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. HeĚýis particularly noted for his programming choices and wide range of repertoire.Ěý
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 NĂ©zet-SĂ©guin March 18, 2022. Ěý
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We connected with Brett over email as he prepares forĚýopening night of The Hours. Ěý
How did this project come about? ĚýĚý
It was during the pandemic — the summer of 2020 —Ěýwhen my agent received a call from the Philadelphia Orchestra. Apparently, Maestro NĂ©zet-SĂ©guin wanted to know if I was available and interested in creating the role of Richard Brown in the world premiere of Kevin Puts’ opera, The Hours.ĚýĚý
What are you most lookingĚýforwardĚýto with the premiere ofĚýTheĚýHours?ĚýĚý
I am a prolific collector of first-edition books and have been a fan of Michael Cunningham’s work for years. My copy of The Hours (the Pulitzer Prize–winning novel on which both the film and the opera are based) bears an inscription to me from him.ĚýĚý
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’s art form, there are shockingly few of us performing on the world’s great stages.ĚýĚý
So, to create the role of Richard with the Philadelphia Orchestra, and to sing it alongside RenĂ©e Fleming and Kelli O’Hara, with my friend, Yannick conducting, is a dream come true for this book nerd. Someone pinch me!Ěý
Opera is often known for lavish productions. How is the storytelling capturedĚýin a concert version?ĚýĚý
I think it takes a certain disposition to be a concert singer. Not all singers are comfortable being “naked” 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 —Ěýincluding a real showstopper for my character —Ěýit 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.ĚýĚý
Were you able to connect with composer Kevin Puts during the preparation of this opera? Ěý
I was quite fortunate to have done the Canadian premiere of Silent Night, Kevin’s 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’s 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 —Ěýsometimes something as simple as my seeking confirmation of his intent at a particular moment in the score. Kevin is very much a singer’s composer, not only in his lyricism but with his understanding of the human heart, and his writing speaks to me in a profound way.Ěý
YourĚýperformanceĚýcredits include a mix ofĚýstandardĚýrepertoire, contemporary works, and premieres.ĚýWhat is it like to create a role or be the first to perform a piece? ĚýĚý
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 promptedĚýcongratulationsĚýfrom 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’s 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.ĚýĚý
As one who is familiar with opening nights and premieres — any adviceĚýto studentsĚýout there before they walk on stage?ĚýĚý
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— and opening nights are often the worst —Ěýbut 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!Ěý
Your careerĚýbalances the worlds of performance and pedagogy.ĚýHow does the comboĚýnurture youĚýas an artist?ĚýWhat makes each special?ĚýĚý
I have to confess that I fell into pedagogy by accident; Â鶹ԼĹÄ â€”Ěýand in particular, my talented colleague, John Mac Master —Ěýsought 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.ĚýĚý
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.ĚýĚý
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’t out there “living” it. When I am in my studio, it is easy to lose contact with the reality of performing today. Being “out there,” 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.ĚýĚý
And of course, opportunities like The HoursĚýor my Met debut in 2019, allow me to celebrate my collaboration with Â鶹ԼĹÄ on social media. The Schulich School of Music’s reputation has been built on the distinction of its many talented teachers and I am proud to be an ambassador for the university.ĚýĚý
What should every student leave Schulich knowing? ĚýĚý
Good or bad, no one cares what you did at university. I was the University of Toronto’s Eaton Graduating Scholar at the Faculty of Music, and to this day no one has asked to see my award.ĚýĚý
So, use this time to try gloriously and fail miserably; find out who you are now, when it won’t cost you… 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 realĚýworld, so enjoy the perks while they last because —Ěýbelieve me — you will realize all too soon what a treasure trove of information you had at your fingertipsĚý
If you had a mantra/philosophy/phrase for where you are right now, what would it be? ĚýĚý
“The greatest opportunities in life come at the most inopportune moments.”ĚýĚý
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!Ěý
What advice would you give to your starting-at-university self? ĚýĚýĚý
I would tell him to be less afraid and to not take himself so seriously. (I’m still working on that last part.)Ěý
Visit Brett's personal
More about the ofĚýThe HoursĚýĚýby Kevin Puts
