What is your favorite thing about being an opera singer? And what is the most challenging part of the job?

Being an opera singer means doing a job that so many others can't. Offering me a specific perspective into life that others aren't always allowed. A study in the twists and turns of humanity. And being able to take all that and offering it to the public in such a way that I can have them all in the palm of my hand if I do it correctly. Reach out to them past what they see in daily life. If I succeed, I help the audience believe in something outside of reality.   

A life in music and performance can award the artist much, but it comes at a price. Being on the road means being away from family, friends, loved ones. It means long, stressful travel days. It's not all bright lights and camera flash bulbs. It means understanding that you're vulnerable to the opinions and critiques of others. The expectations of the public and their disappointment if you happen to fall short. On top of that, one must understand the idea that there's really no job security here. One's longevity is directly connected to their viability within the business and the art form.  Trends change. Popularity changes. One must do everything they can do to remain attractive in the eyes (and ears) of the public. Keeping up with one's own reputation and public persona, and making sure not one part of that framework as an artist ever begins to decay. There's no one to answer to, really, but yourself. And in today's world, this also means making yourself accessible on the internet and social media.  

As you mentioned above, you are known as a “Verdi baritone” – what does that mean?

In my humble opinion, it's very possible that the Verdi baritone came from an actual voice that Verdi himself knew and incorporated into his music.  I'm not sure how else he could have written the vocality into his baritones so specifically. Or, put it this way: My specific training that has allowed me to sing the majority of his baritones regardless of their character or vocal commitment. I'd say this means there has to be a recurring shape or terrain, if you will, to Verdi's baritones. Specific ways I was guided to prepare myself in order to be able to sing his baritones. As my friend and colleague, Ferruccio Furlanetto, noted about Verdi baritones, there's a nobility that must exist in the tone. A strong color in the voice that must exist in order to sing these roles, an extra presence in the voice that isn't required for Mozart or Italian bel canto singing, though, bel canto is part of the framework for singers who wish to sing Verdi.  So, you take bel canto and build on it to sing Verdi.

You and Ana María were originally scheduled to make your Opera Philadelphia debuts at the Academy of Music in Tosca, before the pandemic shifted it to an outdoor concert. How does it feel to finally be taking the stage at the Academy of Music for Simon Boccanegra?

Ana María is a wonderful artist and colleague, I'm just glad we'll finally have the opportunity to work together in an actual staged full production. During the pandemic, so many companies were able to amend their regular schedules in order to continue to bring opera to their audiences in a time that we all so badly needed the inspiration and support from the arts to continue on and push on through an obstacle like none of us had ever seen or experienced before.  I know she and I, along with tenor Brian Jagde, were more than proud to help the performing arts and opera continue when it was impossible for many other organizations to do so. And I know she and I can't wait for this production to commence. Thank you, Opera Philadelphia!!

What is your favorite part of Simon Boccanegra?

The duet between Simon and Amelia is a gorgeous piece of music.  A serious tearjerker, for sure!