Russell Thomas on Verdi

My first experience singing Verdi was in the chorus of Florida Grand Opera as a student. I was in the chorus of Macbeth. Justino Díaz was the Macbeth, Deborah Voigt was Lady Macbeth, and Eric Halfvarson was the Banquo. I remember those performances like it was yesterday. Being a part of the "Patria oppressa" chorus of Act 4 was a moving experience. The first Verdi aria I recall singing is "Questa o quella" from Rigoletto. People that heard me sing it, seemed to be impressed by what they heard so I sought out more.

The primary challenge is the technical demands of the repertoire. You must be able to do everything with your voice from the daintiest trills to big fortissimo high notes. All while making some very unrealistic or convoluted stories believable.

The reward is being able to sing some of the most beautiful music ever written. It just doesn't get any better for Italian opera.

Role preparation is the same for me no matter the role. I translate the score and mark dynamics and phrasing. I learn the notes, then listen to as many recordings of the work as I could possibly find. The issue I found with Ernani was finding a through-line to the storytelling. There's a lot happening and I'm often asking myself why and not being able to find an answer.

The number I was looking forward to sing was the added aria at the end of Act 2, that was written for the tenor Nicola Ivanoff at the personal request of Rossini. Unfortunately, we won't be performing that added aria in this production. The opening aria is fun and starts the show with a beautiful cavatina and cabaletta.

The next Verdi roles I'm learning or refreshing are the title role in Don Carlo, which I will perform in NYC, and Don Alvaro in La Forza del Destino, which I will perform in Paris, both in the later part of the fall season. The next new Verdi will be Don Carlos (the French version in 5 acts) and Riccardo in Un Ballo in Maschera.

As always, it's a high honor to be invited to perform in this theater with so much history. Giants have performed here. It's not an opportunity I take lightly. Also, to open the season of an opera company shows the faith the leadership of this great company has in my abilities as an artist. I hope I won't disappoint.

The beautiful thing is I've known all of my singing colleagues for a long time. Tamara is a frequent collaborator, I've probably sung more Verdi with her than any other soprano. It's amazing to get to work with old friends. There's a great atmosphere and collegiality.

Singing Verdi requires an attention to detail that is only possible with technical assuredness. You have to be able to do everything in the score and make it look easy. I think a cast of musicians has been assembled that strive for that attention to detail in a way that will make the performances percolate with excitement. What more could you ask for?