Arcadia native Todd Wilander will show what makes him a popular leading tenor with opera companies around the world when he joins The Verdi Chorus and three other soloists for two performances of Verdissimo! Plus!, Saturday and Sunday, April 29 and 30 at the First Presbyterian Church of Santa Monica (for details see below).
Living up to its name, the chorus’ concerts will feature major chunks of Verdi masterpieces Otello, Il trovatore, La forza del destino and Un ballo in maschera and end on a lighter note with Johann Strass’ Die Fledermaus.
“Our program is filled with wonderful colors and contrasts with solos, duets, ensembles, and of course choruses to showcase the group and Giuseppe Verdi’s passion,” says Ann Marie Ketchum, conductor and artistic director. “I love the storm scene at the beginning of Otello in which the chorus goes absolutely crazy, and you can hear the actual storm itself in the music. The second act finale of Il trovatore is simply gorgeous – and this opera includes the Anvil Chorus, which is always great fun. For dessert, what could be sweeter than a little Viennese operetta in the form of Strauss’ Die Fledermaus? This led me to the ‘plus’ in this concert’s title, and I realized I had it – a perfect program, complete with four exceptional guest soloists.”
Besides Wilander, additional guest soloists include soprano Jessica Tivens Schneiderman, mezzo-soprano Danielle Marcelle Bond, and baritone Roberto Perlas Gómez.
Offering A Preview
The Un ballo in maschera selections are especially significant for Wilander since he will be covering (understudying) the lead tenor role of Riccardo for The Metropolitan Opera in New York City in October. “We get him first,” says Ketchum.
He’s sung the role before, for Amore Opera in New York in 2019, “but that was on short notice,” says Wilander. “Now I’m starting from scratch with coaching so I can study what I believe is Verdi’s longest tenor role.”
The excerpts from Ballo include Amici Miei, in the opera’s opening where Riccardo confidently greets his friends and soldiers. “It’s quite declamatory,” says Wilander. “He’s saying, ‘hello friends, I’m here.’” The act 1 ensemble finale that seals Riccardo’s fate, will feature all the soloists and chorus.
He and Tivans-Schneiderman will perform the love duet, Teco io sto, considered one of Verdi’s finest love duets. “It has a two-part structure,” says Wilander, “where Riccardo is pressing and lovesick and Amelia is resisting before finally declaring her love. It has parts that are fast and parts that just soar.”
A Singular Friendship
Wilander’s association with Ketchum and The Verdi Chorus began in the ‘90s when he was an undergrad at Cal State LA and she headed the Pasadena City College opera program. “Someone told me they were doing a Bernstein/Gershwin revue and they needed some male tenors, so I called her up,” recalls Wilander. “I still remember the concert because I love musical theatre and those composers are such geniuses.
“Anne Marie and I became friends and we would get in touch from time to time,” says Wilander. After his stints in Chicago and Berlin the pair reconnected and became Facebook friends about 10 years later. “Around 2013, we met for lunch and she told me about Verdi Chorus. She said they hold two big concerts a year and invited me to be a tenor soloist. I think this will be my eighth event with the group.”
“I really enjoy doing it,” says Wilander. “The church is a great space, and the concerts are often a chance to test out new repertoire, and polish familiar works. And I like Laraine Ann Madden’s piano accompaniments.”
A Burgeoning Career
Deciding to pursue singing, Wilander went to Northwestern University in Chicago for his master’s degree. From there he moved to Kansas City. While there he tried out for the Metropolitan Opera National Council Auditions. He made it though the first round and then traveled to New York with 25 other competitors. The next round whittled the field to 10 until five winners were chosen.
“Winning that competition in 2000 was a big deal and opened many doors,” says Wilander. “The next year I won a foundation competition and moved to Berlin where I lived and worked for three years; I was in my 20s. That led to performances in Italy and around the world.”
Since then he has sung virtually every leading tenor role with companies across the country and the globe, from Alaska and Florida, to at least 20 countries, from Argentina to New Zealand.
Following his audition win, Wilander has joined the Met for eight seasons. He made his Met debut in its most recent production of Lucia di Lammermoor as Arturo and covered many roles including Count Alamaviva in Il barbiere di Siviglia and Beppe in I Pagliacci.
After his fall commitment covering in Ballo he returns in the spring to cover Erik in Der Fliegende Holländer.
Always Be Ready
Having a cover is like an insurance policy for opera companies – someone who is at the ready to step in if a singer is indisposed.
While he’s always looking for that next casting, Wilander has found himself a sought-after cover.
“We will go where the work is,” says Wilander. Last year at two-weeks’ notice the Royal Opera House Covent Garden asked if he could understudy Samson in Samson and Delilah. “And they said, ‘while you’re here can you understudy Canio in Pagliacci for Jonas Kaufman. And also cover for Manon.”
After four months in London, he was Polllione in Norma and Leicester in Maria Stuarda for Musica Viva in Hong Kong. Then he was covering Don José in Carmen for Canadian Opera Company.
While he may never get to go on – “you have to treat every day like a performance and always stay nearby,” says Wilander. “In London I was covering for a lovely guy who said, ‘I have two kids at home and I’m not calling off.’ I like to go to rehearsals, and some big stars don’t want you around. But I always say, ‘I’ve got a job to do, too.’”
He’ll be returning to the Royal Opera to cover The Prince in Rusalka.
Wilander will be back in the Southland this summer when he takes part in the Angels Vocal Art Summer Opera Intensive at Azusa Pacific University. The Emerging Professional Program, with training and coaching, will culminate with a performance of Tosca, July 8 at Pasadena’s Manoukian Performing Arts Center. Wilander will play Cavaradosi, a role he’s long looked forward to playing.
Local Connections
Wilander went to Arcadia High in the late 1980s, where he sang in the school’s elite” Glee”-like group, the Chanteurs. He also sang with his mother and grandmother in the Arcadia Presbyterian Church choir.
And he’s been involved with the Rose Parade for 31 years. He runs the floral department for an artistic entertainment company. “I help order flowers and run the flower tent and work with the crew chiefs in getting their flowers. It’s controlled chaos. But I’ve learned a lot about flowers.”
His mother’s funeral service was at Lake Avenue Congregational Church. He’s now been singing there for 15 years and returns every year for the Christmas program.
“It’s also nice to reconnect with family and friends when I come home,” says Wilander. “My stepmom usually sells 40 or 50 concert seats, so I get to see a lot of people.”
The First Presbyterian Church is at 1220 Second St., Santa Monica. Performances are at 7:30 p.m., Saturday, April 29 and 4 p.m., Sunday, April 30. Tickets are $50 for priority seating, $35 for general admission, $25 for seniors and $10 for students 25 and under with valid ID. To purchase, and for more information, visit www.verdichorus.org.
Steve Simmons is an accomplished writer and editor who writes about a wide array of topics including entertainment. His successful experience at The Beverly Hills Courier and other publications set the stage for his blog. Contact Steve at steve.simmons0211@gmail.com or 626-788-6734.
