Pedro Arias Domínguez

He studied singing with his mother, soprano Raquel Domínguez (1913-1993) and with Mariano Meléndez. He also pursued musical studies with Manuel Llinás and Carlos Fernández Vilá, at the latter's Conservatory.

His beginnings in Lyric Theater took place on television. In 1960 he joined David Rendón's Choir and recorded Luisa Fernanda and Azabache, both by maestro Moreno Torroba. Under the direction of maestro Gonzalo Roig, he performed small roles in Spanish genre works: "La Gran Vía" and "La Verbena de la Paloma". In 1961 he sang the "Friar's Role" in selections from Don Carlos, by G. Verdi, on channel 4, in the Concert program, directed by maestro Rodrigo Prats. He recorded for television the Spanish Zarzuela "La Tempestad", by Ruperto Chapí, in which he made his debut as a soloist in the role of the judge, musical direction by maestro Roig. He participated in the popular zarzuela and opera seasons at the Payret and Amadeo Roldán theaters (1961-62).

Founding member of the National Lyric Theater Cuba, he joined its choir and performed small roles in Luisa Fernanda (1963); The Princess of the Czardas (1965), among other titles.

Shortly after, he took on more important roles and some leading roles, standing out especially in comic opera, in The Barber of Seville (Doctor Bartolo, 1967, which he has performed over a hundred times); Don Pasquale (p.r., 1977); Tosca (Sacristan); La bohème (Schaunard/Alcindoro/Benoit), while not completely abandoning his serious characterizations in Rigoletto (Marullo and Monterone), La traviata (Douphol and Obigny), Bohemians (A Bohemian), Cecilia Valdés (Meneses, with which he performed in Nicaragua, 1987), among others.

He also participated in several Cuban premieres —Halka (Dziemba, 1971)—, exhumations of Cuban works —Patria (Chicho, 1979)— and world premieres —Ecue Yamba-O (Devil Narrator, 1986) and Ana Betancourt (Ignacio, 1993)—. Pedro Arias demonstrates a marked interest in the interpretation of chamber repertoire —La serva padrona, The Telephone, The Secret of Susana, Rita—. He is also a fervent promoter of Lecuona's music and has organized and directed countless In Memoriam Concerts, dedicated to the maestro.

In his 40 years of uninterrupted theatrical activities he has assumed countless characters in zarzuelas, operettas and operas, not only leading roles, but secondary ones number more than 44 bravos, giving all of them special distinction through his accomplished interpretation.

He has worked as an Assistant Director, is a Member of the Union of Writers and Artists of Cuba, has participated for 17 consecutive years in all National Opera presentations in the mountainous regions of Cuba; Provincial Headquarters Theaters, Culture Houses, Museums, Galleries etc.

He has performed in Mexico, Nicaragua, Spain and Portugal.

Theatrical Repertoires

Among the theatrical repertoires performed on stage are:
The Merry Widow.
La Traviata.
Rigoletto.
Écué Yamba-O.
Maria La "O".
La Óveme.

Having participated in a large part of the company's repertoire, he currently collaborates in advising various aspects from a pedagogical point of view, and his initiatives for dissemination and diverse proposals make him one of the indispensable members of the National Lyric Theater of Cuba.