Meet Our Artists: CARLO MONTANARO, Conductor

Maestro Carlo Montanaro made his Seattle Opera debut three years ago, making a very strong case for an opera not many people knew: Massenet’s Don Quichotte. Since then, he has returned to conduct Verdi’s fierce Attila and Puccini’s lyrical La bohème, and we’re excited that he’ll be conducting a very special concert in Seattle this August. These last few weeks, leading our first-ever production of The Consul, he has given us a real treat: according to The Huffington Post, “Carlo Montanaro conducted a performance that assumed Menotti's opera is a masterpiece and did everything humanly possible to make everyone in the house believe it as well.” During intermission the other night, he very kindly spared me a moment to share his thoughts about this remarkable piece.

Act Three Interlude

Have you conducted this opera before?
No, first time!

Have you conducted a lot of operas in English?
No, as a matter of fact, this is my first opera in English. I’ve studied some of them—Britten’s operas, for instance, but now I work on one for the first time.

Carlo Montanaro in rehearsal
Bill Mohn, photo

What is special about this music?
It’s really a music drama—recitar cantando, you know, like a Baroque piece. The composer loves the text; and why not, the libretto is amazing, the music is gorgeous.

Act Two Interlude

Is The Consul a Wagnerian gesamtkunstwerk?
No. You can find the perfume [sniffs] of many composers in this; Puccini, Strauss. But it is Menotti.

Yes, but this all-important balance of words and music, which so obsessed Wagner?
The problem is that Menotti wrote everything, libretto and music. He was also the director. He had the entire show in mind. I think it may be his masterpiece. He once wrote, “The only way you can really create a character is to live their life. You have to find yourself onstage with them in a certain way.” And it’s true.

Carlo Montanaro rehearsing in the orchestra pit (with Susan Gulkas, viola)
Elise Bakketun, photo

With an opera like The Consul, that’s such a fusion of words and music, does your job change?
No. My responsibility is still to bring out all the details of the music. There are so many details in the instrumentation, for instance, which describe the action and the story and the text. The association of English horn with the Mother, or the clarinet with the Police Agent. The trombones are used for destiny. Piano is so important, harp is so important. He uses the orchestra fantastically to color his special interests—Menotti was fascinated by the occult, by magic, by anything supernatural—the nightmare scene, for example.

Is Menotti well-respected in Italy?
Yes, particularly at Spoleto, where he founded this wonderful festival.

Do you think of him as an American or an Italian composer?
Oh, he’s an Italian composer. Yes, he traveled a lot, and spent most of his life outside Italy. But he has this Italy in his heart, in his blood.

Carlo Montanaro at a music rehearsal with Colin Ramsey (Mr. Kofner), Margaret Gawrysiak (Vera Boronel), Dana Pundt (Anna Gomez), Mark Haim (choreographer), and John Keene (piano)
Alan Alabastro, photo

What’s it like working with this young cast?
Very nice! Everyone is so full of energy, so positive. They all want to do their very best, which makes it such a pleasure to come to work.

Quintet Finale to Act One

In your profession, have you ever found yourself waiting in the Consul’s office hoping to get a visa so you can go and conduct somewhere?
It’s funny, when I came to the U.S. two months ago to begin rehearsals of The Consul, I was sleepy when I got off the plane and the first word I heard was the customs officer: “Next!” And I thought: “Oh, no! The opera can’t be starting already, I’ve barely arrived!” I’ve spoken with so many people who find this opera so familiar, so real.

Meet our artists: JOSEPH LATTANZI, Assan

Baritone Joseph Lattanzi has one of the most important parts in The Consul. When freedom-fighter John Sorel must leave his wife and family, he tells his wife, Magda to wait for someone to break the family’s window, then to call Assan, the glass-cutter. “He’ll give you news of me,” John says. Lattanzi returns to the Seattle Opera stage after performing in Madama Butterfly (2012) and Carmen (2011) for this opera which he says is important and holds truths which are hauntingly relevant today.

On the first day of rehearsals, director Peter Kazaras encouraged The Consul cast and Seattle Opera staff to share their own stories of escaping persecution. Did any personal stories come to mind? Or what was your reaction to others’ experiences?
My father's family immigrated here, coming through Ellis Island, in 1914. They, like so many others were in search of a better life. I appreciated how Peter started the rehearsal process off. It really put things into a personal context for all of us. I think he changed a lot of minds about the relevance of the piece in that moment.

What’s your opinion of these more modern, 20th century operas?
I'm a fan! I like doing works that have some relevance to what’s going on in society. I actually just finished a workshop of a brand-new opera by Gregory Spears called Fellow Travelers. It’s a gay love story that takes place in the McCarthy era and explores the discrimination and complexity of life LGBTQ people experienced during that time.

Joseph Latanzi as Assan in The Consul. 
Elise Bakketun photo

Tell us about your character in The Consul, Assan.
Assan is one of John’s freedom-fighter friends; he’s the go-between communicator between Magda and John. He’s been charged with making sure the bureaucracy doesn’t get the better of everyone, but of course, it does. He gets to this point where he becomes complicit in Magda’s lies to protect John which increases his involvement in the outcome. I think he tries not to lose his cool during this difficult time, but in the end, he is at the end of his rope and comes pleading to Magda for help.

What was it like working with Marcy Stonikas, Magda, in The Consul?
She is wonderful. I love how Marcy makes everything - voice and language - so immediate. To hear her sing the “Papers, Papers” aria is just incredible. It’s also just an incredible piece of music. Many people discount Menotti, but I think in this piece particularly, his music is very atmospheric and powerful.

Joseph Lattanzi as Dr. Malatesta and Lindsay Russell as Norina in Seattle Opera's 2012 YAP production of Don Pasquale. Elise Bakketun photo 

How was it being in a cast with other graduates of Seattle Opera’s Young Artists Program?
Encouraging! It’s great to see what everyone has accomplished since coming through the program. Everyone is so committed to great vocalism, great acting and great musicianship. I'm proud to be part of this group!

What are your goals with opera in general?
I'd love to have an interesting, varied international career. I love traveling and working on a wide range of projects. I want to be as versatile an artist as possible. I don’t necessarily want to be nailed down as a certain kind of character or singer. I’m also eager to be a part of the growing movement to keep the classical music and operatic traditions vital.

Why should people come see The Consul?
I think Seattle should be proud of this production for several reasons: the exciting younger artists; the tale that’s cautionary, yet powerful. The story of The Consul is still happening today. It’s an important production for our own social conscience and consciousness.

There's still ONE more opportunities to see The Consul!

Menotti's masterpiece plays at McCaw Hall at 7:30 p.m. on March 5 and 7. For tickets and more information, click here.

From left: Joseph Lattanzi (Assan), Michael Todd Simpson (John Sorel), General Director Speight Jenkins, Colim Ramsey (Mr. Kofner) and Stephen LaBrie (Secret Police Agent) following a performance of The Consul. The photo was taken for the Barihunks blog.
Elise Bakketun photo 

Meet our singers: MARGARET GAWRYSIAK, Vera Boronel

“In endless waiting rooms, the hour stands still …” — When Maggie Gawrysiak sings for the first time in The Consul, it’s hard not to pay attention to her lush and resonant mezzo. This theatrical artist, known for both her unique voice and acting chops, makes a powerful impression as the intriguing Vera Boronel in her mainstage debut.



You first came to Seattle Opera for the Young Artists Program but this is your first time performing on the mainstage. How does it feel?
It's lovely to be back in Seattle. I lived here for two years during my time in the Young Artists Program and have many friends in the community.

How has your voice changed since we last heard you singing in Midsummer Night’s Dream?
I'm not sure how my voice has changed since my time as a Young Artist but I know that working with a wonderful voice teacher has helped me greatly.

What are some of your favorite YAP memories?
Some of my favorite YAP memories include performances of Theft of the Gold in local schools and singing Zita in Peter Kazaras' hilarious Gianni Schicchi.

Margaret Gawyrsiak as Vera Boronel in The Consul. 
Elise Bakketun photo

You’ve reunited recently with Peter, who directs The Consul.
Working with Peter was very important in my development as a young artist. I was thrilled to have another opportunity to work with him in The Consul.

On the first day of rehearsal for this show, Peter asked the cast and staff to share their own real-life stories of fleeing to escape persecution.
The conversation on our first day of rehearsal gave such great insight as to why this piece is timely and relevant today.

Tell us about your character in this opera.
The most interesting thing about Vera Boronel is that she is the only character in The Consul to receive her papers and blessings to leave the country. She wears expensive furs and beautiful jewelry in our production which might suggest that wealth has helped her with bureaucracy.

Colin Ramsey, Margaret Gawrysiak and Dana Pundt rehearse The Consul with maestro Carlo Montanaro.
Alan Alabastro photo

Is Vera, a privileged character, sympathetic to the plight of people like Magda?
Vera is definitely sympathetic to Magda's struggles. The characters sitting in the waiting room hear each other's stories and understand what they are going through.

What’s the biggest challenge to your part in The Consul?
It is a challenge to stay in character and remain focused during Magda's thrilling Act 2 aria.

Why should people come see this opera?
People should come see it because it is a rarely-produced piece of theater cast with excellent singers and actors.

There's still two more opportunities to see The Consul!

Menotti's masterpiece plays at McCaw Hall at 7:30 p.m. on March 5 and 7. For tickets and more information, click here.

Margaret Gawrysiak (second from right) with members of the cast from The Consul. 
Elise Bakketun photo

Leon Lishner, Menotti's Original Secret Police Agent, at Seattle Opera

After opening night of The Consul last week, it was a thrill for Steven LaBrie, who plays the Secret Police Agent in our production, to meet Denise Lishner, whose father Leon worked closely with Gian Carlo Menotti and created Steven’s role when The Consul was new, in 1950. After the out-of-town tryouts in Philadelphia and the record-breaking run on Broadway, Lishner went on to sing The Consul in Paris and London; you can also see his performance on the 1960 television film of The Consul, available from VAI. Said Ms. Lishner of attending Seattle Opera’s production: “I saw The Consul many, many times when I was young, so I had to stop myself from singing along! It took me back—I remembered the excitement, the lyrical beauty of the performances, and how mesmerizing it was to see my dad—whom I knew as a nice guy!—transform into this chilling, dark character." Left, Speight Jenkins and Marcy Stonikas (Magda) with Denise Lishner and Steven LaBrie (Secret Police Agent); Elise Bakketun, photo.

Leon Lishner moved to Seattle in 1964, and had an important career both as a bass at Seattle Opera and as a professor at the University of Washington. He taught voice, directed many of the UW’s operas (including the previous production of The Consul in this city) and gave many recitals at Meany Hall. He was well-known for his performance of Schubert’s Winterreise, as well as recitals of Yiddish songs. In honor of Seattle Opera's 50th Anniversary, here are some photos of Lishner’s roles for Seattle Opera:

In Seattle Opera's very first season, fifty years ago, Leon Lishner sang Sparafucile in our first Rigoletto. Here he is, backstage, with Cornell MacNeil (Rigoletto), Margery MacKay (Maddalena), General Director Glynn Ross, Patricia Brooks (Gilda), Leon Lishner (Sparafucile), Maestro Anton Guadagno, and Renato Cioni (Duke of Mantua) (Margaret Marshall, photo).

By 1967, Glynn Ross was hiring two casts to sing each opera; the Saturday night cast would sing in the original language, while the Sunday matinee cast sang in English. For Roméo et Juliette in 1967 (distinguished by the Seattle debut of Franco Corelli), Lishner shared the role of Frère Laurent with Nicola Moscona; Carol Todd sang Lishner's Juliette (Des Gates, photo).

Seattle Opera began building its first production of Wagner's Ring with Die Walküre in 1973. Lishner sang Hunding (and Fafner the Dragon) in those early Ring performances (Des Gates, photo). Of that first Die Walküre, the Seattle Times wrote: “The first act, which is sung primarily by [Jess] Thomas and Miss [Bozena] Ruk-Fočić, along with Leon Lishner as Hunding, is probably the best sung act in the Seattle Opera’s history.” (Des Gates, photo)

In addition to superstars such as Corelli, and ambitious Wagner productions, in the '60s and '70s Seattle Opera presented a handful of new works. American composer Thomas Pasatieri found a champion in Seattle Opera's Glynn Ross, who produced his Black Widow, in addition to Calvary and Signor Deluso. In the 1975/76 season, Pasatieri returned to Seattle Opera for the West Coast premiere of The Seagull, based on Chekov. The cast included Shirley Harned (Pauline), Patricia Wells (Masha), John Reardon (Boris), Lincoln Clark (Dr. Dorn and Stage Director), and Leon Lishner (Shamrayeff) (Chris Bennion, photo).

For Seattle Opera's first Magic Flute, in 1978, Lishner cast a spell with his sonorous bass voice as Sarastro (Stewart Reif, photo)

Menotti loved working with Leon Lishner; after collaborating on The Consul, he wrote the role of Balthazar in Amahl and the Night Visitors for him, followed by Don Marco, the priest in The Saint of Bleeker Street. Every Christmas from 1951 to 1962, Lishner would head downtown in New York to the NBC studios for the live broadcast of Amahl and the Night Visitors. You can hear him on the original cast recording CD and DVD.

Publicity image for Amahl and the Night Visitors; Leon Lishner, as Balthazar, is the second king.

Besides the Seattle production of The Seagull, two of Lishner’s other remarkable experiences creating new operas included the premiere of Weill’s The Threepenny Opera, in 1954; he played Mr. Peachum to the Jenny of Lotte Lenya; and the original NBC television production of (scenes from) Britten’s Billy Budd, in 1952. Lishner sang Claggart, with Britten’s original Billy, Theodore Uppman, and the Captain Vere of Andrew McKinley.