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A CONVERSATION WITH NATHAN GUNN
Nathan and Julie Gunn appear in Naples on February 8th in a special concert at Moorings Presbyterian Church. We asked Nathan to share his thoughts on the upcoming concert, and opera in general.
1) Can you give us some insights into the program you will sing for your performance here in Naples?
Julie and I put a lot of thought into every recital we give. We think about the audience we'll be singing for, the time of year it is, the sort of series it is, as well as what might be going on musically in our lives. We feel strongly that our performances of the great works by giants like Schubert, Brahms, Beethoven, Schumann, Wolf, Debussy... (I could go on and on) are not "lectures" or "exhibitions." We want those songs to speak to the people listening today just as powerfully as when they were first written. We will present two of the great German speaking masters, Robert Schumann and Franz Schubert on the first half of the recital and then offer a collection of songs by our American masters such as Ives, Barber and the great cabaret song writer William Bolcom on the second. Hopefully, the audience will notice how excellent all of the songs are and how similar their content is. In doing so, if we are successful, not only will people get to know the music, but they will also get to know us.
2) You've established a reputation for your crossover work and collaborations with artists such as Mandy Patinkin. How does your approach to this repertoire differ from that of grand opera?
My teacher always used to say that a person should sing the same way, just with a bigger paintbrush or a smaller paintbrush depending on the venue. When singing this crossover music (I like to think of it as bridge music) I'm very particular about what songs I can sing and what songs I can't. As long as the tune can stand on it's own I can sing it.
3) Tell us about your most memorable debut, in either a particular role or opera house.
One of the most memorable experiences I have had was my debut at Paris Opera singing Prince Andrei in War and Peace
in February of 2000. There was a feeling of good will on the planet at that time and being one of two Americans singing
with all Russians in such an epic piece in Paris for the first time was amazing.
4) You have been active in the performance of new works, including Amelia at Seattle Opera and An American Tragedy at The Metropolitan Opera among others. How do you feel works written in the last 10-20 years compare to some of the repertoire's most beloved classics?
I believe that it's the responsibility of every artist to perform
contemporary works. Only the test of time will tell us how some of these pieces will fare. I have done many contemporary works that are as good as some of the standards but which are just not as familiar. I'd love it if people would take a chance on new pieces. I know that there was a trust between the composer and the audience which was strained during the 60s and 70s, but I feel that trust is being rebuilt.
5) What was your first opera performance experience, and what do you consider to be the best "first opera" to see?
My first opera experience was Don Giovanni at Lyric Opera of
Chicago with Sam Ramey singing. I was 17 years old, and I loved it. I think the best first opera for anyone to see is La Boheme. And they should start by watching the movie Moonstruck because it will warm them up to the idea.
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