Q. The purpose of this prize is to encourage and support emerging talents and rising personalities in opera. Why is this purpose so important and essential in your opinion?
Adriano Jordão – The importance of Cascais Ópera’ has certainly gone far beyond encouraging and developing young talent. While this is a basic function of a world-class international competition, its insertion into society and the reciprocity participation it receives are part of the essential goal for which it was conceived.
Civic participation programmes, environmental concerns and the creation of new audiences are systemic elements of ‘Cascais Ópera’
Jorge Chaminé – For this reason, since the first edition of the Cascais Opera I was honoured to attend and to pay tribute to Teresa Berganza, a very example of the generous sharing and transmission of knowledge by one of the greatest singers of the last 50 years, and therefore, this beautiful initiative is now supported by the CEM. Embracing two of the pillars of our action: transmission and innovation. Today, we musicians are faced with a reduction in space for action and must put the imagination at the heart of our action, supporting the new generations of musicians who are confronted, today, with a multiplication of obstacles that often distance themselves from the true mission of the musician. And that this be done with excellence seems essential to me.
Q. Actions such as the Cascais Prize allow music to be shared and transmitted between generations as an intangible heritage, but how can bridges be built between generations in your opinion, when classical music and opera (whose appeal has been growing again in recent years) nevertheless represent today only a tiny part of the 82 billion euros of the contribution of the music industry to the European economy?
Adriano Jordão – The highly unequal distribution of funds generated by the European music industry is evidence of the cultural decline that has become more pronounced in recent decades. This distribution aligns with market interests, which are distorted by widespread cultural unpreparedness, making it difficult to separate the wheat from the chaff. Unfortunately, we can see that the chaff is gaining ground, and cultural “facilitation” has led to a noticeable decline in public standards. We must fight for the highest quality, as it is the only way to overcome these challenges.
Jorge Chaminé – The appropriation of Art by the economy continues to be, to this day, disastrous!! Marketing, the laws of the market, become the Bible for the musician’s career. Music, in particular, the last bastion to have been caught up, is now being led by industry, by the fashion of the moment, because it is one of the so-called luxury items for consumer society. The image is increasingly replacing music, stubborn careerism with the lure of profit is becoming the soul of the profession, the narcissistic service of the ego is replacing the noble service due to music. This is why we must change paradigms and bring together people of good will. The survival of this bond of alterity, of fraternity, of this action of the Muses who increasingly lose their mystery to become a simple object of consumption, is at stake.
Q. This prize is now even more integrated into the increasingly competitive international music ecosystem. How can such initiative help in the professionalization and inclusion of musicians?
Adriano Jordão – The professionalization of musicians and their integration into the international musical ecosystem is greatly facilitated by initiatives such as ‘Cascais Ópera’. More important than the success resulting from the awards, I believe, is the contact between competing peers, the opportunity to be heard by Masters, and the participation in academic events such as ‘masterclasses’—moments where doors and windows open to a better, richer future!
Jorge Chaminé – Absolutely. The real competition for a musician should only be with himself. This is how excellence is achieved. And an experience shared with his peers in such an open and friendly atmosphere as I was given to see during the first edition of the CASCAIS OPERA gave me hope for this approach beyond the usual competitions often crippled by interests that have nothing to do with music and emerging talents.
Q. How do you see the future of the Cascais Prize and how can it be an ever-greater part of the actions that contribute to putting music at the heart of society in your opinion?
Adriano Jordão – Observing the growing interest in ‘Cascais Ópera’—both nationally, through the increasingly curious attention of the media and the collaboration of cultural actors, and internationally, through ever more significant partnerships—allows us to anticipate a highly rewarding future. I was pleasantly surprised by the success of the first edition, and I foresee a growing momentum for future editions, starting with the second one, scheduled for April/May 2025. This success reflects the profound impact of music on the human soul and serves as proof that striving for the highest quality always yields rewarding results.
Jorge Chaminé – The CO had the good idea to come and announce its second edition, on World Opera Day, the date of Bizet’s birth, in Bougival. Several years ago, the musical domain of Bougival was forgotten or even condemned to ruin. The CEM fought for the revival of this unique heritage and, today, the House of Georges Bizet and the Villa Viardot are saved. Carmen was born in Bougival and Bizet died in this house, and at the Villa Viardot, the residence of one of the greatest singers of all time, Pauline García-Viardot, youngest daughter of Manuel García and sister of “La Malibran”, inscribes us in these threads of memory that have shaped us and that we are pursuing, humbly but determined. So, it is for us a great pleasure to receive the CASCAIS OPERA at the Villa Viardot, heart of the VIA GARCIA VIARDOT project integrated in the VIA MUSICA program of the CEM and establishing the importance of this family for the Bel Canto, European musical identity, making the CO and the CEM, responsible heirs of this legacy. And the bonds with an incredible alignment of memory threads: World Opera Day, Bizet birthday and for the 2025 edition of CO the 250th anniversary of Manuel García’s birthday and the 150th anniversary of Carmen’s first performance and of Bizet’s death are particularly symbolic. Our partnership with CO is to help to place music at the very core of our society, and to achieve that we need to do what moto of the CEM says: let’s empower music!
