Alejandro Navarrete – The 360 Artist



by Alex Suciu
June 27, 2023



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The 360o Artist Workbook, a new work by Alejandro Navarrete, a young opera singer, actor, and author from Chile, is quite an ambitious endeavor. Even though when you pick it up, with its whopping 417 pages, it resembles a novel, it is a workbook. The concept behind it is guiding the artist who is using the book through questions, heuristically, to a set of answers which then pile up into a structural scheme that the artist uses to organize his life on multiple levels: personal, artistical and business-wise.

It is divided into five main chapters. The largest one, The Arts is centered around acting, singing, speaking, filmmaking, design, and others, as well as more practical elements surrounding them, like Theatrical Management or Producing Theater. It then contains a Me section, which revolves around Personal Development, Relationships and even Nutrition & Body Wellness. This is continued by a My business section, where all this reflects into Professional development, Finances and getting the job you want. As a somewhat natural succession to this comes a Planner chapter, which revolves around building a schedule on a short-term (daily), mid-term (weekly and monthly), and long-term (yearly), as well as Time Management. There is also a Bonus Content section, which contains things such as an Action Journal, Mantras, and an artistic Manifesto. The over-100-page Appendix contains some basic vocal warm-up exercises, as well free space to write one’s own, breathing exercises, an audition packing checklist, as well as other information-oriented pages, altogether with diagrams and schemes, surrounding topics such as breathing, sound projection, vowel formation, etc. 

As the author himself says in the Introduction, this workbook does not primarily serve the purpose of an information-laden book, full of answers, but rather as a vast organizer. It contains all the right questions that an artist needs to answer in order to sort out and arrange important aspects of their lives. Even though some of the questions may seem too obvious or superfluous, the way they are formulated and succeed one another puts them into perspective, furthering the matter with other subsequent questions which deepen the subject. These lead the artist towards reaching conclusions on a very personal level, many of the times through one’s own experiences, rather than just apprehending facts and knowledge that has been laid out by others. It thus makes the artist think and put things into perspective.

Although it is not mainly information-oriented, it does contain some where it is needed, aside from the Appendix section, which I have brought into discussion earlier. Such an example is the Building a Singing Portfolio part, which contains advice compiling one’s portfolio regarding the repertoire, and how to layer everything, or the Auditions part, which contains advice for writing a CV, building an audition repertoire, and the materials one has to have ready for an audition, from the CV, to the program one will sing.

An important aspect seems to be the fact that it is directed, just like the title suggests, towards the 360 o artist. It thus looks like it will serve one who is interested in more than just one particular topic. It would be a waste to concentrate on just what one chapter would serve. If I were to summarize this book in one word, it would be an organizer of an artist’s life, a huge one for that matter. And the “level” of its target audience? It maybe will best help a young artist, who could, by using this workbook, go through the steps of the beginning of a career more easily, in a more organized way, “burning” through steps which other artists had to accomplish on their own, with bits and pieces of information taken from different sources and then put together through their own experiences. We could say it smoothens the road for this category of users. This being said, it would also greatly serve any other artist who wants to either expand their artistic horizons, or to just better organize their lives.

Alice Lechner

Alice Lechner comes from a music-loving family. Her first encounter with the opera universe was at the tender age of six. The grandeur of the stage productions and costumes, the backstage chatter, and last, but definitely not least, the music left her in awe, beginning with Mozart’s Don Giovanni. The overall feeling that opera awakens in anyone who gets a glimpse into this part of artistic eternity, that each and every day passes the test of time, was what drew her to stay and be a part of this world. The Opera House of Brașov became her second home, and the people who worked there were her second family.

Since then, Alice has devoted her spare time to maximising her musical knowledge through instrumental studies, studying both piano and violin for a short time. In the following years, her number one passion stepped out of the limelight and graciously gave way to Law Studies.
Since 2018 she has been studying Law at “Alexandru Ioan Cuza” University in Iași.

Her passion for opera, even if it is no longer her top professional priority in terms of career, it has most definitely become her priority during her free time. Wanting to experience the best of both worlds and extend her musical horizons, she regularly attends opera performances throughout Romania and abroad.
With OPERA Charm Magazine, Alice aims to nurture her creative side to help it flourish and bloom and to discover, alongside the magazine’s readers, the fascinatingly complex world of opera.

Currently, she is an LL.M. in Business Law at “Alexandru Ioan Cuza” University in Iași.

Oana Zamfir

Oana Zamfir is a second year MA student at the “George Enescu” National University of Arts, at the Department of Musicology.

She studied violin for 12 years at the “Stefan Luchian” High School of Art in Botosani, later focusing on the theoretical aspects of music. In 2019 she completed her bachelor studies in Musicology as a student of the National Academy of Music “Gheorghe Dima” in Cluj-Napoca. Her research during 2018-2019 brought to the forefront elements of the archaic ritual within works of composers who activated during the communist period, giving her the opportunity to start a research internship at the “Carl von Ossietzky” University in Germany. In this context, she recorded conversations with members of the Sophie Drinker Institute in Bremen, and had access to documents directly from the Myriam Marbé archive.

Since 2019 she has been a teacher of Music Education and Theoretical Music Studies, making full use of interactive methods in the musical training of students and working, at the same time, with the children’s choir founded in the first year of her activity.

Her interests include pursuing a degree in interior design in 2020.

Alexandru Suciu

Alexandru Suciu inherited his passion for art growing up in a family of several generations of musicians. He began his musical studies at the “Augustin Bena” School of Music in Cluj, where he studied piano and guitar. Even though his main study direction was philological, his passion for music prevailed. He began his academical journey at the Faculty of Letters of the “Babeș-Bolyai” University, studying Comparative literature and English. He continued by studying Opera Singing at the “Gheorghe Dima” National Music Academy. He also graduated the Musical Education section, followed by Artistic Directing at the Musical Performing Arts department.

His multidisciplinary education opened the doors towards research, which is seen both through his participation in national and international conferences and symposia, such as the Salzburg Easter School PhD-forum, organized by the Salzburg Universität or the Silesian Meeting of Young Scholars, organized by the Institute of English at the University of Silesia, as well as the collaboration with Opera Charm Magazine.

During his student years, he won several prizes, including the Grand Prize at the “Paul Constantinescu” National Musical Interpretation Competition, the Romanian Composers and Musicologists’ Union Prize at the same competition, the First Prize and the Schubert Prize at the “Ada Ulubeanu” Competition.

He further developed his artistic skills by specializing in courses and masterclasses held by personalities such as Vittorio Terranova, Giuseppe Sabbatini, Marian Pop, Ines Salazar, Riccardo Zanellato, Paolo Bosisio, Valentina Farcaș and Manuel Lange in contexts such as the Internationale Sommerakademie für Operngesang Deutschlandsberg, Corso Internazionale di Canto Lirico I.M.C. Licata or the Europäische Akademie für Musik und darstellende Kunst Montepulciano. Besides his activity on-stage, he currently teaches Opera Singing Didactics, and Pedagogical Practice within the Department for Teacher Education and Training at the “Gheorghe Dima” National Music Academy.

Cristina Fieraru

Cristina is a 24 year-old Romanian soprano & a student at the National University of Music Bucharest, where she pursues the MA program in Vocal Performance.

She made her debut in Pamina from “Die Zauberflöte” by Wolfgang Amadeus Mozart at only 19 years old at the Bucharest National Opera House, as a member of the Ludovic Spiess Experimental Opera Studio. Over the years she made her debut in roles such as Contessa d’Almaviva (Le nozze di Figaro), Mimì & Musetta (La Bohème), Alice Ford (Falstaff), Erste Dame (Die Zauberflöte) in her university’s opera productions.
Her passion and experience extends in the field of choral music, too.

She has been part of our dream team since the fall of 2021. For a good period of time she took care of OPERA Charm’s social media and took you on the monthly journey through the history of opera through our Legends rubric – and a few times through the Theaters around the World rubric.

Her little soul rubric – from 2021 to present – is definitely the Conductors of the Future, where, every month, she gives you the chance to meet a young star of the world of conducting and, of course, to find out what’s the most charming feature of opera in these artists’ views.


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