.”
As José reflects, “The life of an opera singer is also beautiful because you travel, you see the world, you meet many people. It’s more about enjoying it with yourself and your voice.” This contrast between the external rewards and the internal struggles is something he’s come to accept and navigate over the years, understanding that his commitment to music is the journey.
Reflecting on difficult times, he points to the pandemic as an example, when many artists, especially singers, took to their windows and balconies to lift the spirits of those in lockdown. “It was even something for ourselves,” he says. “So, I think it’s very beautiful to be able to touch people’s souls, even in other languages, but transmitting what we want through the heart, transformed into the voice.”
Balancing his roles as a singer, producer, and teacher is no easy task, as José acknowledges. “Well, the truth is, it’s a bit difficult because, well, my own teacher, Dr. Carlos Conde González, has always told me, ‘José, when you’re producing, don’t sing because it’s very heavy.’ Over the years, I’ve learned to manage production, teaching, and performing. It’s been challenging, but I’ve figured out how to keep everything consistent and harmonious.”
A key to managing this juggling act, José explains, is staying organized. “As a teacher, I keep my classes open and schedule my students in advance. If I need to reschedule due to travel, competitions, or auditions, I explain that upfront. My students understand that sometimes, I’ll need to make up classes, and they’re always flexible with me.”
As a producer, the experience has been very rewarding for José. “I’ve had the opportunity to produce many international-scale programs in various parts of Mexico. It’s also a strong source of income, but a very beautiful experience. It’s amazing to know what it’s like on this side, how things are done—bringing in teachers, organizing concerts, recordings, everything,” he explains.
“I’ve always liked theory, and I’m in the process of possibly studying for a master’s degree. I’m still deciding whether to focus on performance or vocal pedagogy because, in the last few years, I’ve focused on vocal pedagogy, since in Mexico, it’s difficult to find good teachers and proper pedagogy. So for me, being a teacher is very important because my first principle is to teach the way I would have liked to learn, with the best foundations,” he says.
“It’s very difficult to find spaces to sing or to go to programs, because everything is auditions and competitions,” he notes, acknowledging the competitive nature of the classical music world.
As he began to self-produce opportunities, he saw how it could benefit not only his own career but others as well. “I turned to production out of necessity,” he admits. “As I started self-producing many opportunities for myself, I also took advantage of that for all the productions I’ve done.”
Through his productions, José has been able to open up opportunities for other artists, creating platforms that extend beyond his own career.
“It started opening up regionally, nationally, until it became international,” he says, speaking to how his work has grown over time. This drive to support and promote music on a larger scale stems from his passion for the art itself. “As a music lover, it’s also about promoting and supporting the art we do, music in general, right?”
But perhaps most importantly, José is driven by a desire to nurture the next generation of singers. The lessons he shares with his students go far beyond technique; he emphasizes vocal health, emotional resilience, and the importance of solid foundations in training.
“There are too many bad teachers who hurt you,” he says. “For me, being a teacher is very special because, aside from teaching the way I would have liked to learn, I know I’m nurturing the new generations, helping them learn to sing in a strong, healthy, and promising way.”
For José Estrada, the life of an opera singer is one of constant evolution—balancing the demands of performance, teaching, and production while staying true to the heart of his art. His journey is a testament to the power of music to transform lives—not just his own, but the lives of those who hear him sing and those who learn from him. Through every note and every challenge, he continues to build a legacy that will inspire generations to come.
For José, integrating his roots into his music has been a natural evolution of his identity as an artist. Interestingly, he is one of the few Oaxacan singers who doesn’t delve deeply into traditional Oaxacan music. Reflecting on this, he explains, “When I came back to live in my state, everything was folklore. For me, innovating by bringing other kinds of music, like opera, has been key.” While many artists in Oaxaca focus on their cultural traditions, José has chosen a different path, using opera to introduce a new form of expression to his community.
Despite this, his pride in his Oaxacan roots remains a powerful force in his work. As he shares, “I’m very proud of my roots. My mother is Zapotec. Her first language is Zapotec, and her second language is Spanish. Unfortunately, because of racism, she didn’t want to teach us her language, so our first language became Spanish.” This connection to his heritage has been central to his journey, even as he moved away from the folklore music that dominated his home state.
In fact, his pride in his roots was on full display during a significant concert in Barcelona, Spain. “Last May, I had the opportunity to premiere a concert titled From Mexico to the World at the Mexicats Hall, where I had the fortune of singing for ambassadors, nobility, and even tenor Javier Camarena attended my concert. It was a very intimate but beautiful performance, where I presented Mexican music from the Mexican Viceroyalty period, including Baroque, contemporary, classical music, and cabaret concert songs.”
To close the program, José added a personal touch by performing a folk piece from Oaxaca, Guenda Navani in Zapotec, which translates to “the last word.” “For me, it’s a great honor to have premiered this concert in Europe, and to present it with the essence of Mexico and the pride of my Oaxacan roots,” he says, reflecting on the deep sense of fulfillment he felt bringing his culture to an international stage.
Throughout his career, José has embraced a combination of formal education and self-directed learning. “I started with private lessons from a very young age,” he shares, explaining how his early music education laid the foundation for his journey. From solfeggio classes in kindergarten to learning flute and singing the national anthem, his exposure to music began early.
Yet, as he reached high school, he made a pivotal decision that would shape his future. “I was going to study electrical engineering like my father, but I realized that it didn’t fulfill me, so I dropped out, went to an open high school, and got my high school diploma to enroll in the Fine Arts School.”
José’s academic path continued with a blend of formal and informal education. “I studied part of my bachelor’s degree at the Faculty of Fine Arts in Oaxaca, but I didn’t finish it because I was already into the artist life,” he admits. While traveling to international competitions and festivals, José continued refining his craft through private lessons.
“I became self-taught,” he says, noting that during the pandemic, he completed his bachelor’s degree in Music with a specialization in classical singing at the Fausto de Andrés and Aguirre Higher School of Music. “Throughout my 15-year music career, I’ve always immersed myself in both university education and private lessons, festivals, and courses,” he explains, underscoring the value of both structured learning and independent growth.
Throughout his development, José was fortunate to have mentors who played a significant role in shaping his artistry. “All of my teachers contributed something very important,” he says. Among them, “My first teacher, who guided me to pursue this career, was my best friend, the mezzo-soprano Itzel Ruiz Santiago.”
Later, José encountered the legendary vocal pedagogue Dr. Carlos Conde González, whose mentorship was transformative. “He has been my mentor in technique and vocal pedagogy,” José explains, highlighting Dr. Conde’s influence. “He’s taught at the Met in New York, at the Opera, at the Royal Opera House, and at different opera houses around the world.”
For José, one of the greatest challenges in the opera world has been the financial struggle involved in producing events. “The first challenge is funding,” he says candidly, recognizing the difficulty of securing financial backing for projects in Mexico.
“My project has worked because it’s self-sustaining. I’m my own first investor.” The creation of his opera company, Singing for the World, was born from his desire to provide opportunities for others. “I decided to invest my own money in the project and offer the same opportunities I had to my colleagues and friends living in my city.” Over the course of nearly eight years, his company has grown, overcoming the financial hurdles that many artists face.
Despite the challenges, José remains hopeful about the future of opera in Mexico. “Mexicans are number one worldwide as singers,” he proudly states, recognizing Mexico’s role in the global opera scene. “However, I think Mexico doesn’t support its artists, especially its opera singers, because most of them have to leave the country to build a career.” This reality reflects the paradox many Mexican artists face: “Once you’ve made a name for yourself, like Maestro Javier Camarena, that’s when the country starts to pay more attention to you.”
When it comes to the works José loves to perform, his tastes lean toward operas with depth and emotional intensity. “One of my favorite operas is Carmen by Bizet,” he shares, recalling it as one of the first operas he encountered.
“It’s fascinating.” Another beloved piece is La Traviata by Giuseppe Verdi, a work José has had the privilege of performing in both lead and supporting roles.
“It’s such a beautiful experience to see how this opera unfolds,” he says with a sense of awe. His admiration for Tosca by Puccini also speaks to his affinity for realism in opera. “For me, realism is very important in interpretation,” he adds, noting how the verismo style resonates deeply with him.
Preparation for a performance is an integral part of José’s routine. “After all these years, it’s a bit easier because it’s now part of my daily routine,” he explains. Despite the ease that comes with experience, he remains disciplined in his approach. “I make sure to book my flights in advance and pack my bags. Interestingly, my bags are always packed, I just change a few things.”
Whether preparing for an emergency performance or a concert months in advance, José’s organization and focus are key to his success. “When it’s time to sing, I keep a space in my dressing room where I can vocalize, prepare mentally, and get ready to perform.”
José also speaks about how he connects with operas in different languages, which is vital for understanding the essence of the music. “Normally in our training, we study languages, so we understand what’s being said,” he explains. His emotional connection to the music, regardless of the language, is what truly moves him.
He recalls an experience seeing Turandot by Puccini in Europe. “I cried,” he admits. “Even though I know the piece, experiencing it up close with the singers, seeing the scene—it really grabs you.” For José, opera is not just a performance; it’s an experience that transcends language and connects deeply with the heart.
As a teacher, José’s main advice to his students is simple yet profound: “Enjoy what you do and be very happy.” He emphasizes the importance of mental health in the competitive world of opera, reminding his students that talent alone is not enough. “Talent is not everything,” he says, quoting a teacher who shaped his own career. “If you’re not going to put in the effort, change careers, because if not, you won’t make it.”
Looking to the future, José is driven by a vision of creating opportunities for young singers. “One of my future projects is to establish an Opera Studio in the south of the country,” he reveals, hoping to provide others with the opportunities he’s worked so hard to create for himself. Ultimately, his dream is to continue promoting opera and ensuring that the art form doesn’t fade. “For me, singing is my life,” he says. “I sing in the street, I sing in the subway, I sing in a theater, I sing on a stage.”
Finally, when asked what message he hopes to communicate through his performances, José reflects on the power of music to touch people’s hearts. “Whether in Spanish, Italian, French, or German,” he says, “I’ve realized that I’ve been able to reach people’s hearts.” His greatest joy comes from knowing that his music resonates, whether through a tear or a smile. “I sing for God, for my family, and I sing for myself.” Through his voice, José shares not only his passion for opera but his deep, unshakable connection to the human experience.
To Learn More Visit:
Soledad Quartucci, CEO, Latina Republic
Latina Republic envisions a world where the beauty and resilience of Latin American and Caribbean cultures are recognized and appreciated globally. By amplifying the voices of artists and cultural custodians, we strive to cultivate a deeper understanding of the region’s challenges and triumphs. Our goal is to inspire greater appreciation for the arts as a tool for empathy, unity, and transformative social change. Through our work, we aim to equip all stakeholders with essential insights for addressing regional challenges, ultimately enriching the global cultural landscape and portraying the victories and hardships of everyday life in Latin America.