Introducing Bari-chunk to Bari-HUNK Nathan Rodriguez

Nathan Rodriguez

We found out about barihunk Nathan Rodriguez on Twitter when his friend hunkentenor Michael Merullo posted a picture of the two them with the message "#littlewomen rehearsal with my favorite #barihunk @n-rod1." Of course, we had to check it out and discovered another amazing bari-chunk to bari-hunk transformation. He lost over 40 pounds and went from a 36' waist to a 31" waist. Most importantly, he addressed some potentially serious health issues. We think he turned out pretty damn sexy! You'll want to read our interview with him about his transformation.

Besties: Michael Merullo and Nathan Rodriguez

1. You're new to Barihunks, so tell us a little bit about your background.
I was born, raised and went to school in Connecticut. I moved to Boston a couple years ago to start grad school at a conservatory, but decided to hold off and do my own thing. I wanted to take advantage of performance opportunities in the city while working to support myself and trying to avoid adding a mountain of debt. It has been a very friendly place and I have a bunch of upcoming engagements, including John Brooke in MetroWest Opera’s production of Little Women, The Miller in OperaHub’s touring production of El Gato con Botas, and Mr. Lundquist in Nextdoor Theater’s production of Little Night Music. I’m excited for the next audition season and learning new roles in both opera and musical theater.

Barihunk Nathan Rodriguez & Hunkentenor Michael Merullo

2. We found about you because your friend tenor Michael Merullo tweeted about you with #barihunk. Did you know that he was going to do that?
Michael is a very talented, young tenor and a close friend. I met him through singing here in Boston. He’s super supportive and has really encouraged me in my singing and fitness endeavors. He's even trained with me for running races. I knew he was taking a selfie in rehearsal, but didn’t know about the hashtag. We’ve always joked about my #pathtobarihunk but I didn’t think it would actually happen. He called me at 1am one night and said “Dude, Barihunks just reached out to me on Twitter about you, it’s real!” I hung up thinking he was kidding and it was way past my bedtime.

3. What got you interested in singing and where are you with your studies/career?
I was always musically inclined. I sang in choirs, performed in musicals, and played viola for years. I was initially going to start a musical theater program for undergrad but decided to go to my state school that had a classical music program. “Not interested,” I thought. I majored my first year in Romance Languages and International Affairs. A friend in the music program convinced me to audition for voice since I’d be singing in the languages I was learning and so that I could receive more scholarships. The school also had an alliance with the Met and we attended shows frequently. After getting into the program and going to the Met for the first time, I was hooked.

Now I sing in the Boston area and have had some awesome opportunities here, particularly working with an incredible up-and-coming conductor, Lidiya Yankovskaya. Next season, I’ll be taking the YAP plunge and auditioning alongside all the other super talented, young opera singers. See ya then Opera America, fingers crossed.

Nathan Rodriguez: Before & After

 4. Tell us about your process from being overweight to getting in shape. How did being overweight effect your self-esteem, confidence and self-image?
I had many weight fluctuations post college. I had always tried to be somewhat active, but was very inconsistent. I let my schedule dictate my level of fitness. The busier I was, the less I exercised or focused on what I ate.

I also had a heart condition that reached a peak last year. I wasn’t allowed to exert myself for over 8 months while doctors figured it out and came up with a game plan. I gained weight, lost stamina, and was even having trouble singing. Being 205lbs at only 5’7” was a definite low point for me. I looked in the mirror and wondered how I’d be considered for roles in my voice type (e.g. the strapping brother, the handsome soldier, the sly best friend) if I wasn’t convinced myself, physically or in terms of vocal confidence. After recovering from multiple cardiac ablations that thankfully fixed my issues without having to implant a defibrillator, my cardiologist gave me the “all clear” to get physical again (like Olivia Newton-John). I had NO EXCUSES.

I sought an online trainer who provided a nutrition and workout plan, a 12-week program of lifting, cardio, and meal prep. It was up to me to execute it. Over the summer, I lost 25lbs, but more importantly 12% body fat. I was becoming leaner with more muscle. I took up running again and trained for a half-marathon, finishing in less than 2 hours, which felt fantastic. A friend of mine also introduced me to yoga, which has made a huge impact. With all that I lost almost 40lbs over 6 months. I went from a size 36 waist to a 31. Now, I feel great and ready to tackle new projects with confidence.

Nathan Rodriguez finishing a half marathon

5. What is your workout routine and do you workout with someone?
Now, I do a combination of everything. I lift and do more full-body workouts. I run when the weather is nice out. I do yoga 3-4 times a week, and I watch what I eat. I stick to proteins, veggies, fruits, and complex carbs for the most part. Do I have occasional pizza, ice cream and beer? Heck yes! But it’s all about balance.

I also enjoy the process of getting in shape and appreciate the philosophy that something is always better than nothing in terms of getting workouts in. I love to challenge my body and don’t focus as much on results, but rather making physical activity a part of my daily routine, a definite priority. I look forward to trying new forms of fitness. I might try crossfit and have always wanted to row so those are on my list. I’m not opposed to a workout/running/yoga buddy, but I usually make exercise into “me” time. It helps regulate my stress-level, helps me to assess and prioritize my goals, and I avoid competition that can get in the way of my own fitness achievements. However, someone to hold me accountable is always welcome and I love encouraging others get to their own fitness happy places :)

Nathan Rodriguez as Belcore in Donizetti's L'elisir d'amore

6. What would be your dream role to sing in opera?
Figaro in Il Barbiere would be an epic win. I’d also love to sing some Verdi roles one day… I’ll give it a decade or so. I don’t limit myself to opera and would love to do crossover and be the emcee in Cabaret or a Sweeney Todd. The list is endless, really. I like it all!

Nathan Rodriguez trying on an old pair of pants

7. Tell us something about yourself that has nothing to do with opera or fitness.
So many singers have day jobs to sustain themselves. I’m fortunate to work at an incredible genetics research institute and I’m looking to grow into grants administration. I take classes in non-profit management on the side and would love to eventually use this skill-set to help non-profit arts organizations secure and manage funds. I’m a big advocate for singers developing other professional skills. Focusing on what can benefit the world of arts and music is crucial for our industry’s survival.

Take Kasey Yeargain's young artist fitness survey

BariChunk to BariHunk Kasey Yeargain

Kasey Yeargain, a.k.a. The Opera Bro, has created a survey to get an inventory of the fitness options available to young artists while they are at summer programs.  He is taking all of this information and making a free searchable database, so that singers can make plans on how to stay in shape while at these programs.

The results will help inform singers about gym availability, hours of operation, types of fitness programs, as well as the amount of free time you can expect to have at a summer program. You can access the survey HERE.

Kasey tells us that a number of singers list as one of their goals to "be featured on Barihunks." We couldn't be prouder! A healthy voice + a healthy body = a longer career and life.

Sexiest Barihunks Photo Co-Winners: Ernesto Petti & Kasey Yeargain

After a spirited week-long competition for our Sexiest Barihunks Calendar Photo, we're are pleased to a announce TWO winners. The voting was so close between our two top contenders, Italian Ernesto Petti and American Kasey Yeargain, that we're announcing them as co-winners. Each will receive the $100 prize.

Petti who once wanted to be a professional water polo player, shared the stage with Diana Damrau and Piotr Beczala in the controversial performance of Verdi's La traviata last year at La Scala decked out in sexy, white muscle tee shirt.

Ernesto Petti

Petti began his vocal studies in Naples when he was just 18 years old. In 2010, he graduated from the Academy of Torre del Lago Puccini, where he studied with acclaimed tenor Marco Berti.
He won first prize at the Francesco Albanese di Napoli competition and won the second prize at the "Ravello Città della Musica" competition.
 
He made his professional debut in 2009 as Eagro in the Johann Christian Bach edition of Gluck's Orfeo ed Euridice at the Festival Valle d'Itria. He followed that up with a performance in Viardot's Cendrillon. In 2011, he returned to the Festival to sing The Officer in Ernst Krenek's tragic one-act opera Der Diktator, for which he received critical acclaim.


He appeared in Puccini's hometown of Torre del Lago as Harry in the composer's La Fanciulla del West, which celebrated the centenary of his opera about the American West. He has also sang in Bizet's Carmen at the San Carlo in Naples, Verdi's Macbeth at the Teatro Coccia in Novara, Verdi's Simon Boccanegra at the Teatro Municipale di Piacenza and Modena.

Yeargain during a workout

Kasey Yeargain came to our attention with his dramatic Bari-Chunk to Bari-Hunk transformation. Yeargain, who weighed in at around 300 pounds and lacked self-esteem, has become a ripped and confident singer who moonlights as a personal trainer and inspirational blogger on The Opera Bro.
You can read all about the inspiration for his weigh loss and his winning "Tribute to Michelangelo's David" photo on his blog. 

He is currently singing the role of Trevor Graydon III, the wealthy head of Sincere Trust Insurance Company, in Thoroughly Modern Millie at the Poteet Theater in Oklahoma City from November 7-December 14 and tickets are available online.

You can purchase your own copy of the 2015 Barihunks Charity Calendar featuring Ernesto Petti, Kasey Yeargain and 17 other sexy singers at LULU. Simply click on the button below. 

 

 

Kasey Yeargain in Thoroughly Modern Millie

Kasey Yeargain

Kasey Yeargain, who is featured in the Barihunks Charity Calendar this year and is in the running for our Sexiest Picture contest, will be taking a break from opera to perform the role of Trevor Graydon III in Thoroughly Modern Millie.

Kasey Yeargain: Before & After

Regular readers will recall that Yeargain was one of the most dramatic Bari-Chunk to Bari-Hunk stories in opera. Going from around 300 pounds and lacking self-esteem to becoming a ripped and confident singer who moonlights as a personal trainer and inspirational blogger on The Opera Bro.You can read all about the inspiration for his weigh loss and his sexy "Tribute to Michelangelo's David" photo for the calendar at his blog.

The role of Trevor Graydon III is perfect for Yeargain, as he's the wealthy head of Sincere Trust Insurance Company who the gold digging Millie sets her sights on snaring. The show will run at the Poteet Theater in Oklahoma City from November 7-December 14 and tickets are available online.

You can purchase a calendar by clicking below. This year, much of the money raised is going directly to the singers who participated.

Bari-Chunk to Bari-Hunk Edwin David Vargas López

Our latest inspirational bari-chunk to bari-hunk transformation is Puerto Rican Edwin David Vargas López. We saw him at the Nevada Opera last year where he was singing with Michael Mayes, who was our original bari-chunk to bari-hunk post. 

Mayes has inspired scores of singers to care for their bodies as well as they take care of their voices. Vargas credits Mayes for his amazing transformation and dedication to fitness training. "While I was covering barihunk Michael Mayes, he told me that my career wasn't the way I wanted because of my size and that I had a great voice and I should lose weight!," Vargas told us. "This advice changed my life because now I have a new lifestyle. I feel my voice easier. On stage I can move my body without feeling tired. Generally I feel secure!"

Michael Mayes and Edwin David Vargas López

Vargas is currently getting his Masters Degree at the City University of New York (CUNY), where he has sung Ford in Verdi's Falstaff and Don Alvaro in Rossini's Il viaggio a Reims. He graduated from the Conservatory of Music of Puerto Rico, where he sang Don Giovanni at the Opera Workshop , Schaunard in Puccini's La boheme, Count Almaviva in Marriage of Figaro, Dandini Rossini's La Cenerentola and King Melchior in Menotti's Amahl and the Night Visitors. 

He has participated in the International Vocal Arts Institute in Chiari, Italy and Puerto Rico. He made his American debut with Nevada Opera in their production of Puccini's Madame Butterfly as Yamadori and Sharpless, returning later to perform in their aforementioned Don Giovanni. In 2012, he sang a concert in Carnegie Hall with Remarkable Theater Brigade.

On December 6 and 7, he will sing Nick Shadow in Stravinsky's The Rake's Progress at the Conservatory of Music of Brooklyn College. Tickets are available online.

Conservatory of Music of Brooklyn College

Conservatory of Music of Brooklyn College

Conservatory of Music of Brooklyn College

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BariChunk to BariHunk Kasey Yeargain to make professional debut

Kasey Yeargain "Before & After"

We have had few posts that have generated as much interest as Kasey Yeargain's transformation from an overweight, unhealthy, depressed singer into a healthy, physically fit, confident barihunk who cuts a mean figure in a uniform. His story shot into our ten most viewed posts within a month and remains in our Top 5 to this day.

At his heaviest, he weighed between 270-300 pounds (122-136 kilos) and he now weighs around 199 pounds  (90 kilos). He has created his own blog called The Opera Bro where he shares his story and talks about his weight loss and fitness routine.

Kasey Yeargain as Zuniga

His incredible story culminates on May 2 at the Tulsa Opera where he is making his professional stage debut as Zuniga in Bizet's Carmen. We often joke about Carmen running off with Escamillo when there's a barihunk in the role, but in this production she may run off with the officer Zuniga. If you can't make opening night, there will be an additional performance on May 4. Tickets are available online.

This summer, he'll be able to strut his stuff opposite one of the great bodies in opera, as he takes on the Prison Guard in Jake Heggie's Dead Man Walking opposite über-barihunk David Adam Moore at the Des Moines Metro Opera. This will be Yeargain coming full circle, as his dedication to fitness began while he was a studio artist with the same company last year. Performances will run from June 28-July 19 and tickets are available online.

Kasey Yeargain: Another inspirational BariChunk to BariHunk story

Kasey Yeargain

We've featured some amazing stories about singers getting in shape, something that we've dubbed "BariChunk to BariHunk" for the lower voiced men in opera. Perhaps none was as dramatic as Michael Mayes' losing 50 pounds to perform Jake Heggie's Dead Man Walking, which we featured almost two years ago. That story generated an unbelievable amount of traffic to the site and continues to get frequent hits to this day. It also generated a basket full of emails from singers who were inspired by Mayes' story, including one from an Eastern Europe soprano who claims that it saved her life and gave her new found hope.

Chris Carr toned up. He looks and sounds better than ever!

Michael Mayes became a much ballyhooed operatic sex symbol after his weight loss

Now we've come across the story of another emerging young singer, whose story touched us and we felt needed to be shared with the world. Meet Oklahoma native Kasey Yeargain, who was an apprentice artist at the Des Moines Metro Opera where he performed scenes from Moby Dick, Silent Night, Cosi fan Tutte, and Billy Budd and performed in the mainstage performances of Peter Grimes, Elektra, and Romeo and Juilette. Des Moines Metro Opera seems to be where a lot of singers get in shape. It's no coincidence that Michael Mayes regularly performs there and drags unwitting singers to the gym willingly or by force!  

On May 2nd, Yeargain will make his professional debut as Zuniga in Carmen with Tulsa Opera.

Here's his story of personal transformation in his own words:

"So, in March of 2013 I had just broken up with my girlfriend, I had an absolutely horrible audition season, and the reality of the struggles of being a professional opera singer were really hitting me hard. At this point in my life I was anywhere between 270 to 300lbs, very overweight, depressed, and so insecure about every aspect of my life that it was starting to effect my personal relationships. So, one day, I woke up and said "I'm tired of being a schmuck." That's when I began the change. I did as much bro-science/Youtube research that I could and decided to start cutting my calories and begin Intermittent Fasting. I combined this with weight lifting and hour long walks. The weight practically fell off. I was losing between 3-5lbs a week. At this point I would fill my calories with whatever, but trying to stay clean.

Mezzo Mary Beth Nelson and Kasey Yeargain looking good!

My greatest obstacle: One of the only good things that came from my auditions last year was earning a position as an apprentice artist at Des Moines Metro Opera. But, I knew that summer programs tend to do two things: increase your daily drinking and make you gain weight. I was determined to drink very little and LOSE weight. I was tempted by scotch and snacks EVERY night. That combined with after show parties, group dinners, and the never ending treats, I was constantly tested! My secret: Epic cheat days. Every Saturday I ate anything and everything I wanted. My fellow apprentice artists called it Faturday. It satiated my taste for junk food and gave me something to look forward to. I ran and lifted weights every day, and I was constantly looking for pick up games of basketball to play with the other apprentice artists. (I kept them in shape!!!!)

My weight loss continued throughout the program and after I left. However, I was an idiot and let my calories get cut down to 1600. That combined with the amount of exercise I was doing, I was in full blown starvation mode. My weight loss stalled completely. I did some more research and began reverse dieting "Slowly adding in calories," still indulging in my cheat days. My weight loss picked up again. I got down to 203lbs and began focusing hard on increasing the weight on my big lifts. Bench, dead lift, squat, pull ups and dips. I also began to track my macros, making sure I got efficient amounts of protein. I bulked back up to 211lbs and began a small cut to get the lean, scrappy look I wanted for Frank Maurrant in Street Scene. I stopped looking at the scale and focused on the mirror. I got lean enough where I even had a (brief) shirtless scene.

After completing Street Scene and my recital, I finally weighed myself again. I weighed 196lbs. I had lost anything between 80-100lbs. I went from a 40inch waist to a 34. AND, I got stronger. But, more than anything, I now have a sense of confidence that I've never had before. I know that I can accomplish anything I put my mind to. If anybody has any questions, please feel free to hit me up."

Dead Man Walking coming to Montreal, Eugene & Boston

Michael Mayes as Joseph de Rocher and at the gym

We have a million reasons to love composer Jake Heggie, but perhaps we love him most for writing great leading roles for baritones. His opera Dead Man Walking has quickly entered the standard repertory and it's lead character Joseph de Rocher is invariably played by a barihunk. Yet another reason to love him.

Within three weeks, three productions of the opera will be running, one in Eugene, Oregon, one in Boston and the other in Montreal, Quebec. Michael Mayes, who transformed from bari-chunk to bari-hunk, to play the role at the Tulsa Opera, will reprise the role in Eugene. Etienne Dupuis will take on the role in Montreal, with Philip Kalmanovitch also appearing in the cast, who appears regularly on this site. John Arnold and Jonathan Stinson will alternate the role in Boston.

Etienne Dupuis and Jeanette Kelly from the CBC

When Mayes transformed his body during his Tulsa run it created a sensation on Barihunks when we ran the before and after pictures. Apparently, Etienne Dupuis has taken serioulsy the physical demands of the role, as well. He's hired two trainers to get in shape, including helping him develop the skills to sing and do pushups at the same time. You can listen to his interview on the CBC where he talks about getting in shape for the role. Dupuis and hot Jeanette Kelly also spend a good deal of time talking about the concept of barihunks and the increasing need to look the part on stage. We recommend that you play it to the end, so you can hear him sing "Hello" by Lionel Ritchie.

Performances at Opera de Montreal run from March 9-16th and tickets are available online. The opera will be performed at the Eugene Opera on March 15 and 17 and tickets are available online. Performances with the Boston Opera Collaborative will run daily from March 15-18 with tickets available online.

William Berger's HOT new look

William Berger (photo by Paul Foster-Williams)

There's one thing that we've learned in our five years of existence: Barihunks has a loyal group of ginger lovers. Every time we post a redhead on the site, we seem to get a half-dozen emails touting another "strawberry blond" singer.

A recent email came from a friend and it was about a wonderfully gifted singer who we both had seen many times on stage.  It began, "Have you seen William Berger lately? Not sure what's he's done, but he's looking really H-O-T these days."

We're not sure either, but it looks like he's lost a stone or two and adopted a distinctly stylish new look. Whatever he's done, we agree that he looks as great as he sounds. We've seen other singers go through some amazing transformations recently, most notably the very public evolution of Michael Mayes from Bari-Chunk to Bari-Hunk, which remains one of our most visited and inspirational posts.

William Berger sings "Revenge Timotheus Cries" from Handel's Alexander's Feast)

Berger is an amazing talented baritone who sings with an incredible depth of emotion and colors his phrases beautifully. We still remember his performances with the Philharmonia Baroque Orchestra where he sang Aeneas opposite the great Susan Graham's Dido in Purcell's Dido and Aeneas under maestro Nicholas McGegan. Even though he has no real aria the beauty of his singing was unforgettable.

He was also a successful Papageno for Garsington Opera last year, a role he'll be reprising next year at L'opéra de Toulon.

 William Berger sings Mozart's "Abendempfindung"

Berger and McGegan are also releasing a recording of late 18th-century operatic arias with the Scottish Chamber Orchestra. Berger also has a highly-acclaimed new recording out called "Insomnia" and we encourage you to read Berger's own thoughts on this very personal project.

Celebrating the anniversary of "Die Entführung aus dem Serail"

For all of you BariChunk lovers: Kurt Rydl as Osmin in Salzburg

Mozart's opera Die Entführung aus dem Serail premiered on this date in 1782. We often don't focus a lot on the bass end of the barihunk range, so we thought this would be the perfect opportunity. The opera contains three arias for Osmin and the music goes down to the lowest reaches of the bass range.

Mozart wrote the role of Osmin for the formidable bass Ludwig Fischer, who was a friend of the composer. Mozart also wrote the aria "Alcandro, lo confesso…Non sò, d'onde viene" (K. 512) for the singer and some other concert arias. This is significant, because he had primarily written these concert show pieces for sopranos and the occasional tenor.

Ludwig Fischer

A letter between Mozart and his father dated September 26, 1781 shows that Osmin originally had very little music.

 "In the original libretto Osmin has only [one] short song and nothing else to sing, except in the trio and the finale; so he has been given an aria in Act 1, and he is to have another in Act 2. I have explained to Stephanie [the librettist] the words I require for the aria ['Solche hergelaufne Laffen'] - indeed, I had finished composing most of the music for it before Stephanie knew anything whatever about it. I am enclosing only the beginning and the end, which is bound to have a good effect. Osmin's rage is rendered comical by the use of the Turkish music. In working out the aria I have allowed Fischer's beautiful deep notes to glow. The passage 'Drum beim Barte des Propheten' is indeed in the same tempo, but with quick notes; and as Osmin's rage gradually increases, there comes (just when the aria seems to be at an end) the Allegro assai, which is in a totally different metre and in a different key; this is bound to be very effective. For just as a man in such a towering rage oversteps all the bounds of order, moderation and propriety and completely forgets himself, so must the music too forget itself. But since passions, whether violent or not, must never be expressed to the point of exciting disgust, and as music, even in the most terrible situation, must never offend the ear, but must please the listener, or in other words must never cease to be music, so I have not chosen a key foreign to F (in which the aria is written) but one related to it - not the nearest, D minor, but the more remote A minor."

The first aria is "Wer ein Liebchen hat gefunden," which advises the listener to reward your loved one with kisses and make her life great,  as well as to locking up your woman's other lovers, lest they tempt her to forget her faithfulness.

Gottlob Frick sings "Wer ein Liebchen hat gefunden":

In the aria "Solche hergelaufne Laffen" Osmin graphically explains why he does not like Pedrillo. It's is mainly because Osmin and Pedrillo are both in love with Blondchen and Pedrillo is in better favor with both Blondchen and the Pasha.

Gottlob Frick sings "Solche hergelaufne Laffen":

After Pedrillo, Belmonte, Blondchen, and Konstanze are captured trying to escape, Osmin sings of the delight that he will have when they are all hanged in the aria "O wie will ich triumphieren."

Kurt Moll sings "O wie will ich triumphieren":

Ezio Pinza sings the aria in Italian:

Since the aria contains one of the lowest notes in the standard repertory, we thought that it would be fun to compare some of the greatest basses and their low D's (the aria goes from D2 to D4).

In chronological order:
1. Ezio Pinza 1947 (in Italian)
2. Mihaly Szekely 1959 (in Hungarian)
3. Gottlob Frick 1966
4. Kurt Moll 1974
5. Marti Talvela 1984
6. Matti Salminen 1987
7. Jaako Ryhänen 1988
8. Robert Lloyd 1991
9. Cornelius Hauptmann 1992
10. Franz Hawlata 2006
11. Kurt Rydl 2006

Michael Mayes: From BariChunk to BariHunk

Michael Mayes: "Killer" body

We make no secret about Michael Mayes being one of our favorite people in opera. His Texapolitan Opera Roadshow podcast remains one of the most interesting and entertaining shows about classical music and opera anywhere. He's also a great guy, has an amazing stage presence and he's a wonderful singer. What's not to like? We're pretty sure that his performance as Joseph de Rocher in Jake Heggie's "Dead Man Walking" at Tulsa Opera is going to put him on the international opera map. Mayes was made for this role and took it so seriously that he dropped 50 pounds and hit the weights. As he puts it, he went from "barichunk to barihunk."

Here's an interview from his ADA artists website where he talks about the role.

How does one prepare to play a character that is convicted of murder?   

Joseph de Rocher is a composite character, meant to embody the spirit of the men that Sister Helen Prejean accompanied on their final walk. For an actor with my background, this is a perfect situation.  While I didn’t grow up a desperately impoverished white boy from Louisiana from a shattered home; I did grow up among some of the poorest people in our country~ what many people today would callously call ‘trailer trash’, an epithet of which I’ve often been on the receiving end.  In my hometown, Cut n Shoot, TX, I played football, went to school, family reunions, church, and got into trouble with countless Joseph de Rochers.  The archetypal scared white boy that grows into am angry white man is a story that sadly, I am more familiar with than I would like to be~ and the experience of living with these kinds of personalities has been key in developing my interpretation of Joseph. I had to do all the things you would expect one to do:  research prison life, pour through Helen’s books, countless seminars and lectures, watch as many documentaries as I could about men on death row so that I could try and grasp the physical and mental gauntlet that these men go through on the way to their demise, etc.  These are all the basics, and nothing surprising to anyone who really stops and thinks about the enormous amount of work and research that goes into a role like this~ but the essence of Joe, the distillation of his nature, the way he walks, talks, reacts to stimuli, what he feels deeply, his fears, his desires; these things came surprisingly easy to me.

It was surprising.  It was as if there was some place, deep in the recesses of my own consciousness that understood this man in ways with which I wasn’t comfortable when I first began.  It actually took me a while to begin the deeper work once I’d been offered the role.  I was unmanned by some of the feelings that would bubble up while I was in deep thought about him.  I would start, and then just leave the project all together~ preferring instead to plumb the ‘depths’ of Escamillo or Papageno’s psychological profile. (people that know opera know how ridiculous that is).  But as February began to loom on the horizon, I began to feel this presence.  My subconscious was doing the work for me, whether I liked it or not, and as I began to meld my work with Heggie’s music, McNally’s words, and Prejean’s material, Joseph began to emerge almost fully formed.  Even as I type this, I find myself unable to effectively articulate what it’s like to be him. It’s not something I feel like I’ve had to go out and find, rather its something deep down inside me, like the pieces of a horrifying weapon that, fortunately, I’ve never assembled.  When this thought occurred to me, I realized that but for a few lucky breaks in life, it very well could have been me in that roadhouse, taking the wrong kind of drugs, indulging the worse kind of vices, allowing the darkness in me to completely obliterate any humanity I had left.  I’ve been that angry.  I know what it feels like to walk right up to the edge of the abyss and look into nothingness and oblivion.  Luckily it usually terrified me so much that I would immediately run from whatever was pushing me in that direction, but just before I turned~ there was always this seductive pull, that made something inside of me want to jump, leap into the darkness and let it completely envelop me.

Michael Mayes and Kirstin Chavez

 When I heard actors talk about wrestling with a character, I honestly always thought it was pretentious bullshit, but Joseph taught me my lesson about hubris, and continues to do so everyday.  Developing this character has really felt like developing a form of schizophrenia.  I don’t feel this way with every character I work on, some of the more complex characters have given me a taste of what its like, but never have I felt so inhabited.  With Joseph, when I’m in the cut, and things are lining up, when I feel that groove~ I feel him…come upon me.  Its truly unsettling.  When the accent is just right, when I’m hitting all of the emotional targets, suddenly, I’m gone and he’s there.  All the anger, the hatred, the fear and bitterness, the rage and terror~ these things I normally have to show when I’m acting~ but with Joseph, its only necessary to be.  Wrestling? Yeah, that’s a good word for it.  I often feel like I have to fight to regain myself after rehearsals, and when I’m done, the residue clings to me like the remnants of a dust storm late into the evening.  I am usually just about back to normal when its time to let him back in for the next rehearsal.  This sounds all very heavy, but its not a unusual phenomenon in other theatrical arts.

One of the more practical aspects of playing Joseph has been the physical transformation that I’ve had to undergo.  Joseph works off his anger and frustration in a scene at the top of Act II by doing push-ups during his one hour of exercise a day.  This definitely changes the way you have to appear onstage~ so as Tulsa began to creep closer in my date book, I began a physical transformation into Joseph that was one of the most challenging I’ve ever encountered.  In order to really get Joseph right, I had to go from Bari-chunk to Barihunk, something that has not gone unnoticed by the popular opera blog that is behind the genesis of that term. (BARIHUNKS)

Michael Mayes: BariChunk to BariHunk

 I dropped 50 lbs, and started hitting the gym muscling up as much as I could and still be able to sing, and I traded in my long wavy auburn locks (a real source of vanity for me) for a skin close high and tight and a style of facial hair popular among white supremacists.  The physical transformation has had as much to do with this feeling of being inhabited by Joseph as the emotional and psychological.  With these physical attributes, I am immediately viewed by strangers as an anti-social individual~ and the looks of disdain, pity, anger, fear that I get just walking around in the world is a marvelous insight into the kinds of daily input that Joseph got from the world around him.

Preparing to play a rapist/murder is not for the faint of heart.  It’s taken it’s toll, just ask my fiance.  Joseph has wreaked havoc in my personal life, there is no denying it. He’s not one of these characters  you can put on at 7:30 and be ready by 8 for the performance.  You can’t put him away until after the last curtain goes down, and even then, I’m not sure I’ll be shut of him.  Despite the turmoil and tribulation that one has to endure when preparing for and performing one of these characters, at the end of the day its one of the most satisfying experiences an actor/singer can have on the stage, and for the first time in my career I can say that I am fully and without reservation doing that which drew me into this business in the first place.

What themes, ideas, or concepts do you wish the Tulsa audience will take with them to contemplate and discuss after the performance?  

This opera does not take a position on the death penalty.  You may get insight into Joseph’s mind, you may understand  the how and why of what he did, but the way the opera is crafted~ you never forget the absolute horror of his crimes, the absolute destruction that his actions have wreaked on the the lives of the families of his victims and of his own family.  Anytime you’re taking on a hot-button issue, the temptation is there to ram your own passionate political belief down the throats of those on the other side.  This temptation is not only resisted, but actively denied by the people behind this piece.  When you get beyond the political theatre, you realize that this opera is not about the death penalty. The death penalty, death row, prison, rape, murder, these things are all incredibly effective settings and plot devices;  but once you boil this piece down to its essence, its truly about forgiveness, grace, and shades of gray.  No matter what your position on the capital punishment, you will not be able to leave the theater without questioning your own stance… and that’s the point of Dead Man Walking, not the statement, but the question.

CONTACT US AT Barihunks@gmail.com

Photo Help!

[Photos of David Adam Moore]

LollySD posted a tantalizing comment that seemed to indicate that their were shirtless photos of David Adam Moore from his recent performance of Soldier Songs in New York. I can't find them anywhere. If someone has them, please send them to MikeOpera@mac.com

While we're on the subject of missing photos, I'm still looking for:
1. A shirtless photo of Teddy Tahu Rhodes from Billy Budd in Santa Fe or Opera Australia.
2. A shirtless photo of Mariusz Kwiecien from Don Giovanni in San Francisco.
3. The partially nude photo of Eugene Brancoveanu from Lou Harrison's "Young Caesar."
4. A photo of David Adam Moore from Pittsburgh's "Billy Budd."
5. A photo of Jesse Blumberg from Ricky Ian Gordon's "Green Sneakers."
6. Anything with Gabriel Bermudez! Where are the photos of this guy?
7. Anything with Philip Cutlip, who got a ton of hits when I posted him, but I've been unable to follow up with anything.
8. Any hot photo of Erwin Schrott that I haven't run. He is my current hit leader along with Teddy Tahu Rhodes, Mariusz Kwiecien, Daniel Okulitch and Nathan Gunn.

Again, email photos to barihunks@gmail.com

A little reminder, this is barihunks, barichunks.

It's Raining Men (naked men!)

Barichunk Wolfang Koch seems to have some German koch hanging over his head in this production of Busoni's "Doktor Faust" from the Bavarian State Opera.

Do I hear a chorus of "It's Raining Men" breaking out?

Mikolaj Zalasinski

Polish barichunk Mikolaj Zalasinski seems to enjoy singing in various stages of undress. Above are photos of him as Jokanaan in Salome in his Depends and in his birthday suit as Don Giovanni. The latter role has become his calling card role and he's sung it in Vienna, Tokyo, Warsow, Lodz, Bytom, and Bydgoszcz. Other barichunk roles include Escamillo and Papageno.