By: Suzanne Whitney
Christopher Mattaliano has worn many hats all through his profession—from stage director, to educator, to creative director for opera firms and music festivals, to a member of Opera America’s Board of Administrators. All through all points of his profession, there’s a throughline of considerate management and a deep dedication to collaboration as a method of creation. Take pleasure in this chance to get to know the stage director of Opera Colorado’s 2022 manufacturing of Verdi’s Rigoletto. Study his journey to change into a stage director of opera, his collaboration with this forged, and even hear how he ended up at Woodstock as a twelve-year-old (sure, that Woodstock).
How did you select to focus your profession, time, and creative sense on opera?
As a child, I performed the French horn for twelve years. I fell in love with music at a really early age. I used to be fortunate in that my mother and father have been huge music lovers, though their tastes favored the large band music of the thirties and forties, fifties—Frank Sinatra, Tony Bennett, Duke Ellington, and other people like that. Nevertheless, classical music performed in the home every so often. My dad had three opera recordings, and I fell in love.
However, I really like every kind of music. As just a little detour, I ought to let you know that one among my claims of fame is that I used to be really at Woodstock as a twelve-year-old.
My older sister was relationship a man named Harry, who she finally married, and he labored for an ice cream firm in Central New Jersey. So, this fleet of ice cream vehicles was going as much as this music pageant in upstate New York in the summertime of 1969. Faculty was out, and Maria, my sister, on the final minute simply requested my mother and father, “Oh, shall I take the children with me?” the children being me and my little brother James. We drove as much as Woodstock and imagine it or not, I’m really within the film! The digicam begins panning the gang whereas it’s raining and for about 5 seconds you see me sitting with my sister Maria within the rain.
However getting again to your query, by the point I bought to varsity my curiosity began shifting extra to theater, performing, and directing. So, I finally bought my diploma in directing. Then I learn a e book known as Maverick by director Frank Corsaro. Frank was one of many first theater administrators that began working in opera within the Sixties and Seventies. I wrote to Frank and requested him if I might meet him. He was very responsive.
It turned out he taught an performing class and directing workshop with opera singers in New York on the time. And so, I ended up taking his class, and he grew to become my mentor. When he discovered I had a really sturdy music background he inspired me to enter the opera. I assisted him for a lot of years on opera productions, after which I finally constructed a profession of my very own.
However it all goes again to my mother and father having music in the home and my faculty system in Somerset, New Jersey, having a band class. So, I’m a giant advocate for arts and schooling. I’m a poster baby for what it may do for a child from a blue-collar household.
Since getting your begin as a stage director, you’ve worn a lot of hats. How have these totally different roles influenced one another?
I feel a number of the greatest recommendation I ever bought once I grew to become the creative director of Pine Mountain Music Pageant was to “take into consideration what has made you profitable as a stage director and apply that to working a music pageant.”
As a stage director, you have to alter your communication with every particular person. The best way through which you talk with stagehands and the manufacturing workforce is totally different from the way you talk with the conductor. It’s a must to converse a number of totally different languages in a figurative sense and decide how greatest to inspire them and get their greatest work out of them.
I’m additionally very sympathetic to each arts group now, whether or not it’s a symphony orchestra, an artwork museum, or an opera firm. It’s simply an extremely difficult time. I wish to do all I can to assist a company succeed. Every part from ensuring what we placed on stage is the very best it may be to talking at a fundraising occasion. As a result of I ran an opera firm for a few years, I’m significantly aware of the large image. You’re placing on an opera, nevertheless it’s half of a giant group, and that group has a relationship to take care of and develop with most of the people.
Inform us about your expertise instructing, each at universities and younger artist packages. Does your instructional work feed your work with skilled firms?
Boy, that’s one other glorious query. I really feel very lucky that my profession has been primarily based each within the skilled opera world, working with seasoned skilled singers, conductors, administrators, and designers, and within the conservatory world, working with very gifted, however inexperienced younger singers. I do discover the 2 feed one another. After I’ve spent a month instructing, doing grasp lessons, and dealing with college students, I discover I can carry the openness, enthusiasm, and power of the classroom into the skilled rehearsal corridor. And once I’m working with younger singers, I carry information concerning the career, and the way profitable singers behave and advance their careers. I really feel very, very lucky to have a profession that’s deeply rooted in each the college world and the skilled world.
Let’s shift to this manufacturing of Verdi’s Rigoletto. Because you’ve directed it earlier than, how does it really feel to come back again to this opera?
Rigoletto is one among my nice loves. I feel this is among the nice masterpieces in operatic literature. That is the ninth or tenth manufacturing I’ve directed. It’s just a little sobering to understand I first directed it in 1988. I had a music historical past professor in faculty named Dr. Acker, Jack Acker. He wrote an exquisite e book known as, The Artwork of Sound. Dr. Acker used to say, “music is a treasury of the acquainted.” I feel what he meant by that was the extra acquainted you change into with nice works of music, the extra they offer again, the extra nuanced your expertise turns into.
I’ve cherished this opera for a lot of, a few years. It’s one among my favorites to direct as a result of it’s so nicely put collectively, and as you change into increasingly acquainted with the work, the extra it provides again to you, the extra detailed your relationship with it turns into. I mentioned to Ari Pelto, Opera Colorado Music Director, “Gosh, I’m falling in love with this opera yet again, and I’ve performed it 100 occasions.”
I proceed to construct upon what I’ve performed prior to now, nevertheless it adjustments each time as a result of I’m working with a brand new conductor and a brand new forged. They every carry their expertise to the method, and hopefully, your concepts merge and give you one thing particular. I at all times say the very best thought wins. Simply because I’m the director doesn’t imply that I’ve the very best thought.
It looks as if you may have an important working relationship with this forged. How did the rehearsal course of really feel for this manufacturing?
On the last room run, I made it some extent to go over to Greg Carpenter, The Ellie Caulkins Normal & Inventive Director, and say thanks a lot for offering such a wonderful forged. They’ve made my job a lot simpler. One in all my directing lecturers in faculty mentioned that directing is 90% casting—in the event you forged the proper individuals, they have a tendency to make you look superb. And I’d say Greg has performed a wonderful job of casting this opera, and it’s making me look superb as a director. The singers are so good at their job, and that’s not me. You recognize, I’m not a modest particular person, however I’m a really life like particular person!
I’ve 5 glorious performers within the lead roles. The viewers will see an actual detailed ensemble manufacturing with fantastic chemistry. Chemistry is one thing that you could’t essentially direct right into a manufacturing, however you hope it occurs. I attempt to create an environment the place each the soloists and the refrain are prepared to take dangers and dive in collectively. That might be mirrored within the efficiency.
It is a conventional manufacturing, however conventional in the very best sense of the phrase in that it is rather alive and really very important with very excessive power. I’m lucky in having Joshua Dennis because the Duke, and that we’re on the identical web page when it comes to the Duke’s character. It’s the Duke’s character that basically drives the opera. He’s able to being fairly charming, however he’s additionally basically a really darkish and troublesome character. I’m completely satisfied Josh has been prepared to go that route.
I’m additionally so completely satisfied to work with Steven Powell (Rigoletto) once more. He’s performed the function many occasions, and I’ve directed him earlier than within the opera. It’s nice to revisit the piece with Steven and choose up the place we left off. I draw upon his expertise within the function. I’ve additionally labored with Christian Zaremba (Sparafucile) earlier than so I can draw up on these former relationships and develop new working relationships, like with Joshua Dennis and Sharleen Joynt. It’s thrilling to see what they bring about to the roles.
You’ve talked about Rigoletto is one among your favourite operas. Why do you suppose audiences will find it irresistible too?
Folks at all times ask if Rigoletto is an effective first opera. I feel this is a superb first opera as a result of it flies by. It’s a narrative everybody can relate to. It feels just a little difficult when it comes to how girls are portrayed, however as somebody who has two daughters, the character of the Duke nonetheless very a lot exists on the planet. So, this story could be very well timed in that regard.
I feel that is Verdi’s sixteenth opera, he wrote twenty-six in complete, so he had been composing for a while. Folks usually agree that Verdi’s genius comes along with this work—his sense of dramatic timing, his unimaginable present for melody, and simply his depiction of the complexity of human relationships come collectively in a really profound and insightful approach.
It’s an important work, and everybody is aware of “La donna è cellular.” The tenor begins to sing it, and other people notice, oh, I do know this music! I’ve heard this earlier than a thousand occasions. So, the music will sound acquainted to individuals, whether or not they’re opera buffs or not.
What else would you prefer to find out about director Christopher Mattaliano? Do you agree with him that Rigoletto is Verdi’s masterpiece? Tell us within the feedback under!