{"id":1048,"date":"2017-01-03T06:00:51","date_gmt":"2017-01-03T11:00:51","guid":{"rendered":"http:\/\/operawire.wpengine.com\/?p=1048"},"modified":"2017-01-14T10:52:31","modified_gmt":"2017-01-14T15:52:31","slug":"the-non-stop-debutant-brian-jagde-on-busy-2017-verdi-wagner-his-five-house-debuts-exclusive","status":"publish","type":"post","link":"https:\/\/operawire.com\/the-non-stop-debutant-brian-jagde-on-busy-2017-verdi-wagner-his-five-house-debuts-exclusive\/","title":{"rendered":"The Non-Stop Debutant – Brian Jagde on Busy 2017, Verdi, Wagner & His Five House Debuts [Exclusive]"},"content":{"rendered":"

30 performances. Seven cities. Five house debuts and two role debuts.<\/p>\n

That is what tenor Brian Jagde faces in 2017. The first half of 2017 that is.<\/p>\n

The tenor, who has been growing in prominence over the last few years, is slated for a monstrous calendar year that will see him make more house debuts than he ever has before.<\/p>\n

Jagde <\/a>came to prominence as a member of San Francisco\u2019s Adler and Merola Programs before making waves at the Operalia Competition in 2012 where he received the Birgit Nilsson prize and won second place. From there, his career skyrocketed as he made auspicious debuts at major houses that included The Metropolitan Opera, the Opera de Bellas Artes, San Francisco Opera, Minnesota Opera, Santa Fe Opera, Lyric Opera of Chicago and Royal Opera among many others.<\/p>\n

Chorus to Fake-i-Tone to International Tenor<\/strong><\/p>\n

Jagde<\/a>, during a recent chat with OperaWire, admitted that this was far from what he could have ever imagined. He never grew up knowing anything about opera. He initially set out to study business and computer science before realizing how much he hated those professions. He auditioned for singing at a few schools before eventually finding himself in the slave chorus of Mozart\u2019s \u201cDie Zauberfl\u00f6te\u201d in a school production.<\/p>\n

\u201cIt was during the chorus one night that I realized that this was what I wanted to do,\u201d he revealed. \u201cI fell in love with it immediately.\u201d<\/p>\n

He also learned four different parts for that production \u2013 he covered the role of Monastatos, performed the first priest and was a part of the priest chorus.<\/p>\n

But it would not be smooth sailing from there. He was originally assigned as a baritone, or \u201cfake-i-tone\u201d as he referred to that period of his career. But he never had the low notes and the high notes seemed more natural, eventually putting him on the right path to be a star tenor.<\/p>\n

One Debut After Another<\/strong><\/p>\n

Jagde is in a period of his career where he is constantly taking on new roles in new places. But he is keen to take his time with the new repertoire. As a rule of thumb, he usually does not program role debuts close to one another to give himself time to learn as well as keep his voice flexible and comfortable. In between, he reverts to his war horses, his \u201cPinkertons\u201d and \u201cDon Joses.\u201d<\/p>\n

\u201cIt\u2019s about keeping your voice healthy. Those roles that you know that you can do and not be too stressed out,\u201d he noted.<\/p>\n

But the end of 2016 and start of 2017 present him with major role debuts and house debuts in close proximity.<\/p>\n

In November he took on the fiendish role of Radam\u00e8s\u00a0in Verdi\u2019s \u201cAida\u201d at the San Francisco Opera for a whopping 11 performances between Nov. 5 and Dec. 6. It was not only the first time he ever sang the role, but also the first time he had taken it on on an A-list stage.<\/p>\n

\u201cIt\u2019s my first real Verdi,\u201d he added before revealing that he could see himself taking on more roles by the iconic composer. \u201cAnd I\u2019m going to be doing \u2018Trovatore\u2019 in a few years and down the line there might be \u2018Otello\u2019 if I\u2019m lucky. I think I have the right voice for it.\u201d<\/p>\n

Radam\u00e8s\u2019<\/em>\u00a0night kicks off with the daunting \u201cCeleste Aida,\u201d an aria that features three climactic B flats while also forcing the tenor to throw his voice around with tremendous power and lightness at the same time. Throw in the fact that there is no opportunity to warm-up and you have an aria that has damaged careers and reputations.<\/p>\n

\u201cI guess that\u2019s the question for everyone,\u201d he responded when asked the best strategy for taking on the gargantuan task. \u201cIf you go into it thinking you\u2019re not ready, then you won\u2019t be. You have to be \u2018game on\u2019 the moment you get on stage, no matter what notes you sing. It\u2019s like basketball. I have to get my game face on and prepare to make all of my shots on the court.\u201d<\/p>\n

Jagde also admitted that an additional struggle for him is that he cannot hear what is coming out of his body the moment it happens.<\/p>\n

\u201cWhen I\u2019m singing I don\u2019t hear anything. It\u2019s in between phrases where I hear what key I am in,\u201d he explained. \u201cThere\u2019s a vibration that\u2019s happening inside of me and there\u2019s a sound that\u2019s coming out of me and I can\u2019t actually hear what\u2019s coming out. I can only really feel the process and feel how my body is working.\u201d<\/p>\n

From his debut as Radam\u00e8s<\/em>\u00a0, Jagde gets his first house debut of 2017 at the Bayerische Staatsoper in Munich as Don Jose in Bizet\u2019s \u201cCarmen,\u201d a role that he relishes dramatically.<\/p>\n

\u201cI really enjoy going completely out of box as Don Jose in \u2018Carmen,\u2019 being that insecure man,\u201d he enthused. \u201cThe guy that can\u2019t resolve anything without violence. To go there dramatically is a lot of fun for a guy like me because I\u2019m not like that on a regular basis. Thank God, otherwise my wife would kill me.\u201d<\/p>\n

Then comes Maurizio in Cilea\u2019s \u201cAndrea Lecouvreur\u201d alongside Angela Gheorghiu, the foremost proponent of the eponymous role in the world at this very moment. Gheorghiu took on the role at the Royal Opera House alongside superstar Jonas Kaufmann in a production by Sir David McVicar. Jadge will step into that same production but is not thinking about filling anyone else\u2019s shoes but his own. Instead, his focus is on the production and what he can take from his partner.<\/p>\n

\u201cThe connection between Maurizio and Adriana in this [production] is magnetic. Other productions are more regal and proper, but this is more intimate. So to do it with Angela, who owns this role right now, on my role debut, is going to be an amazing learning experience,\u201d he stated.<\/p>\n

After his time in London, Jagde flies across the Atlantic to Washington for a house debut as Pinkerton in \u201cMadama Butterfly\u201d in May.<\/p>\n

Then in June he heads north for his New York Philharmonic debut as Froh in Wagner\u2019s \u201cDas Rheingold,\u201d a role debut as well.<\/p>\n

Jagde covered the role for Brandon Jovanovich at San Francisco and was excited about singing Wagner with such a major orchestra. But before getting anyone overly excited about his dive into the titanic repertoire, he did express caution.<\/p>\n

\u201cI try to push it away as much as possible, because people have tried to bring up \u2018Meistersinger [von Nurnberg]\u2019 and I am simply not ready for that right now. Could I do Siegmund [from Die Walk\u00fcre<\/em>\u00a0] right now? Yea because it doesn\u2019t go too high and it is actually one of the shorter roles, but I don\u2019t really want to sing too much Wagner too soon,\u201d he admitted.<\/p>\n

\u201cI want to keep my voice young and fresh and sing all my favorite pieces in the Italian verisimo. Like \u2018Cavalleria Rusticana\u2019 and \u2018Pagliacci.\u2019 That\u2019s where my heart is.\u201d<\/p>\n

He won\u2019t be singing either of those roles this year, but he will return to Italian repertoire for two more debuts. He makes his Oper Stuttgart debut in mid-June as Cavaradossi in \u201cTosca\u201d and then runs off to Madrid to make his house debut at the Teatro Real as Macduff in \u201cMacbeth.\u201d He alternates those two runs for the ensuing weeks before his schedule clears out in the summer.<\/p>\n

The Triumphant End to 2017<\/strong><\/p>\n

But there is still one more role debut coming at the end of the year.<\/p>\n

\u201cI will do \u2018Turandot\u2019 at end of the year,\u201d he revealed before noting that he is not daunted at the prospect of taking on another titan of the tenor repertoire. \u201cCalaf is actually not the longest role. It\u2019s hard singing when you are on stage, but it is really short pops, maybe 20 minutes or so overall. It\u2019s well paced.\u201d<\/p>\n

In the midst of this rising stardom, Jagde still sees himself as a student learning every day. He studies five days a week when he is home in New York and simply looks for ways to \u201clearn and then learn some more.\u201d<\/p>\n

\u201cYou\u2019re always learning. You never stop learning,\u201d he noted.<\/p>\n

The opera world\u00a0will do a lot of learning about Brian Jagde in 2017.<\/p>\n

 <\/p>\n","protected":false},"excerpt":{"rendered":"

30 performances. Seven cities. Five house debuts and two role debuts. That is what tenor Brian Jagde faces in 2017. The first half of 2017 that is. 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