ARTISTS CORNER: Bass Ricardo Lugo

Ricardo Lugo

With a “resonant” bass sound Puerto Rican bass Ricardo Lugo is a versatile international artist in demand on the operatic and concert scene.  Mr. Lugo makes his Sarasota Opera debut this season in two roles; the Sacristan in Puccini's Tosca and as Bartolo in Mozart's The Marriage of Figaro. Having made his Metropolitan Opera debut as Un Barnabotto in La Gioconda, Ricardo has since sang the role of Hans Schwarz in Die Meistersinger von Nürnberg and has been involved in productions of Ariadne auf Naxos, Khovanshchina, Billy Budd, La fanciulla del West, Adriana Lecouvreur, Macbeth, The Gambler and Salome. 

Continue reading to learn more about how Mr. Lugo got his start in singing as well as why he enjoys the opportunity to sing two different roles at the same time. 

Q. Where are you originally from and where do you make your home now?

A. I’m originally from Ponce, Puerto Rico, the second largest city in Puerto Rico. It is located on the south bordering the Caribbean Sea. In 1998 I moved to New York City to complete a masters degree at The Juilliard School. I live now in Ann Arbor, Michigan with my Wife and my four-year-old son.

Mr. Lugo in Don Pasquale

Q. What drew you to become a singer?  Was there a specific “Aha!” moment of clarity?

A. What drew me to become a singer was pure luck and taking all the opportunities that were presented to me at the beginning. My original plan was to become a choir conductor and work with kids. I was inspired when I was a kid so I wanted to do the same thing for other students. When I applied to the conservatory in Puerto Rico, I did it as a voice major instead of as an education major due to the fact that at the moment I applied, I was not completely musically ready. In other words, it was easier to enter as a voice major than an education major. However, one thing led to another and here I am. I can’t complain. It has been a fun journey so far.

Q. What sort of singing did you do while you were growing up in Puerto Rico?

A. I started singing with a young chorus at my local church. I wanted to sing more so I joined the chorus at my middle school. I continued while I was in high school where my chorus teacher encouraged me to continue with music.

Q. Did you have other career aspirations in the works before you settled on singing?  

A. To be honest I did not have any other career aspirations before deciding to take music more seriously. Once I started I knew I wanted to continue a career or work in something related to music.

Mr. Lugo as the Sacristan in
the current production of Tosca

Q. You have two assignments at Sarasota Opera this season; The Sacristan in Tosca and Bartolo in The Marriage of Figaro. What are the challenges in alternating between two different roles at one company? How do you avoid suffering from character identity crisis?

A. To tell you the truth I love playing different roles at the same time. In a way it gives me the chance to be very alert, fresh, and stay very focused as a singer-actor. In regards to singing, the two roles are very different, even though they are both character roles, that they don't give me any problems when it comes to singing. The key, in both the acting and the singing, is to keep it fresh and always give more. It is very important to always listen to the instructions but also give more of your talent. That is the key.

Q. You have sung the role of Bartolo before. What do you enjoy about performing this role?

A. I love it because it is a role of in opera that could be played in so many ways. From traditional productions to the more contemporary. Because of that it gives me the chance to expand and elaborate my interpretation in any direction. And it has also a short but very well written aria that showcases many vocal and histrionic qualities.

Q. Unlike many of the other roles in The Marriage of Figaro, Figaro and Bartolo are two characters who carry directly over from The Barber of Seville without much change. In your opinion, how does he evolve as a character from one opera to the other?

A. I think Bartolo has a lot of resentment towards Figaro. He resents that Figaro was the reason Bartolo couldn’t end up with Rosina, who becomes the Countess in Le nozze. That is why at the beginning of the opera he is trying to make Figaro’s life impossible. This is until Bartolo discovers that Figaro is both Marcellina's and his son.

Q. Are there any famous Bartolo’s from the past whose interpretations you admire?

A. They are so many great basses that have sung Bartolo from, Kurt Moll, Paul Plishka, Enzo Capunao to the most contemporary like Ildebrando D’arcangelo. I like to listen and admire all of them because they are or were incredible singers and also great actors.

Mr. Lugo in Fidelio at Michigan Opera Theater

Q. Beyond the musical work, what other kind of preparation/research work do you incorporate in the learning process?  Historical?  Character study?  

A. I start with the libretto. I then like to read the score to know what the composer has done with the words and what instructions he has suggested. Particularly what are the rhythm choices, especially with recitatives. Obviously with the advantage of the Internet and YouTube, I love watching and seeing what other conductors and singers have done with the roles and the music. Not to copy but to have another idea.

Q. In your career thus far, are there any performances or productions you sang in that particularly stand out to you or hold a special place in your heart??

A. I would say any chance or opportunity that you have as a singer should be treasured and should keep a special place in your heart. It is such a blessing and privilege to be able to offer your art to other people that in my opinion all of them are special. However, I just finished a run of Die Meistersinger at the Metropolitan Opera conducted by James Levine. The cast also included James Morris as Hans Sachs and other incredible collegueas. That was a magical experience, not only because who they are but how incredible their minds work and the admirable qualities as colleagues. That I would say was part of my tiny bucket list that by a miracle or talent I can cross off.

Q. What is the most bizarre experience you have had during a rehearsal?  During a performance?

A. I personally have not had that many dramatic experiences on stage. However, I have to say that I have experienced some others while in rehearsals or on stage. They range from fighting between directors, conductors, and singers. In most cases that was “the clash of the egos”. We are so passionate for our art that we sometimes can't find compromises.

Q. Do you have any pre-performance rituals?  Performance superstitions?  Good luck charms?  If yes, why?

A. Yes, I do have some rituals before singing. Just before my entrance either in concert, recital or a full opera, I like to take few minutes to think and thank all or most of the people who have made it possible for me to be here. Both people that are with us and the ones that have already departed. After that I kiss any part of the theater three times just for luck. At the end of the performance, I like to kneel down and with my hand rub the floor of the theater to smell the dust. It is like an homage to the sweat and tears that we and many other singers have left there. It is kind of bizarre but those are my rituals. Also I have a tiny elephant that a very important lady in this business gave me a long time ago and I carry it everywhere I sing.

Q. How do you relax in between performances?  What hobbies do you enjoy at home and “on the road”?

A. I love this job because it gives me the opportunity of discovering new places and knowing new people. Every time I go back to a place that I have visited previously or a new place, the first thing I look for are a library, a zoo, cultural attractions happening, farmers markets, and of course places where to eat and enjoy what the city have to offer. At home I love working with wood and creating things. Also I must say I love being a “home handy man.” It so gratifying being able to fix things in your house. From pipes, floors and anything I try to fix or destroy. Like my father use to say, “better to do it yourself and keep that money for fun”.

Opera is Alive and Well!

For those of us who are opera lovers and follow the comings and goings in the opera world, we might feel that there is cause for despair. Recent tales of doom include one failed company (New York City Opera) and another that was saved from the brink (San Diego Opera.)  In addition the leader of the largest opera company in the world has been complaining that opera audiences are dying, the art form is moribund, and without significant union concessions, his company will go bankrupt in a few years.

James Buckhouse of Twitter presents to more than 500 attendees at the 2014 Opera America Conference.
Photo by Jerry Placken/Meyer Sound

I’ve just returned from the Opera America conference in San Francisco where representatives from most of the opera companies in North America met, shared best practices, and worked on strategies for the future. I believe that we all returned from that experience with renewed positive energy and a certainty that opera is not only alive and well, but thriving.

First let me just say that the situations in New York and San Diego were unique. New York City Opera succumbed after years of board and management missteps, well documented in the press and to the despair of many of us who grew up with that company. San Diego Opera on the other hand was saved by explosive community involvement that wouldn’t let the agenda of a few in the management and board close a company that had seen 28 years of surplus budgets.

As for the dilemma of the Metropolitan Opera, I won’t comment on a union negotiation, about which I don’t have the full details. I will, however, dispute Peter Gelb’s claims that opera is a “dinosaur of an art form.” Unlike that extinct species, opera is alive and breathing and more vital than ever.

At Opera America were many great stories to tell. Companies like San Francisco Opera, Minnesota Opera, and Houston Grand Opera have seen an increase in subscription sales. In an informal poll taken amongst General Directors of opera companies, most reported ending their fiscal years in the black. Performances have increased, the repertoire has widened, and many companies are finding interesting ways to innovate to attract new audiences.

One of the most heartening examples of the broad based appeal of operas is the reaction to the stadium or park simulcasts. Initiatives in San Francisco, Philadelphia, Washington, and Houston to broadcast a live opera to a broad-based audience in baseball parks and public spaces far exceeded expectations, generating thousands of new opera lovers, many of whom turn into opera goers in the opera house.

The news here in Sarasota is positive as well. This past year we’ve seen an increase in subscriptions. And the response of our patrons to the Patterson Challenge to eliminate the Nadel clawback debt generated an overwhelming response that not only closed the appeal within a month of its announcement, it brought us a significant number of new donors, reversing a trend that has held since the outset of the recession in 2008.

And for the second year in a row, we closed our fiscal year with a substantial surplus, this year nearly $300,000.

And if some claim that our audiences are too old, I invite you to attend one of our Youth Opera events. This year’s enrollment included 80 young people and our summer camp exceeded 70 for the second year in a row.

To report that all is perfect in the opera world would be insincere. Like all non-profit arts organizations we face challenges. We are all recovering from the 2008 recession and we have to find a way to overcome the high cost of producing opera and to keep ticket prices at a level that are affordable, especially for new audiences. We have to bring the art form more to the public consciousness and eliminate stigmas (remember when opera singers were regularly on Johnny Carson’s Tonight Show) and we have to find a way to expose even more of our youth to the glories of opera, since availability in schools have decreased.

But, as Mark Twain purportedly said, “reports of my death are exaggerated.” Opera lives on and will continue to stimulate, excite, and entertain audiences for many years to come. I’m excited to be part of that, and I hope you are too.

- Richard Russell, Executive Director

ARTISTS PROFILE: Mezzo-soprano Blythe Gaissert

Blythe Gaissert returns to Sarasota Opera, 

this time wearing pants…

Mezzo-soprano Blythe Gaissert

The last time mezzo-soprano Blythe Gaissert performed at Sarasota Opera was in 2008 in the production of Rigoletto that opened the newly renovated and named William E. Schmidt Opera Theater. That season Blythe was a member of the Studio Artists Program and performed the role of the sexy Maddalena, a character who most definitely wears a skirt. For the Fall 2013 season, Blythe returns as a Principal Artist to perform Prince Orlovsky in Die Fledermaus, a role that is part of the operatic tradition of female singers portraying young men and therefore wearing pants. These “pants roles” include Cherubino in The Marriage of Figaro, Hansel in Hansel and Gretel, and Octavian in der Rosenkavalier.

In thinking about her next assignment at Sarasota Opera, Blythe says, “This is my first time doing Orlovsky. I am really enjoying the challenge of doing a pants role again (it has been several years since I have gotten to be a "dude" or do comedy!) I have also found a lot of satisfaction in researching and learning about the traditions of Strauss' music, and look forward to benefitting from the knowledge of some of the other performers who have done the opera before. It's also kind of a return to my roots in another way. I originally studied to be a theater and musical theater performer, and so many of those elements are in Die Fledermaus since operetta was a sort of predecessor to the American musical that we know and love today!”

She continues, “I am so excited to be coming back as a Principle Artist this season! I feel like I got so much of my artistic education with the excellent Apprentice and Studio Artists Programs at Sarasota Opera and from its artists and community, and now I have a chance to come back and put all that I learned to use.  My husband is originally from Sarasota, so it is also great to be able to come back and perform in front of family and friends on the big stage! I am also hoping that my almost two year old son will be able to come and see me perform, although I'm not sure he will recognize me once the make-up and costume designers do their magic.”

Blythe Gaissert as Maddalena (left) in the 2008 Sarasota Opera production of Verdi's Rigoletto.
Photo by Richard Termine.

Blythe has been engaged by the Metropolitan Opera, LA Opera, Cincinnati Opera, Des Moines Metro Opera, and New Mexico’s Opera Southwest as well as the Tangelwood Music Festival, Los Angeles Philharmonic, and the Lyrique en Mer Festival in France. This September she appears in concert with the Sarasota Orchestra, singing works by Aaron Copland, Ravel, and DeFalla. For Sarasota Opera’s November 12 Operetta Concert, Blythe performs Noel Coward’s “Il Love Were All” from Bitter Sweet and a selection from Offenbach’s La Périchole.

-Greg Trupiano, Artistic Administrator

Don't miss Ms. Gaissert's performances as Prince Orlovsky in Die Fledermaus opening November 1st and running for six performances through November 15th.  Tickets are available at www.sarasotaopera.org or by calling (941) 328-1300.

Artists Corner: Baritone Marco Nisticò

Artists Corner:  Artistic Administrator, Greg Trupiano, interviews baritone Marco Nisticò and his thoughts on making his role debut as the jester Rigoletto this fall. 

Greg Trupiano, Artistic Administrator of Sarasota Opera, here.  I recently had the pleasure to chat with one of Sarasota audiences’ favorite singers, baritone Marco Nisticò. Marco returns for the fall production as the title character in Rigoletto, having last been heard with the company as Sharpless in Madama Butterfly. Since last year, he has appeared as Dulcamara in L’elisir d’amore at the Landestheater Bregenz in Austria, as well as singing Guglielmo in Così fan tutte at Italy’s Teatro Regio di Torino.



Baritone Marco Nisticò

I asked Marco about his thoughts as he prepared to sing the role of Rigoletto for the first time. Here are some of the things that Marco says about his next assignment at Sarasota Opera.

“For a baritone, the title role of Rigoletto is as good as it gets. Vocally it’s a very rewarding opera but also challenging because of its dramatic intensity and length. There are qualities in Rigoletto’s character that I can relate to. Rigoletto loves his daughter, and even though I don’t have children myself, I can identify with this feeling through my love of my own family. Also, Rigoletto sings lovingly about his deceased wife who felt such pity for him and loved him despite his deformity. Rigoletto is a complex character. I do not think he is evil at all. Whatever he does he does because he is trying to protect his daughter from a serious threat to her honor.”

Marco continues, “Performing Rigoletto is a personal achievement, a place I arrive at after having performed a number of Verdi roles. Maestro DeRenzi has taught me to sing Verdi by producing a strong vocal line. When I work with Maestro DeRenzi, I trust what is going on because artistic decisions come from a place of respect for the opera and respect for me. When you work on an opera by a great composer, a crazy staging doesn’t work. You must go with the music and not against it. With a great composer, 90% of the work is done for you. It’s your job to believe in it.”

Because it is such a challenging role, Marco has been working on the music for months, long before arriving in Sarasota. But even before then, he started to learn the role of Rigoletto; it’s a dream role for any baritone.

I concluded my conversation with Marco by asking him what other roles he would like to perform after Rigoletto. He said, “I would love the chance to sing the roles of Macbeth and Simon Boccanegra. Please note that these are major characters, sung by baritones—not tenors-- that have the operas named after them!”

Don't miss your chance to see Marco make this important debut this season.  Performances run October 26 through November 12, 2012.  More information can be found at http://www.sarasotaopera.org/.