Nathan Gunn discusses playing Jesus in new opera in San Francisco

Nathan Gunn as Yeshua (Jesus) and Sasha Cooke as Mary Magdalene

The San Francisco Opera under the inspired leadership of David Gockley keeps adding exciting new operas to the repertory. The latest is the world premiere of Mark Adamo's The Gospel of Mary Magadalene. (Their fall season also includes the world premiere of Tobias Picker's Dolores Claiborne starring Dolora Zajic). Adamo is the composer of two other hit operas, the hysterical Lysistrata and the classic tale Little Women, the latter which has become the most performed opera in America.


Supported by six years of his own research into ancient texts and modern biblical scholarship, Adamo has written a libretto for The Gospel of Mary Magadalene that scrutinizes Christian scripture and transforms it into an alternate history of sorts. Played out through human characters struggling with the role of sexuality in a patriarchal world, the opera reimagines a neglected, yet pivotal, female character who was traditionally (and erroneously) labeled as a prostitute but who, amidst the contentious religious politics of the time, was able to show Jesus the moral dignity of women.


The YouTube channel for San Francisco Classical Voice has posted a series of interviews with barihunk Nathan Gunn talking about the world premiere of Mark Adamo's Gospel of Mary Magadalene at San Francisco Opera.

Performances are running form June 19 to July 7 and tickets are available online.

Nathan Gunn on playing Jesus:

Nathan Gunn on working with his colleagues:

Nathan Gunn on working with composer Mark Adamo:

You can also listen to Cy Musiker from public radio station KQED talk about the The Gospel of Mary Magdalene. 

Nathan Gunn: Son of God

Nathan Gunn (right) to play Yeshua (Jesus Christ)

Fans of Nathan Gunn already think he's godlike, so it only seems logical that he was destined to play the Son of God, Jesus Christ. The San Francisco Opera just announced a delightfully ambitious season that includes Mark Adamo's "The Gospel of Mary Magdalene." The opera draws on the Gnostic Gospels, the Canonical Gospels, and decades of biblical scholarship to reimagine the story of the New Testament through the eyes of its lone substantial female character.

Nathan Gunn practicing his Jesus portrayal as Billy Budd

This opera will undoubtedly stir up some controversy, as it looks at the woman who Jesus loved in a whole new light. Mary Magdalene will be played by the Nicole Kidman-esque Sasha Cooke, so we can surely expect a non-traditional Mary-Jesus narrative. We can also expect to hear from the Catholic Church, so this opera will undoubtedly create some press controversy (and opera in the mainstream press is a good thing!). Kudos to the San Francisco Opera for taking a risk and challenging opera audiences and for bringing us an exciting new work.

Speaking of exciting new works, the San Francisco Opera is also presenting Nolan Gasser's "The Secret Garden" and Jake Heggie's "Moby-Dick." David Gockley and the San Francisco Opera family deserves special praise for bringing three new American works to the public in one season during difficult economic times when most companies are reduced to producing an endless stream of lackluster old war horses.

Marco Vratogna sings "Quei due vedesti?" from Simon Boccanegra:

Of course, no opera could survive without the standard repertory and the San Francisco Opera's 2012-13 season includes some great theater. Operas include Bellini's "I Capuleti e i Montecchi," Verdi's "Rigoletto," Offenbach's "The Tales of Hoffmann," Wagner's "Lohengrin," Puccini's "Tosca," and Mozart's "Così fan tutte."

Christian Van Horn (left) and Philippe Sly (right)

A number of barihunks have also been cast, including the imposing Christian Van Horn as the four villains in "Tales of Hoffman," Marco Vratogna as Rigoletto, Morgan Smith as Starbuck in "Moby-Dick" and the exciting leading role/mainstage debut of Phillipe Sly as Guglielmo in "Così fan tutte." We've been predicting major stardom for the Met Auditions winner Philippe Sly and we're thrilled that he's been cast in a starring role on a major stage.

We're pretty sure that the San Francisco Opera is the opera hot spot for music lovers this year. Visit the San Francisco Opera website for tickets and additional information.

CONTACT US AT Barihunks@gmail.com

Hadleigh Adams: San Francisco Opera's featured profile

Hadleigh Adams

Barihunk Hadleigh Adams is the featured artist on the San Francisco Opera's website this week. There's a nice shout out to Barihunks, which we always appreciate. Make sure to add the San Francisco Opera to your musical travel itinerary. Here is the profile and interview in its entirety:

Hadleigh Adams is a bass-baritone and in his first-year of the Adler Fellowship at San Francisco Opera. He is originally from New Zealand where he completed his Bachelor of Music degree at the University of Auckland and Masters of Music at New Zealand School of Music. After completing his studies in New Zealand he was a resident artist at the Opera Studio in Melbourne, Australia. He was a participant in the Merola Opera Program in the summer of 2012 and recently finished his post-graduate studies at the Guildhall School of Music & Drama in London, England. He has performed with the Royal National Theatre and Pinchgut Opera in the United Kingdom and was a winner of the Joan Sutherland & Richard Bonynge Scholarship in 2010. He will be seen this summer season in San Francisco Opera's production of Offenbach's Les Contes d'Hoffmann as Schlemil and in the world-premiere production of Mark Adamo's The Gospel of Mary Magdalene.

When did you start singing?  What is your earliest performance experience and at what point did you decide to pursue a career as a performer?
I had started piano at age six. I knew I wanted to be an opera singer when I was ten years old after first hearing Tosca on a vinyl record I had found at a garage sale in my hometown. The music made sense to me and I knew that making that music was what I wanted to spend my life doing. My earliest performance was actually playing a pohutakawa - a native New Zealand tree - in my primary-school play 'The Pine and the Pohutakawa' when I was six years old. I was amazing! I always knew my career would be on the stage somehow -- it's where I feel most at home.

What are some of your greatest musical influences?
Hard to list really! To narrow it down, operatically, the four guys I most look up to are Samuel Ramey, Ildebrando D'Arcangelo, Bryn Terfel, and Rod Gilfry (all bass-baritones!). Like all classical singers, I have been influenced heavily by the great artists of the 'Golden Age' from the 50's and 60's but these four men are those who I find most inspiring.

You've been heavily featured on a local blog called 'Barihunks' which highlights young low-voiced male singers with a special emphasis on 'good looks' - how do you keep in shape?  How important do you think it is to not only keep your voice in top form but also your body as an opera performer?
I can only answer for myself, but, I think keeping in shape is crucial. For me, running and going to the gym gives me a freedom on stage to know that I can play around and that I'll have the stamina and strength to try things out. I run four times a week and head to the gym most days. I also have a really healthy diet... except when I can't resist the vending machines in the green room. On top of the health aspects, I feel amazing after I've exercised. It keeps me positive.

Hadleigh Adams

What are some of your favorite areas of San Francisco?  Do you have any specific places you like to frequent or locales you're really excited to explore?
It would have to be Noe Valley. It's just got such a fantastic feel; people are smiling and there's a Whole Foods - that makes me happy! I'm really looking forward to getting to know more of California while I'm here as well. It seems like such a diverse state and I can't wait to explore some of the smaller towns. Also, I'll freely admit that I'm a massive coffee snob. I tend to navigate a city by where I can get good coffee. So far, Four Barrel is definitely my favorite with Ritual and Blue Bottle in a close tie for second.

What are some of the biggest culture shocks for you living in the United States?  What are some of the major differences you've noticed between Americans, Brits, and Aussies?
Ha! Well, that's a dangerous question! I'm bound to offend someone! As a Kiwi, I feel lucky to have been able to live in so many different places by the age I am now. I will say though that I have loved every country I've lived in. Settling in can take a while. Some cultures are more welcoming than others but that just means you have to wait until you're a part of the furniture, as it were, and then it's easy. It can be tough riding out that Nigel-No-Friends period though.

When you're not singing what are some hobbies or activites you can be found doing?
Coffee - so much coffee! But I can be found at the gym, running, biking, or drinking single-malt whiskey!

What are you most looking forward to in the year ahead as you begin your first year in the Adler Fellowship?
Definitely the opportunity to sit, watch and get to work alongside some of the greatest names in the industry today as well as being surrounded by the other Adlers and learning from each other is huge. It can often sound like a cliché answer, I know, but it's the truth! I'm here to learn and I couldn't' be happier about it.

Nathan Gunn returns to San Francisco as Papageno

Barihunk Nathan Gunn & Hunkentenor Alek Shrader

Nathan Gunn is back at the San Francisco in what is arguably one of his greatest roles, Papageno in Mozart's "The Magic Flute." Despite the fact that we're a site clearly dedicated to baritones, we often get asked why we don't feature tenors. So for all of you hunkentenor lovers, you'll be thrilled to know that Alek Shrader has been cast as Tamino.

Much of the chatter in San Francisco opera circles has been that the popular David Hockney production has been scrapped for a new production by visual artist Jun Kaneko. By all accounts, it's going to be every bit as spectacular and visually stunning.

SF Opera's "Magic Flute" by visual artist Jun Kaneko

Performances run from tonight through July 8th and tickets can be purchased on the San Francisco Opera website. The company is also presenting Verdi's "Attila" and John Adams' "Nixon in China." The Magic Flute will be sung in English.

Make sure to read our post about Nathan Gunn's upcoming performance in Mark Adamo's "The Gospel of Mary Magdalene," which is sure to generate a lot of interest in the opera world, as well as press attention. 

Contact us at Barihunks@gmail.com

Barihunk trio in Opera Parallèle Double-Bill

Gabriel Preisser, Hadleigh Adams and Daniel Cilli at a dress rehearsal

Regular readers of this site know that we have a particular fondness for Poulenc's Les Mamelles de Tirésias. Apparently, our readers do, as well, as the production from Barcelona remains one of our most visited posts (barihunk Gabriel Bermudez appearing in the buff may account for some of that traffic!).

San Francisco's innovative young opera company Opera Parallèle has assembled three popular and talented barihunks for their double-bill of Weill's Mahagonny Songspiel and Poulenc's Les Mamelles de Tirésias for their three performances at the Yerba Buena Center for the Arts from April 25 - 27 under conductor Nicole Paiement. Gabriel Preisser performs Bobby in Mahagonny and Le mari in the Poulenc, Daniel Cilli is Billy and Le directeur/Presto, and San Francisco Opera Adler Fellow Hadleigh Adams sings Le gendarme.

Gabriel Preisser and Hadleigh Adams (left); Hadleigh Adams and Daniel Cilli (right)

Director Brian Staufenbiel has seamlessly combined the two works, beginning with Mahogonny set in a future where water is in scarce supply and a theater troupe dragging an old boat (that the company found in the Santa Cruz Mountains) stops to perform Les Mamelles. The Poulenc opera is about a woman who becomes a man and changes the submissive role of women in her world, as her husband overpopulates the world by giving birth to thousands of babies.

The Poulenc, which includes members of the San Francisco Girls Chorus to great effect, will be presented in the re-orchestration for smaller orchestra for the first time in the United States.

Hadleigh Adams and Renee Rapier

Gabriel Preisser took the opera world by storm with his portrayal of Lt. Gordon in the world premiere of Kevin Putz’s Pulitzer Prize-winning opera Silent Night with Minnesota Opera and Opera Philadelphia. He will reprise the role this summer with the Cincinnati Opera with tenor Thomas Glenn, who is Charlie/Lacouf/Le Journaliste/Le fils in the Weill/Poulenc double-bill. He'll also be joined by fellow barihunks Joseph Lattanzi, Philip Addis, Craig Irvin and Andrew Wilkowske. Performances are on July 10 and 12 and tickets are available online.

Hadleigh Adams made his debut with the San Francisco Opera as Luther and Schlémil in Offenbach's The Tales of Hoffmann and in several roles in the world premiere of Mark Adamo's The Gospel of Mary Magdalene. He'll appear with the company again this season as the Jailer in Puccini's Tosca.

Daniel Cilli heads to the Utah Festival Opera & Musical Theatre this summer to sing Javert in Les Misérables. During the 2012-13 season, he performed the title role Carlo Gesualdo in the premiere of  Dante DeSilva's Gesualdo: Prince of Madness with Opera Parallèle.

For those unfamiliar with Opera Parallèle, it's a company that you should keep an eye on, as they are doing some of the most innovative and interesting opera on the West Coast. They've produced Osvaldo Golijov’s Ainadamar, Leonard Bernstein’s Trouble in Tahiti in a double-bill with Samuel Barber’s A Hand of Bridge, the world premiere of Jacques Desjardins’ re-orchestration of John Harbison’s The Great Gatsby, the San Francisco Bay Area premiere of Philip Glass’ Orphée, the first West Coast performances of John Rea’s chamber version of Alban Berg’s Wozzeck, the world premiere of Lou Harrison’s opera Young Caesar with a nude scene featuring barihunk Eugene Brancoveanu, Virgil Thomson's Four Saints in Three Acts and the world premiere of Luciano Chessa’s A Heavenly Act.