Jonathan Tetelman: “Being a Tenor is a Way of Life”

Tenor Jonathan Tetelman made his Metropolitan Opera debut last March as Ruggero in Puccini. Wait for himand New York Times they praised him for “his concentrated voice, and a clear sound that surpasses the sound of an Italian instrument.” Now, California audiences have two chances this fall to hear the in-demand tenor.

First, he sings the role of BF Pinkerton in his Los Angeles Opera debut Mrs. Butterflyeffective on Sept. 21 – Oct. 13 in the Dorothy Chandler Pavilion. The new production to LA comes from Madrid’s Teatro Real and is directed by Mario Gas, who is also making his LA Opera debut, as soprano Karah Son as Cio-Cio-San, the role which he sang more than 300 times. Now, Tetelman returns to the San Francisco Opera to portray Don José in Georges Bizet’s Carmenrevival of director Francesca Zambello’s play Nov. 13 – Dec. 1 at the War Memorial Opera House.

Born in Castro, Chile, Tetelman was adopted at 6 months old by an American couple and raised in Princeton, New Jersey. His vocal talent was noticed by a local music teacher and he was later nurtured at Princeton’s American Boychoir School. He received his first degree – as a baritone – from the Manhattan School of Music and went on to graduate from the Mannes School of Music, where he began a gradual transition to of the tenor.

But before bowing to the international operatic stage, Tetelman spent three years as a DJ in a Manhattan nightclub. He eventually found his way back to singing and established himself as a tenor, and his career has been on the rise ever since. He has many parts of Puccini in his repertoire – Rodolfo in bohemianCavaradossi in ToscaAlfredo The one who deviated — who has sung for some of the biggest houses in the world. Immersed in the Italian repertoire, the 35-year-old has also won a lot of acclaim in the likes of Riccardo Zandonai. Francesca from Rimini and Verdi’s Stiffeliusas well as parts in Ruggero Leoncavallo’s The clowns and that of Pietro Mascagni Rustic Horsemen.

In addition, the tenor with the movie-star looks, man Opera news A “big talent” who was also honored at the 2023 Opus Klassik Awards as Breakout Artist of the Year, he has two recordings on Deutsche Grammophon, including last year’s. Puccini is greatwith another album in the works and three live performances due to be recorded in late October.

SF Classical Voice spoke with Tetelman, who lives in Romania, over the phone, delving deeper into his love for Puccini and what it takes to be a tenor.

It’s no secret that you were raised by your parents, but was there music in your family?

I would say there is music. My parents made me listen to a lot of 40’s and 50’s music in the car. I kept listening to it, and I loved it. [Frank] Sinatra, Jerry Lee Lewis, The Temptations, this kind of music, but not very old music. That was my study.

I started to enjoy classical music because I sang in a choir, which started my interest. I was 19 or 20 years old [decided that I] he wanted to be an opera singer — to sing professionally. I thought maybe the Metropolitan Opera Chorus, some kind of classical music, but I didn’t know if I wanted to be an opera singer.

You’re making your LA Opera debut this month, but have you worked with Mario Gas, Karah Son, or Music Director James Conlon before? And what do you think about the action of changing films and taking place in the film of the 1930s?

I only worked with Karah; it was my first Butterfly in Montpellier in the south of France. It was a great presentation by Ted Huffman in 2019. I just made a presentation that was the same idea as [LA Opera’s]. It didn’t have all the expansion of this production, but it had the same duration [and a] feelings [similar to the musical] South Pacific.

I think it’s a great modern innovation; I think it’s approachable. People of the present generation know this time very well, [and] I think the mixed media thing is a great addition. It’s a great idea for young people, but it has to be done in a way that’s not disruptive. A film will be made while we are singing and not singing.

What attracts you to Cad Lieutenant Pinkerton, who, for the uninitiated, arranges to marry Cio-Cio-San and then abandons him?

I was never really interested in singing in Pinkerton and I avoided the part. It is a difficult role to play; you are basically setting yourself up for failure. Pinkerton is one of those episodes where, even on your best night, people will hate you. It takes a lot of growing up to sing it, [and I] he wanted glory and praise to feel connected to the player, [so] it took a long time. I don’t think it’s a guy’s character, [and] I think I’m young. Although the player is still young, he needs to grow up a lot.

But the music, Jonathan…

The music is catchy, especially in Act 1. It’s a lot of fun to sing. If you can sing this part, it’s a step to [Jules Massenet’s] Manon. When you are there, you must be 1,000 times over. There are 45 minutes of intense music [that] it requires a lot of energy. You have to make your own decision [to the audience] in Act 1. If you don’t, one and a half hours pass, then you will come back and you have 10 minutes.

I like a challenge. I like that there are parts of my book that I don’t like. It makes me want to work on something. It makes me interested in my music, acting, and this artistic connection that I have to build. If I do everything easy and [it] it makes me happy and gives me a lot of applause, it’s a cheap way to make art.

How do you prepare for a role?

For this part, I would say that I am examining the text, examining more, to understand what my colleagues are saying, what they are hearing. Understanding some characters takes a lot of time. Understanding your character is good, and you can make a good impression, but you build it apart from the rest – that’s what makes a character strong. I still have an open mind. I want to love him more!

This is the 100th anniversary of Puccini’s death. Did that affect your choice of roles this season?

I think it’s great that I’ve based my entire understanding of opera and performance around Puccini. He was the first composer I contacted and he could sing the whole opera [by]. It wasn’t a finished product by any means, but I could do it [in one of his roles]. His connection with nature and musical expression and urgency – everything happens now, when you speak – not like Verdi, [where the drama is] extended in time, or Mozart.

It has that bel canto flow. It has that romantic feel, but the story continues. You don’t talk about things on purpose. These things are happening now; decisions are made immediately. That was a good start for me. I didn’t want to focus on technology but I wanted to go on stage to sing. I think I’m almost done now [Puccini’s] repertory of words and complete words, minus Rinuccio [in Gianni Schicchi]. I think that for me, it is the halfway mark soon in the Puccini repertory in celebration of the centenary of his death.

Here’s another Puccini question: Why do you think you’re not ready to sing Calaf? Turandotwithout crooning “Nessun dorma” in the convertible, along with your album Puccini is great?

I’m not ready yet Turandot. I am waiting for the right time, the right place, the right player, the right offer. I’ve been given a lot. I think this part needs a special place. Maybe in five years, I’ll be happy to do it. But I would like to do des Grieux in Manon first.

I think Calaf is one of the areas that needs a lot of growth; it’s one of these stories that you need an open mind for. I think it’s getting harder and harder for opera houses to take risks with songs like this. I want to make it somewhere with these pieces. I want to feel free. I want to hear Jonathan about Calaf. I want to feel free to be who I am feel the character.

[As for] “No one sleeps” and [Calaf’s] Act 1 aria, to be honest, I could probably sing [them]but is it the right time? Aren’t there other operas I should have done when I was younger – like Tales of Hoffmann [or] Faust, [which] I can’t do it in my 50s – and wait for a wonderful repertory later?

You went from baritone to tenor, but at one point, you said you didn’t think you were “physically, mentally, or emotionally ready to take on what it means to be a tenor.” Can you clarify that please?

Being a tenor is a way of life. It’s a change in your whole outlook on how you live your life. I had to change my diet, my sleep, the amount of exercise I do. It’s deep, and it’s a deep understanding of how to build your style over and over again, isn’t it [you] you have the technology and you can just put it on the seat. You have to be determined every day. When I’m 18, forget about it; I was too young to commit to something like that. But I turned 25, and I was ready – like a late bloomer – to give up and focus on building that craft.

What kind of advice would you give to former opera singers, and how can opera benefit everyone?

I think that opera, because it is a mixed form of art and expression, can heal everyone. I don’t mean physically but emotionally. People with anxiety and pain can seek opera, and opera can give them beauty and warmth that they may not have.

My advice? Patience, patience, patience, and more patience. And, at the same time, you have to be emotional. You have to focus. You have to let your voice come first.

Where do you see yourself in the next five to 10 years, apart from singing, well, Calaf?

I think I see myself continuing to do tenor roles but on a different scale. Don Ottavio [from Mozart’s Don Giovanni] he can be a great man. Must not be a 21 year old. Parts must be sung by very mature people – the most mature. But actually, I like to be a director. I like to interact, to work with conductors. That would be a better use of my time. So maybe in 20 years, I see myself directing, because I’m still only 35!