“World, say hello to Jonathan Tetelman, the GQ-ready, Chilean-born, New Jersey–bred star tenor with golden-age Hollywood looks and burnished, laser-focused high notes to burn!” wrote the noted arts journalist Matthew Gurevitch in a recent interview with him.
Budapest’s music world will have the chance to witness this phenom when he makes his recital debut on July 30 at the Margit Island Open-Air Theatre. This opera gala concert is his first full-length solo program in Hungary, and he will be accompanied by the Hungarian State Opera Orchestra.
At only 35, Tetelman’s life journey is two tales: he was born in Chile, and was adopted by a New Jersey couple who supported his singing talents as a baritone, while he spun platters as a club DJ in New York City. When it became obvious that he was most probably a budding tenor, he switched from turntables to the operatic stratosphere. After officially being launched as a tenor in six seasons of international successes, he made his debut at the Metropolitan opera in Spring of 2024 with two Puccini operas within eight weeks.
This young tenor has already accomplished what many singers only achieve in their entire careers: after Opus Klassic awarded him as the Young Artist of the Year 2023, he signed an exclusive multi-album contract with Deutsche Grammophone. Just prior, he had appeared as Rudolfo in an operatic film of ‘La Bohème’ co-produced by Radiotelevisione Italia (RAI) and Opera di Roma. He had also performed alongside the great (former) tenor Plácido Domingo in ‘I due Foscari’ with Teatro del Maggio Musicale Fiorentino.
– Tell me about your transition from baritone to tenor – how is something like that accomplished safely?
– I had previously trained as a high baritone, but when I made the transition to graduate school, I was being told that I was a tenor. So I needed to find another teacher that could help me develop my baritone voice into the tenor voice. It actually took me a long time to find the right teacher… I went and did my own private study — after what I call my quarter-life crisis of DJ-ing and promoting clubs in New York – I called Mark Schnaible and Patricia McCaffrey. They were very helpful with basically teaching me [all about] the passagio in my voice. That was the missing element in my previous studies.
– Can you describe how that transition felt for you?
– With Mark and Trish, a lot of that transition was built upon monitoring the amount of weight that can be carried up correctly, essentially training my baritone color into my tenor range. I began to understand my voice, and I got away with this way of singing for a while. But, when I wanted to start singing higher repertoire, you have to give the color away. You have to remove a bit of color so that you have ease in the voice. Because when you’re lifting heavy weights you have to use a lot of muscle; you don’t always want to do that if you’re singing something like Duca or Rodolfo, or even Alfredo – things that sit very high and light. So I went onto my own self-discovery by listening to the old tenors. I listened to how – even with a lot of color – they (Lauri-Volpi, Caruso, and Bergonzi) sang these roles. They had a lot of depth, and Bergonzi was a baritone! They all knew how to thin the edge so they could feel like it was effortless at the top.
But even though I embraced Schnaible’s and McCaffrey’s techniques, I’ve also built my own in the last three years. Now, I know how my voice works, and I know how to [handle it] onstage because I took steps to discover myself and my art instead of always relying on my teacher.
– You previously performed in the Éva Marton Gala last year at the Hungarian State Opera house, so will the July 30th concert be your second time performing in Budapest?
– Actually the third, because two years ago, during covid, I appeared with Elīna Garanča, doing scenes from Carmen at Müpa, where they had everybody socially distanced and carefully tested everyday. It was difficult for everyone, even for the audience, just to get inside.
Singing in the Opera house was really lovely because I got to sing three of my favorite arias, one of which was new for me. But now it’s my calling card – the aria “Nessun dorma” [from Turandot]. It was also the first time I got to sing it with an orchestra in a performance – AND, with Éva Marton in the audience! I mean…she’s the real Principessa! It was also wonderful to meet all the people at the Opera house, and especially to meet her—she’s a sweetheart.
– What will you sing on your concert program in Budapest?
– It will be an all-Italian program. It’s all Puccini, for his centennial: – the greatest tenor hits by Puccini – all Italian spicy meatballs!
I’m sure “Nessun dorma” will be featured:) Here is the place to reserve your attendance!