BONNER PLAYINGBILLY BUDD
LIAM by chris carpenter In honor of gay composer Benjamin Britten’s 100th birthday, LA Opera is
reviving one of his most renowned works this month. Billy Budd, a homoerotic tale of intrigue set on the high seas, will run for six performances only from Saturday, February 22 through Sunday, March 16 at the Dorothy Chandler Pavilion in Downtown Los Angeles.
The 1951 opera explores the relationship between
the title character, a handsome young sailor and his ship’s master-at-arms, John Claggart, whose obsession with Billy leads to devastating tragedy. Britten was in- spired by a novella written by Herman Melville ofMoby Dick fame and fellow gay writer E.M. Forster penned the libretto to accompany the acclaimed score. 32-year-old baritone Liam Bonner will headline the
production; with bass Greer Grimsley making his LA Opera debut as Billy’s sexually frustrated nemesis. Bonner recently chatted withThe Rage Monthly.
This is the first time you have played the role of Billy. What most excites you or intrigues you about the role or this opera? Billy is probably one of the furthest roles away
from my own personality, so I’m really excited about pushing myself as an actor. I love his innocence and the way Britten sets Billy’s words so simply. I feel fortunate that for the first time doing this role I have both Maestro James Conlon steering this ship musi- cally as well as Francesca Zambello’s production and experience with this piece. Has preparing for this role presented any unique demands or challenges for you? The role is known for having a certain “look” for its
baritones. I’m tall and thin, putting the muscle on for this role has honestly been the greatest challenge and I’m still working on it.
60 RAGE monthly | FEBRUARY 2014 FEBRUARY 2014 RAGE monthly
What about the gay or homoerotic aspects of the plot and op- era? Any particular challenges or insights you’d like to share? The homoerotic aspects are certainly a driving
force in this piece, but they have more to do with Claggart than Billy. Billy is too innocent and naive, I think, to even realize the way Claggart is drawn to him. When Billy is being warned to watch out for Claggart, he honestly believes that Claggart is just being friendly to him and can’t possibly imagine any ulterior motive. To quote Billy’s argument: “But Jemmy Legs likes me. He calls me that sweet pleasant fellow. He gives me the smile and easy order when we meet. And when I gave Squeak that drubbing, ‘hand-
somely done’ was all he said. . .and he smiled. No, he likes me, he likes me.” Billy is so real and so sincere in his answers, always. Any thoughts about or impressions of Benjamin Britten’s works in general? One word: ADORE! Seriously, I think his skill as an
opera composer is right there with Mozart and Verdi. It just depends on my mood which one I’d prefer to listen to at any particular moment. I’ve been fortu- nate enough to have had the opportunity to perform many of Britten’s operas (Demetrius in A Midsummer Night’s Dream, Sid in Albert Herring, Ned Keene in Pe- ter Grimes) and I’m always blown away by his ability to set the English language as well as his understanding of drama; knowing what stories make great operas and need to be sung because saying the words just isn’t enough. You are counted among the current “barihunks,” i.e. hot male opera singers. How do you feel about that designation? Well, they say there’s no such thing as bad press
so I’m happy to have the recognition, but I suppose I don’t feel like I belong on the list based on what I understand as the qualifying requirements! Where do you hail from originally? Where do you call home today? I’m originally from Pittsburgh, PA (proud Steelers,
Pirates and Penguins fan) and spent the first 22 years of my life there as I attended Carnegie Mellon Uni- versity for my undergraduate work. Currently, I make my home base in Houston, TX where I fell in love with the city from my years in the Houston Grand Opera Studio.
For additional information about L.A. Opera’s production of Billy Budd or to purchase tickets call 213.972.8001 or go
tolaopera.org.
“I’ve been fortunate enough to have had the opportunity to perform many of Britten’s operas and I’m
alwaysblown away by his ability to set the English language as well as his understanding of drama…”
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