Spotlight on Christopher Cano
Part of the Life of the Opera Pianist series
Photo by Claudia Johnstone
General Information
Education
The University of Arizona
Manhattan School of Music
Current opera house and position(s)
Arizona Opera, Director, Marion Roose Pullin Opera Studio, Head of Music & Interim Chorus Master
Other or former affiliations
Festival Lyrique en Mer in Belle Isle, France, Toledo Opera, San Diego Opera, Utah Festival Opera, Opera Company of North Carolina, Florida Grand Opera, and Opera Theatre of Saint Louis, among others.
Contact or Connect
https://azopera.org/about/our-team/christopher-cano
11 Questions
Many people do not know the many roles and responsibilities a répétiteur has in the opera house. How do you explain your job to non-musicians, or even other musicians?
This is always a fascinating and challenging question because it tends to change and evolve with every situation and production. One of the aspects I love most is that it varies from production to production. We serve as an assistant to the conductor during the rehearsal and production process. We work with members of the cast to ensure they are confident and prepared as much as possible, and if we are lucky, we get to be at the piano making music. It’s always changing, never dull, and always fresh.
What do you find to be one of the most challenging aspects of your job?
Balance. It’s easy to get caught up in the whirlwind that is “life in the theater”. As exciting as this can be, I’ve also found that as I have gotten older that finding balance and prioritizing the things I cherish the most, family and relationships, is crucial.
Do you have a favorite part of the preparation (rehearsal or learning an opera) process? If so, what is it and why?
I love the first day of rehearsal or the first musical read through. I love coming into the room, seeing what everyone has brought to the table from the cast to the conductor. It can also be incredibly nerve-wracking! But, that initial thrill of the unknown and unexpected is always an incredible rush for me. I love seeing where the participating artists have put their energy and ultimately learning where the production is headed from the director. Depending on the participating parties, it can be incredibly inspiring or it can be challenging. It it’s the latter, witnessing flexibility is always interesting and rewarding because more often than not, everyone in involved learns something from the process and from each other and that is what makes it so rewarding.
What is your favorite opera?
This is a hard one! I don’t know that I could pick just one. But, I have my top five that I never get tired of: Le nozze di Figaro, La bohème, Turandot, Eugene Onegin, Così fan tutte always tend to be at the top of my list.
What is your favorite opera score to play and why?
I always love playing the three Mozart / DaPonte operas of Le nozze di Figaro, Don Giovanni and Così fan tutte. I love experimenting with different ideas and textures and trying new things with the recitatives. I also loved playing the score for Eugene Onegin. Pianistically, I found it incredibly rewarding and musically it’s glorious.
What are some adjectives that describe the skills one needs to be a good répétiteur?
Flexible, empathetic, patience and humility. There are plenty of others that come to mind, but these are my top four.
As a répétiteur, we are expected to prepare music quickly (sometimes having to sight read or transpose or play music from the orchestra full score), manage multiple opera productions at the same time, play rehearsals for last minute cast changes, conduct last minute rehearsals or performances and sometimes even sing roles in these rehearsals or performances. Do you have any advice on how to deal with the excitement of the job?
Breathe, stay calm, and be realistic. While perfection is always a bonus, everyone involved is trying to do their best. There’s a first time for everything. Do your best, know where your heart is and trust that in the end, it’s all going to come together and work out for the best.
We also wear many hats as a répétiteur. We are often asked to assist conductors by taking notes, provide backstage conducting for performances, prompt the singers, conduct staging rehearsals, accompany chorus rehearsals, manage sound effects or major musical cues for performances, perform a keyboard instrument (or two) in the orchestra pit and give notes to singers about language and diction. Do you have a favorite aspect of the career? Have you branched out in other directions related to our field?
All of it! I don’t do well with the mundane. I have to feel challenged in order to be stimulated and engaged. What I love about what we do is that it’s never the same situation, and if it is the same situation, there’s ALWAYS something new to bring to the table. Perhaps it’s as simple as working with a new cast of singers on a production you’ve done 12 times. Finding something new and challenging is never an issue, and if it is, then that is when I find myself actively looking for something different to challenge myself.
What was your first experience as a répétiteur? And your most recent experience as a répétiteur?
Così fan tutte. I had NO idea what I was doing. But, I learned invaluable things through that experience. I was surrounded by singers and a conductor who had high expectations. I found that challenging and stimulating and to this day, it was one of the most powerful experiences in that it was the beginning of everything for me.
My most recent experience as répétiteur was on our production of The Copper Queen here at Arizona Opera. Originally slated as a staged production to open our 2020/21 season, we pivoted to turning this commission into a feature length film. Due to the project being postponed a few times due to the pandemic, I found myself having to step into the role of répétiteur for this project and having an opportunity to join our orchestra members as well for the soundtrack recording. Stepping in a few weeks prior to the start of filming was a daunting task. None of us had every done a feature film. But, finding our way through the process yielded one of the most gratifying experiences I’ve had to date. We had a fabulous cast, a wonderful director, and working with Daniela Candillari as our conductor was just tremendous.
How do you manage playing an opera (or opera aria) for the nth time?
Trying to bring new textures and colors is something I always enjoy. Everyone has a different idea of how things should be played. But, when you are playing an orchestral reduction, it’s always fascinating to see just how much of the orchestral color and texture I can recreate from the piano. It’s never the same and I purposely never try to make it sound the same way twice, for me or the cast, and I’ve been lucky in that most of the conductors I’ve worked with have appreciated that aspect of my contribution.
Do you have any advice for pianists interested in a career at an opera house?
Listen, explore, stay curious, and take everything in. Enjoy everything about being a part of the process and if you are able to appreciate all of these aspects as well as the contributions of your colleagues, you will have a tremendous time. The learning will never end.
Interview with Arizona Opera about the Opera Studio
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