Tetelman earned his undergraduate degree from Manhattan School of Music and completed the graduate Performance Studies Program at The New School of Music, Mannes College.
Mr. Tetelman recently jumped in last-minute to make his Tanglewood Music Festival debut as Rodolfo in La Bohème with the Boston Symphony Orchestra under Maestro Andris Nelsons, ;ater joining soprano, Nadine Sierra, for a concert with Festival Napa Valley.
Jonathan debuted il Duca di Mantova in Rigoletto with the Berkshire Opera Festival and Gulfshore Opera.
He was also seen as Marco in Chadwick and Barnet’s Tabasco with the New Orleans Opera.
The tenor also performed as Don Jose in Carmen during a gala performance at the French Embassy in Washington, D.C., and performed both Dvorak’s Requiem and Verdi’s Requiem with the Greenwich Village Orchestra and St. George’s Choral Society, and joined the Metropolitan Opera for their new production of Norma.
Other recent performances include his La Bohème debut as Rodolfo with the Fujian Grand Theatre in China, the Verdi Requiem with the Milan Festival Orchestra, Elgar’s Dream of Gerontius with the Orchestra Now, Mozart’s Coronation Mass in his Carnegie Hall debut with the New England Symphonic Ensemble, and Dvorak’s Stabat Mater with the St. Goerge’s Choral Society.
Other recent roles for Mr. Tetelman include Alfredo in La Traviata, Eisenstein in Die Fledermaus, and Freddy Eynsford-Hill in My Fair Lady.
He sang the role of Rodolfo in La Bohème with the Komische Oper Berlin for their new production and Live Broadcast by Barrie Kosky and the English National Opera.
Jonathan made his debuts as Mario Cavaradossi in Tosca at the Gran Teatre del Liceu, and as Werther with Opera del Teatro Solis in Uruguay.
Mr. Tetelman rejoined the Tanglewood Music Festival for their performance of Verdi’s Requiem, and joined soprano Kristine Opolais and Julien Rachlin, in concert, with Würth Philharmoniker in Künzelsau, Germany.
On the 2019/20 stages, Jonathan made his Covent Garden, Royal Opera House debut as Alfredo in La Traviata and Rodolfo in La Bohème. He began the season with his debut in San Francisco for the San Francisco Symphony 2019 Gala, performing Beethoven’s Symphony No. 9, conducted by Michael Tilson-Thomas. Jonathan also sang concert performances with Dan Ettinger and the Stuttgarter Philharmoniker and with soprano Kristine Opolais and the Stanislavsky Theater Orchestra in Moscow. Jonathan returned to the role of Mario Cavaradossi in Tosca with Teatro Regio Torino, Semperoper Dresden, Warsaw Summer Opera Festival and in Teatro Colón, Buenos Aires. The tenor made another role debut as B.F. Pinkerton in Madama Butterfly with Opéra National de Montpellier and performed the title role of Werther with the Gran Teatro Nacional de Lima.
In the 2020/21 season Jonathan begins with two concert version productions of Puccini’s Madama Butterfly and Tosca at the Semperoper Dresden. He will then make his house and role debut in a new production of Zandonai’s Francesca da Rimini at the Deutsche Oper Berlin. The production is created by award winning director, Christof Loy alongside musical direction by Maestro Carlo Rizzi. Jonathan will make a Verdi Concert Gala appearance with the Copenhagen Philharmonic led by Audrey Saint-Gil.
Hello, Jonathan, thank you for accepting our invitation! It’s an honour to interview one of the most sought after tenors of the younger generation. How’s it going? What is an opera singer doing in a time like this, when time is passing but we can’t do more in our field? How are you spending it and what are your thoughts and state of mind regarding the situation?
Hello, OPERA Charmers, thank you very much for inviting me to interview. I have been a big fan of your opera write-ups and interviews and it’s a privilege to be speaking with you. Last year, it was a rough one. For everyone. Countless contracts and opportunities lost along with income. And not to mention loss of family and friends, it was truly horrible. Personally I lost a number of house debuts in the Americas and Europe as well as concert performances / festivals. I spent the majority of my time studying for my new role debuts that I hoped would happen, as well as learning some new pieces that are not yet in the books. And last but not least, I bought myself an amazing espresso machine which took me a while to finally make an excellent cup of coffee.
This bad situation can inevitably involve asking yourself important questions about where the opera world is heading. Have you participated in online performance activities or streaming projects? What’s your opinion on digitizing live performances? And, in your opinion, how important are social media networks for artists during these times?
I think that the opera world will always remain in the theatre: there is simply nothing that could replace an in person live performance. But with all of the digital live streaming that has taken place, I think that it has given the opera world an opportunity to reach people that otherwise cannot attend a theatrical in-person performance. I believe that, when done properly, digitizing a live performance is a great thing. As far as Social Media, it is now the great connector for people across the globe. Even my parents are on it. I believe that it is important but at the same time should be taken lightly.
Read the entire interview & many other interesting articles here, in the 3rd/2021 issue of OPERA Charm Magazine.0