In the anniversary year of Giacomo Puccini, the tenor Jonathan Tetelman is particularly in demand. With his noble and multicolored voice, the Chilean could become the new Jonas Kaufmann. In Rome, the intelligent singer explains why Puccini is tired and what links singing with driving in Formula 1.
The star arrives with the scooter. Last night there were still tailcoats and patent leather shoes. A tension and excitement that finally exploded in a roar of applause just before midnight; grand opera station. Now this tall, good-looking man is sitting relaxed in an armchair on the outdoor terrace of the Soho House, behind which Rome’s most beautiful panorama spreads out.
In reality the setting adapts much better than a few hours earlier, when each listener had to recall his own internal scenic gallery in order to recall the three Roman locations of Puccini’s “Tosca” on the sober podium of the concert hall. the Parco della Musica: the Church of San’ Andrea della Valle, the study of the commissioner Scarpia in the Palazzo Farnese, now the French embassy, and finally Castel Sant’Angelo, a papal refuge as well as a prison.
On their terrace, under the stars that first shine and then set, the popular three-act comedy comes to its bloody end. Even though that evening no one was even fake killed and no prima donna threw herself from the ramparts to her death.
“However it was my most challenging ‘Tosca’ yet.” This is what someone who should know, Jonathan Tetelman, 36 years old and currently one of the most sought-after tenors in the world, says. 2024 is the year of Puccini, November 29th marks the centenary of the composer’s death. Tetelman complains and laughs: “Like Lirico-Spinto, I obviously couldn’t miss the opportunity to benefit from Puccini’s even bigger boom. But now I would like a new challenge, I have to go out and create some distance.”
Naturally this “Tosca” should have crowned the long approach. It is Tetelman’s Roman debut, it is the place where the opera is set and where he also made his debut in 1900. Now he had to perform in musical theater at a great distance, form characters and develop emotions with his partners Eleonora Buratto (in the role of the title) and Ludovic Tézier (in the role of the sinister living room villain Scarpia), also experts in roles.
And while singing as precisely as possible, the freedom of an emotionally searing stage show had to be avoided. the cameras of RAI and Deutsche Grammophon recorded everything for the live broadcast and later streaming evaluation on Stage+. (The best audio mix of the dress rehearsal and three shows will also be released on CD in March.)
This “Tosca” was obviously also Daniel Harding’s debut as a piece and as principal conductor of the Orchestra dell’Accademia Nazionale di Santa Cecilia. He rarely plays opera, but when he does, he likes to be full and with Italian passion. Although Harding initially led his large company more symphonic than dramatic. But the trio of singers took matters into their own hands. Harding allowed himself to be warmed up and accelerated more and more, until the third act really shone and glittered.
Jonathan Tetelman is almost unstoppable in his enthusiasm for the profession he has chosen, but which has chosen him even more. “Live theater is never perfect. But that’s what makes this art so intoxicating, and I hope it continues that way throughout my life as an artist. You’re never done. I am constantly learning and having new experiences.
He must be able to enjoy it. And failures are part of it too. “In America, as Pinkerton in Madama Butterfly, I always get booed because I’m the bad guy. So it’s a good thing if I get used to it before the real boos come later.”
Suddenly Jonathan Tetelman suddenly says a sentence that makes you sit up and take notice: “I’m still surprised that I’m actually in the world of opera. You get the sense that this isn’t flirtatious.” Castro’s Chilean was adopted as a baby by a couple from New Jersey.
He became passionate about classical music when he joined a choir at the age of eight. Later he also attended a choir school. He also worked, not as a dishwasher, but as a DJ, even though his father is a lawyer. “I always had to make a living, every dollar.” But he thinks his parents did everything right.
Relatively soon he changed his voice, which he had initially mistakenly placed as a baritone at the Manhattan School of Music, to that of a tenor. Noble, multicolored, subtle, pleasant but, with some metallic additions, also powerful the voice of this singer, who is known for his dazzling beauty, even elegant lightness and youthful, casual lightheartedness at least since his European debut in early 2019 saw the premiere of “La Bohème” at the
From then on he didn’t have much time for his career, because in 2020 all the singers were blocked by the coronavirus for more or less two seasons. In which Tetelman at least managed to achieve success and a recording contract with Deutsche Grammophon with a streaming premiere without an audience of the realist hiccup “Francesca da Rimini” by Ottorino Respighi, which was also followed two years later.
Tetelman still plays things a little too simultaneously, and sometimes the horses get away with it. But he knows what he can do and he likes to show it off. A confidently executed thrusting voice blossoms with pleasant recognition value. With Tetelman the world of opera – Jonas Kaufmann is not getting any younger - has once again identified a fresh and good-looking performer suited to the great Italian tenor roles. It also combines the best of two worlds: the Latin American temperament and a focused American work ethic.
But Tetelman now wants to focus more on French opera roles such as Werther and Faust for the first time, although of course the next “Butterfly” is already waiting. Of course with the demanding Kirill Petrenko and the Berlin Philharmonic, in Baden-Baden and the Philharmonie. Berliners will also be able to enjoy his Werther and, an absolute novelty, his Don Carlos at the beginning of the summer.
Berlin was good to Jonathan Tetelman, and now it is good to Berlin: “The Deutsche Oper is almost like a parent company, because I have never been in an ensemble, I somehow skipped this step because I was always so goal-oriented, so demanding I didn’t just want to learn. There are many parks here, a good school, an international community. And that’s why I will soon be moving to Berlin with my family.”
He met his wife as a restaurant manager at Soho House in London. She is Romanian. “It took a while,” he says, “before he got a residence permit. We have a two year old daughter and another little girl is arriving in January. Then I would like to show everyone Chile first. Then we finally make the leap to Berlin. Until now, when we are not on opera tours, we commute between his country house, two hours from Bucharest, and New York.”
Weight lifting is good for you
So his career is in decline, but the artist himself is trying to calm down. “My karaoke bar is the bathroom in the morning when I test my voice. I used to like taking long walks on show days, but now I prefer the gym. “ But he just does very specific exercises to soften his back and expand his chest, and a little weight lifting is fine too.
In his cupboard, in addition to the emergency medicine cabinet, there is always tap water, Ricola and honey for tea. “The hangovers and jetlegs are terrible, acclimatization in Rome took almost a week. I’m so focused: the body is tired, but the consciousness still won’t let you sleep.”
But how does his day end? “After the show I eat something quick and light, I don’t talk too much, I concentrate. I’ll take the bow with me and then go home to bed. The role must remain in the locker room, it’s healthy.” He says and speeds up the seven hills on his scooter.
What unique qualities does Tetelman believe he brings to the opera stage compared to established stars like Jonas Kaufmann?
And areas I want to develop in my career, and I believe the Deutsche Oper offers a great platform for that. It’s a place where I can truly explore the depths of my craft while being part of a supportive artistic family,” he explains thoughtfully.
Tetelman highlights the importance of continuous growth and experimentation as integral to his artistic journey. “Singing is a lot like racing in Formula 1. Just like a driver needs to constantly adapt and tune their technique, we, as singers, need to stay agile, integrating new styles and challenging ourselves with diverse repertoire. The thrill is not just in the performance, but in the pursuit of perfection and the unexpected turns along the way.”
As he reflects on the future, Tetelman is optimistic. He acknowledges the weight of expectations that come with being compared to established stars like Jonas Kaufmann, but he seems less concerned with filling their shoes and more focused on carving out his own niche in the opera world. “While I admire their artistry, my aim is to bring my unique voice and perspective to the stage. Every artist must find their own way, the path that speaks to their heart and resonates with audiences,” he adds, his passion for opera palpable.
With a busy schedule ahead, including performances in major opera houses across Europe, Tetelman is making sure to balance his commitments while reserving time for personal growth and exploration. “It’s crucial to not lose sight of why we do this. Every note sung should come from a place of genuine emotion and connection—not just to impress, but to communicate and move people,” he concludes, thoughts drifting back to the stage where his artistry will unfold once more.
Tetelman’s journey from a young boy in a choir to an international tenor reflects resilience, dedication, and a continual thirst for knowledge. As he leaves the interview with a vibrant energy, it’s clear that this rising star is not just another name in classical music but a force to be reckoned with, beckoning audiences to join him on this thrilling ride through the world of opera.
