Lyrical Singer

Martyn received a grant to help her study at The Teatro Real

What is your artistic background ?
I was born in Madrid (Spain) in 1993, and started studying piano, dance and dramatic art at a very early age. Since ever, I’ve always liked to face different disciplines and in my adolescence I delved into this until at the age of 21, where I graduated in the ESCM, finished my studies at the University and I finish my studies in different acting schools. Thanks to various awards and scholarships obtained, I’ve perfected myself in other countries and in other centers such as the HFM Franz Liszt Weimar (Germany), the RCNM in Manchester and the Trinity Laban Conservatoire in London (United Kingdom). I’ve been awarded in different national and international competitions and I’m the winner for three consecutive years of the JJMM Award under the Honorary Presidency of SS.MM. Queen Sofia. I’ve worked together with Plácido Domingo as Soprano Soloist and I’ve starred in the main role of Mina Murray in VLAD, a work composed and produced by Plácido Domingo and Plácido Domingo Jr.  In Italy I made my debut with Maestro Riccardo Muti and Cristina Mazzavillani Muti at the Ravenna Festival (2017 and 2018 season). At the age of 22, I played Doña Inés de Ulloa on Madrid's Gran Vía (prepared with Cornelius Horgan –Actors Studio NY), as the main role in the world premiere of “Don Juan Tenorio, Sangre y Fuego”. Later, I gave life to Messalina in the Opera “I, Claudius” (Robert Graves) in the Roman Theater of Mérida and Euskalduna Palace in Bilbao and Teatro de La Zarzuela in Madrid, closing the season 2018 with “24h lying” (Mtro Fco. Alonso). I’ve performed numerous concerts and productions, both in Spain and abroad. This last summer I’ve been working at the Sferisterio di Macerata and at the Macerata Opera Festival 2021 (Italy), in the production of La Traviata, directed by Henning Brockhaus. The truth is that, given all the productions that I’ve been able to do so far or those that are to come in the future, I consider myself a multidisciplinary artist, highlighting my versality in various facets and with great artistic concerns that can always be added to my profession and my personal life. Currently, I combine my musical and theater life with fashion and cinema, having several audiovisual and cinematographic projects in sight where I always try to take advantage of all my artistic facets.

What is your view on your profession today ?
Certainly, in recent years, the market has changed and the public has also changed. We don't stop being products and my operatic profession is no longer focused on just being able to sing well and correctly, but when you realize how the industry really works, it’s necessary to go further. I know that nowadays this is valued so much by stage and artistic directors and I really think that we must have a realistic vision of our profession. Fortunately, this has always been so present to me that it has not been a surprise and far from scaring me away, understanding how this field works, has given me more motivation to stay here in it. In my case, I like stage managers who, nowadays, help singers go further. In this profession I need challenges so I don't get bored, so risky productions stimulate me and help me grow. I like that they put me to the limit scenically and delve into the character. Without these incentives I end up bored. In any case, you must always be very focused because I, who am very emotional, if I get carried away on stage, the vocal part can suffer. The important thing is to find the balance and that supposes a constant search. I always try to take my profession (in all the aspects that I develop) with unconditional love for what I do, and sometimes it subjects me to different vital and personal sacrifices that these characters make, represent me and that are also part of my way of seeing life. I feel fortunate to be able to show on stage that truth that we all share, and that in a certain way reconnects us with our inner selves. For that you need to open up emotionally, something that happens less and less in today's society in which we live. So for this reason I believe it's almost an artist's duty to give everything on stage; since it’s the only way to create that artistic atmosphere, with which both the public and the artist will be moved. That kind of catharsis is what makes it all worthwhile, but unfortunately it's being viewed more and more as a business than a human thing. People, and especially the younger generations in this profession, may be afraid to open up to others for fear of ending up hurt; something understandable, but at the same time it’s making everything more superficial. So we’re losing that humanity and that truth, whether in the art world or in other areas of life. Perhaps because they teach us to have to be perfect, but that shouldn’t be the case, since I consider that it’s the very imperfection, vulnerability and human fragility that unites us. Furthermore, I think that this profession requires good conditions and appropriate vocal technical aspects, mainly to later be able to freely express your emotions; something that I don't think only happens in the world of opera, but also in the world of writing, painting, dancing, etc… To be able to express emotions, you need to be in control of the technical. And also, when I'm on stage, I’ve always thought that every night is like the first and last time that I’m going to experience that as an artist; that is to say, each night is different and each function has its own mystique. It’s true that we can take it literally, but I think it goes much further. I’d say that it’s something that has more to do in a spiritual sense, about what one feels in those unrepeatable magical moments.  I’d also like to highlight the importance of physical activity to be fit and in optimal conditions to face a 3 hours production -this, on the outer side-, but also from my point of view,  the inner side, concentration, meditation and the inner work that needs to be done in our profession today. I’ve verified that it’s so necessary and, primarily, healthy. Singing is always now and the now is always different. Honestly, I deeply appreciate your commitment to finance this artistic program at the Teatro Real in Madrid, since thanks to you, we young artists can have more facilities, contacts and opportunities. In my case, passing more auditions, I‘ve managed to get another role in one of the upcoming productions that are on the bill for this season (The fiery Angel, S.Prokofiev). Last December I was already working there, soon I’ll start rehearsals again in this theater, and I also have more contracts closed for the coming months in new places. I think that at this moment it’s difficult for the new generations to open new paths and the pandemic has paralyzed everything. In the end, this program has helped me, personally, to let them know how I work and how I perform on stage, with all the opportunities that this experience has given me.

How do you see yourself in 5 years? In 10 years ?
Honestly, I have no idea. In my case, I think it’s necessary to set goals in life and have many dreams to fight for, but always being realistic. 10 years ago I didn’t imagine anything that I’m experiencing now nor the process that I’ve had to achieve it, but I’ve always kept in mind the daily work, the sacrifice and the fact of trying to improve myself to continue growing. For me, it’s the most important thing. And at this moment I focus on the present to try to change and continue advancing in my future. Obviously, I’d like to imagine myself in new places, grateful and surrounded by my own. I’d still like to achieve many things in my professional life, but above all, I keep in mind that I don’t want to lose hope and I also want life to surprise me. I really think that we’ve come here to learn and, in my case, also to enjoy the day to day, the gift and the conditions that I’ve received.

This interview was conducted in 2021
Photography credit: Julia Grandperret