One of today's most sought-after lyric baritones on the operatic stage, Schulich Voice Instructor Brett Polegato has made a name for himself in a number of dramatic roles. His artistic sensibility has earned him the highest praise from audiences and critics, appearing frequently throughout North America and Europe. He听is particularly noted for his programming choices and wide range of repertoire.听
Although the pandemic is still exerting its influence on the arts, Brett is pleased to be doing a number of operas and orchestral concerts in the 2021-2022 season, with the highlight being the world premiere of Kevin Puts' opera, The Hours. He creates the role of Richard Brown in concert performances of the new work with the Philadelphia Orchestra and conductor, Yannick N茅zet-S茅guin March 18, 2022. 听
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We connected with Brett over email as he prepares for听opening night of The Hours. 听
How did this project come about? 听听
It was during the pandemic 鈥� the summer of 2020 鈥斕齱hen my agent received a call from the Philadelphia Orchestra. Apparently, Maestro N茅zet-S茅guin wanted to know if I was available and interested in creating the role of Richard Brown in the world premiere of Kevin Puts鈥� opera, The Hours.听听
What are you most looking听forward听to with the premiere of听The听Hours?听听
I am a prolific collector of first-edition books and have been a fan of Michael Cunningham鈥檚 work for years. My copy of The Hours (the Pulitzer Prize鈥搘inning novel on which both the film and the opera are based) bears an inscription to me from him.听听
The role of Richard Brown is, I think, a significant one in the 21st century opera canon. He is a 50-something-year-old novelist who is about to be awarded a prestigious literary prize. And he is dying of AIDS. For me, as a gay man of a similar age, to be entrusted with such a role speaks to the progress our art form has made in terms of EDI [Equity, Diversity, and Inclusion]. Despite the stereotype of opera being a gay man鈥檚 art form, there are shockingly few of us performing on the world鈥檚 great stages.听听
So, to create the role of Richard with the Philadelphia Orchestra, and to sing it alongside Ren茅e Fleming and Kelli O鈥橦ara, with my friend, Yannick conducting, is a dream come true for this book nerd. Someone pinch me!听
Opera is often known for lavish productions. How is the storytelling captured听in a concert version?听听
I think it takes a certain disposition to be a concert singer. Not all singers are comfortable being 鈥渘aked鈥� on stage with only their voice and the music to support them. You do, indeed, have to love being a storyteller. We are fortunate in that The Hours is very much a story about relationships. While there are very dramatic narrative elements to it 鈥斕齣ncluding a real showstopper for my character 鈥斕齣t is as much about the exploration of emotion. With such a capable cast in Philadelphia, I have no doubt that audiences will be captivated and will not miss the scenic elements one bit.听听
Were you able to connect with composer Kevin Puts during the preparation of this opera? 听
I was quite fortunate to have done the Canadian premiere of Silent Night, Kevin鈥檚 first opera, for Calgary Opera in 2014. We became acquainted at the opening night party and have been in touch, on and off, ever since. Knowing Kevin鈥檚 work and style from that opera prepared me for The Hours. Of course, we have connected a few times over the last two years as this opera took shape, but it has really been for minor details 鈥斕齭ometimes something as simple as my seeking confirmation of his intent at a particular moment in the score. Kevin is very much a singer鈥檚 composer, not only in his lyricism but with his understanding of the human heart, and his writing speaks to me in a profound way.听
Your听performance听credits include a mix of听standard听repertoire, contemporary works, and premieres.听What is it like to create a role or be the first to perform a piece? 听听
It is a tremendous honour and privilege to create a role for the first time, especially when the composer is still alive. I am always touched when my performance has prompted听congratulations听from the composer. No one person can possibly understand all facets of a text and a composer is no different, so being tasked with adding my interpretive ideas to a composer鈥檚 vision is thrilling. Together, we often discover deeper meaning and subtext in a work, especially when the composer is as excited about words as I am.听听
As one who is familiar with opening nights and premieres 鈥� any advice听to students听out there before they walk on stage?听听
Assuming that you are well-prepared and have done your best to serve the work, my advice to you is to go out there and share your art with those onstage and in the audience. Of course, we all get nervous鈥� and opening nights are often the worst 鈥斕齜ut I remind myself that the public is there to enjoy my performance, not to criticize me. Besides, it is the music that is in the spotlight, not me; I am simply there to show people why they should love it as much as I do!听
Your career听balances the worlds of performance and pedagogy.听How does the combo听nurture you听as an artist?听What makes each special?听听
I have to confess that I fell into pedagogy by accident; 不良研究所 鈥斕齛nd in particular, my talented colleague, John Mac Master 鈥斕齭ought me out. I really had no intention of becoming a voice teacher, certainly not with a full performing calendar, but I am very grateful that they recognized the pedagogue in me that I, at the time, did not. I have fallen in love with teaching.听听
It has been immensely rewarding to share my love of singing and the stage with a new crop of talented young artists; I am old enough now to rejoice in the tremendous talent in Canada. Every student teaches me something new about my own singing and I believe I have become a better singer as a result of having to articulate what it is I do, both technically and dramatically.听听
As you would expect in this fast-paced world, the performing arts has changed drastically in the last decade and I think I would not be the teacher I am if I weren鈥檛 out there 鈥渓iving鈥� it. When I am in my studio, it is easy to lose contact with the reality of performing today. Being 鈥渙ut there,鈥� reminds me of what has changed and what is changing. I hope this allows me to better prepare my students for this very competitive business.听听
And of course, opportunities like The Hours听or my Met debut in 2019, allow me to celebrate my collaboration with 不良研究所 on social media. The Schulich School of Music鈥檚 reputation has been built on the distinction of its many talented teachers and I am proud to be an ambassador for the university.听听
What should every student leave Schulich knowing? 听听
Good or bad, no one cares what you did at university. I was the University of Toronto鈥檚 Eaton Graduating Scholar at the Faculty of Music, and to this day no one has asked to see my award.听听
So, use this time to try gloriously and fail miserably; find out who you are now, when it won鈥檛 cost you鈥� much; do crazy things; and, above all, take advantage of all the resources at your disposal, including the teachers at Schulich. As I like to remind students, we teachers are much more expensive to work with in the real听world, so enjoy the perks while they last because 鈥斕齜elieve me 鈥� you will realize all too soon what a treasure trove of information you had at your fingertips听
If you had a mantra/philosophy/phrase for where you are right now, what would it be? 听听
鈥淭he greatest opportunities in life come at the most inopportune moments.鈥澨�
I usually find that offers like The Hours come when my life is at its craziest so I have learned to seize the moment and trust that I will rise to the occasion. So far, so good!听
What advice would you give to your starting-at-university self? 听听听
I would tell him to be less afraid and to not take himself so seriously. (I鈥檓 still working on that last part.)听
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