Rodrigo Garciarroyo - Rudolfo

    Born in Mexico in 1976 Rodrigo Garciarroyo has been involved with music and stage since he was a little kid. From a very young age he studied guitar and did theatre. While he was studying architecture at the Universidad Iberoamericana, he founded the San Banquito Theatre Company. Later he studied music at both the National and the Superior Schools of music in Mexico City, where he met who has been his tutor, coach and friend since then, the pianist Mario Alberto Hernández.

    He was awarded the Plácido Domingo Scholarship to study at the Sociedad Internacional de Valores de Arte Mexicano (SIVAM), the young artist program in Mexico City. He has also been awarded scholarships from the International Vocal Arts Institute (IVAI) to study in Puerto Rico and Israel (2006) and from The Martina Arroyo Foundation to study at Prelude to Performance in New York City (2007-2009). He was awarded in 2009 The National Grant for Young Artists (Mexico) to study at the Vocal Perfecting Workshop (TPV) led by Raúl Falcó, and is now the scholarship holder of the Faurè Foundation to study with Joan Patenaude-Yarnell in New York City.

    He has studied with some of the most renown teachers and coaches, such as Joan Dornemann, Lucy Arner, César Ulloa, Ira Siff, Sherill Milnes, and Martina Arroyo among others.

    In Mexico he has sung L’Elisir d’Amore (Nemorino, 2005), Don Giovanni (Don Ottavio, 2007) Tosca (Spoletta) as his debut at the Bellas Artes Palace (2008), La Traviata (Alfredo, 2008), Mozart's Zaide (Soliman, 2009). He has sung dozens of concerts and recitals in the most important theatres in Mexico, and since 2004 has colaborated with the 0.618 Butoh Dance Company directed by Jaime Razzo where he has experimented with extended vocal techniques.

    In New York City he has performed Les Contes d’Hoffmann (Hoffmann, 2007), Un Ballo in Maschera (Gustavo III, 2008), The Verdi Requiem was his Debut at The Lincoln Center, at the Alice Tully Hall (2009), Carmen at the Argentinian General Consulate (Don José, 2009), La Bohème (Rodolfo, 2009).

"The stage is the mirror in which society sees itself. It is where we lay a finger in our most sublime and horrifying possibilities as human beings. That’s the job and responsibility of a dramatic artist; that's his contribution to society. The audience bravely seeks to find itself in the mystic reflection of fiction. This is not only what I do, it is what I am.”