BWW Interviews: Brandon Jovanovich Finds the Humanity in LADY MACBETH's Bad Boy

BWW Interviews: Brandon Jovanovich Finds the Humanity in LADY MACBETH's Bad Boy BWW Interviews: Brandon Jovanovich Finds the Humanity in LADY MACBETH's Bad Boy

"To be blunt, Sergei is not a nice guy," says tenor Brandon Jovanovich, talking about his current role at the Metropolitan Opera in Dmitri Shostakovich's LADY MACBETH OF MTENSEK. "He's the kind of fellow who's jovial and friendly one minute...and then you hear he's robbed a store. He uses and abuses people--we all know someone like that, don't we?" he adds, laughing.

How do you make such a despicable, unsympathetic character bearable for an opera audience--particularly when you're not dealing with the gorgeous melodies of Puccini but with the dissonance of Shostakovich? That is one of the challenges of doing LADY MACBETH OF MTSENSK, which is on stage at the Met through November 29. The lady of the title is pretty much a what-you-see-is-what-you get--she even resorts to murder in her quest for happiness--but the leading man is something else. It's possible to find some humanity in the character of Sergei, but you need the right tenor to do it. For the Met, Jovanovich is that singer.

Seeing a transition

"I think that if you see the transition of someone from here to there, it's more appealing to the audience, even if he's not the most likable guy," says the native of Billings, Montana. "I'm not the kind of person who likes the 'park and bark' style of singing. That's not me--I have to move as a character, to show his journey. The result is that I feed off of it and better reach the audience." (It also helps, of course, if you have the naturally easy-going charm of Jovanovich.)

One of the reasons that he's a good fit for the role at the Met is that this isn't his first time at the dance: He first sang Sergei about eight or nine years ago in Austin, Texas, where it was done in English and then did it last year in Zurich, where he had to learn it in Russian, a language that he doesn't speak.

"It's funny working in a language like Russian, where there's nothing to grab on to, nothing even slightly familiar," he admits. "In Zurich, I remembered what the action was like from Austin, which was helpful. But I had to work with a translation to get a sense of what each phrase means and then translate some key words. I'm sure it's easier for people who know it word for word, but I didn't have that. I know the basics of what I'm singing and how to phrase it."

Slightly bombastic but lyrical, too

Did he find anything surprising about going back to the opera? "It was rather shocking that the role is rather musical for me--there's a lot of lyricism in parts of it--because it's not how I think of Shostakovich," says Jovanovich. "Yes, it's slightly bombastic--Shostakovich wasn't the best composer for the voice, by any means--because of the writing and orchestration. But the only ugly thing that I have to do with my voice is in the rape scene.

"It's a garish way to be introduced to Sergei: He screams a lot over the crowd, going up to an A, but it works okay for me. I've found a path for it vocally and I stick to that," he explains. "There are some angular, 12-tone-ish sounding things but Shostakovich covered them up pretty well. In one place, there's this kind of aria and, if you'd look at the notes, you wonder how is this going to be done. But I've found that if you sing it with some line, at a nice pace, I don't think the audience is aware of how dissonant it is."

Retooling by the original director

His co-star in the opera is Dutch soprano Eva-Maria Westbroek, who he has worked with a number of times before and finds "simpatico," which makes working on this difficult piece much easier to do. "We had about three-and-a-half weeks of rehearsals, including a week with Graham Vick, who did the production's premiere about 20 years ago," says the tenor. (For those not familiar with life at opera houses, when a new production is not involved, that's a huge block of time.) "With this piece you really need to have that much rehearsal, because it is complicated, with the chorus, the supers, and so on. Graham came in and also retooled some of the things he originally did, so we had the chance to feel more comfortable with it."

Related Links
BWW Review:  A Beautiful 'BUTTERFLY' Alights in St. LouisBWW Review: A Beautiful 'BUTTERFLY' Alights in St. Louis
by Steve Callahan - May 24, 2017
Encompass New Opera Theatre presents PARADIGM SHIFTSEncompass New Opera Theatre presents PARADIGM SHIFTS
May 19, 2017
Florida Grand Opera Plans Its Most Ambitious Season YetFlorida Grand Opera Plans Its Most Ambitious Season Yet
May 19, 2017
The Glimmerglass Festival Welcomes Eric Owens as Artistic AdvisorThe Glimmerglass Festival Welcomes Eric Owens as Artistic Advisor
May 17, 2017
Met's New Production of 'Rusalka' Coming to PBS's GREAT PERFORMANCES, 6/18Met's New Production of 'Rusalka' Coming to PBS's GREAT PERFORMANCES, 6/18
May 17, 2017

More From This Author

Richard Sasanow Richard Sasanow is a long-time writer on art, music, food, travel and international business for publications including The New York Times, The Guardian (UK), Town & Country and Travel & Leisure, among many others. He also interviewed some of the great singers of the 20th century for the programs at the San Francisco Opera and San Diego Opera and worked on US tours of the Orchestre National de France and Vienna State Opera, conducted by Lorin Maazel, Zubin Mehta and Leonard Bernstein.