Ĭháyres joined the staff at the Columbia Broadcasting System (CBS Radio) in 1943 under the musical direction of Alfredo Antonini as a featured soloist on the radio program Viva América while collaborating with the accordionist John Serry Sr. In the early 1940s he also concertized regularly at the Havana Madrid night club in New York to the acclaim of critics. As a distinguished opera vocalist, Chayres was also invited by the CBS network to collaborate with the contralto Tona la Negra and Andre Kostelanetz conducting the Mexican Symphony Orchestra in a special Easter Sunday broadcast as supervised by the OIAA ( Office of Inter-American Affairs) of the United States Department of State. This set the stage for Néstor's debut in New York City on the radio for WABC under the direction of Andre Kostelanetz and a subsequent concert with the Philadelphia Orchestra. He soon collaborated with the Sypmphony Orchestra of Mexico in a concert at the prestigious Palace of Fine Arts in Mexico City in 1943. Palace of Fine Arts, Mexico City Bellas Artes 01īy the early 1940s, Cháyres had achieved extensive notoriety throughout Mexico. After returning to Mexico City in 1934, he also recorded several songs including Morena (Jorge del Moral). He also appeared in three gala concerts for the President of the Republic during his two-month tour on the island. By 1933 he launched a concert tour with the pianist Jorge del Moral to Havana, Cuba where he performed the waltz Divina Mujer at various theaters. in Mexico City, where he continued to perform for four years. Soon he achieved success on the radio station X.E.B.
#JUAN ARVIZU DISCOGRAPHY PROFESSIONAL#
Néstor's professional career began in the artistic center of the Mexican capital in 1929 performing songs of Jorge del Moral and Agustín Lara at the Bolivár Amphitheater at the National Preparatory School. His studies included instructions in music theory, harmony, counterpoint, and voice with Lambert Castañeros - who had performed at La Scala in Milan, Italy. After the death of his father in 1925, he earned a scholarship to the National Conservatory of Music in Mexico City. While still in high school, he exhibited an exceptional vocal aptitude which earned him several awards. In his youth, he was also known to sing to a recording of Caro Nome from Giuseppe Verdi's opera Rigoletto. Even as a child he showed promise as an operatic singer. His initial studies in music were provided by a local teacher and an organist at the parish church. Néstor Mesta Cháyres was born to Florentino Mesta and Juana Cháyres in a family which included six additional children: Juanita, María Luisa, Herminia, Óscar, Jesús and Margarita in the city of Lerdo, Mexico.
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