Interview: Sean Panikkar of SATYAGRAHA at Dorothy Chandler Pavilion

Sean Panikkar is a tenor who appears in leading opera roles around the world. He is also a member of the crossover tenor trio, Forte, as a result of his foray into the world of America's Got Talent. This month he sings the role of Mohandas K. Gandhi in Philip Glass's SATYAGRAHA at Los Angeles Opera.

Where are you from originally?

I was born and raised in Bloomsburg, Pennsylvania. My parents are from Sri Lanka and my older brother was born there as well.

How have the two cultures influenced you?

When my parents moved to the United States they fully embraced the American culture, so while I was exposed to bits and pieces of their culture, I was really raised like any other American. Even between my parents there were two cultures as my mother is Tamil and my father is Sinhalese. They spoke different languages so English was always the common language for them.

Are there other musicians in your family?

My parents and my brother are not musical at all, but my wife is a professional musician.

Where did you study?

I studied at The University of Michigan for my undergraduate and graduate degrees, followed by the Pittsburgh Opera Center and an Adler Fellowship at San Francisco Opera.

What instruments do you play?

I played violin at a very early age and then piano, trombone, and saxophone. I played trombone through college and was in the Michigan Basketball Pep Band. I only play piano to learn music now.

What competitions have you won?

Competitions were always a challenge for me because I started in San Francisco at such a young age. I was 22 when I did their summer Merola Program. Later, I was an Adler Fellow there. Since then, I have been working regularly and I simply didn't have time to get into competitions. I did win the George London Award. I took first place in the Gerda Lissner Awards and second place in the International Belvedere Competition in Vienna but, truly, those are about the only competitions I managed to get into. A few major competitions rejected my application outright because they said I had too much professional work, despite the fact that I was several years under their age limits. With regard to others, I just couldn't carve the necessary time out to compete. I would have loved to sing for Operalia and the BBC Cardiff competition.

How did you get on America's Got Talent?

I didn't try out for AMERICA'S GOT TALENT (AGT). A tenor trio called FORTE had already auditioned for it and they had already completed their first televised appearance. At that point, one of the members had a visa issue and the other two members had to find a replacement within a week or leave the show. Josh Page, one of the two remaining singers, found me online and contacted me. I happened to have the week off so I flew to Las Vegas and competed on AGTwith them. From there, we just kept winning round by round. During the final show, we were eliminated, however, and walked offstage. Then, in the wings of of Radio City Music Hall, Columbia Records, the largest division of Sony signed us to a recording contract.

Do you still appear with Forte on occasion?

Yes, we still appear together, although each of us is extremely busy in our other careers. Forte is a classical crossover tenor trio that was a finalist on AGT's season eight. We have two albums and have toured the country. Currently, Josh Page is in a band with his brother Zach called Brothers Page and they have become social media stars with over a million followers on Instagram. Hana Ryu, the singer I replaced on the show, is performing all over Asia and Fernando Varela is performing as a soloist as well as running a massive Production Company. Finding time to coordinate schedules is a challenge, but we are planning on doing several dates this season.

Would you advise other opera hopefuls to try that kind of show?

America's Got Talent isn't a platform for people wanting an opera career. I already had an opera career going with several appearances at the Metropolitan Opera and at international houses when I competed. AGT expanded my reach into the crossover world. We released two albums and toured the country singing to much different audiences than I typically reach in an opera house.

Did your success at AGT help you get opera roles?

Not at all. The two are totally separate, but a lot of AGT and Forte fans travelled to see their first opera because of how much they love Forte. In one case, I was singing THE PEARL FISHERS in Fort Worth and the night after opening night Forte performed a concert on the same stage. The majority of our Forte fans attended both nights and it was a great demonstration of how crossover can actually bring in new audiences to opera.

Which musicians and artists from the past have significantly influenced you?

I did not grow up listening to opera, so the musicians that influenced me early on were teachers. My middle school choir director, Eileen Hower is the single greatest influence on my career as she saw something in me before anybody else did and fostered that ability. In high school I studied with Li Ping Liu who really started developing my classical operatic voice and encouraged me to pursue music at Michigan. I was entering Michigan as a civil engineering major, but on her advice I auditioned for the vocal program and became a double major.

Who were your most important teachers?

Other than the two I mentioned earlier, Daniel Washington and Luretta Bybee who were my voice teachers at Michigan were tremendously influential. Also Martin Katz, the renowned collaborative pianist, was an incredible supporter who encouraged me to pursue a career in opera. Darren Keith Woods, who runs Seagle Music Colony, which was my first summer apprentice program, was helpful in my early career development. My current teacher, Dr. Robert White in New York, has kept me singing in a healthy way since I became a professional.

As far as singers that I have admired, that list would include Jon Vickers, Fritz Wunderlich, Franco Corelli, Robert Merrill, and Shirley Verrett. Of the singers currently working, I think Piotr Beczala is an amazing technician and I have been honored to work with him a few times.

What did you learn from your teachers or coaches that you would like to pass on to the next generation of artists?

The most important thing for any young singer is to sing in a healthy easy way. If it hurts, then something is wrong.

What and where have you performed besides the opera stage?

With Forte, I have performed all over the place including at Radio City Music Hall, Carnegie Hall, and The White House. We have done private events for celebrities and we've done numerous galas for major foundations.

What would you like operagoers to know about Satyagraha?

Everyone experiences the show differently, but almost everyone involved, whether on stage or in the audience, is moved to tears on by the beauty of Glass's writing and the powerful, and sadly still relevant, message it conveys. This isn't a partisan political opera. It's an opera that will speak to everyone.

Glass also brings in a different crowd to the opera so if you have ever worried about entering an opera house, this is a great show to try. Millenials in jeans will be sitting alongside 80 year olds in tuxes and gowns and it will feel like a real community. It's truly a special piece of theater for everyone.

What important performances do you have coming up this season and next?

This season is probably my last predominantly United States season. I just sang Henze's THE BASSARIDS with the Salzburg Festival and I am booked in major roles all over Europe for the next two seasons, but I am unable to announce those at this time. Contractually we can't reveal engagements until the opera companies themselves have made public announcements. This season I will be singing CARMEN with North Carolina Opera, THE PEARL FISHERS with Lyric Opera of Kansas City, LA BOHEME with Pittsburgh Opera, and THE RISE AND FALL OF THE CITY OF MAHAGONNY with the Festival d'Aix-en-Provence in France.

Do you sing recitals?

Occasionally, but my schedule is predominantly opera-heavy. I am singing a recital in Sri Lanka this season with my good friend Rohan de Silva who is probably best known as Itzhak Perlman's pianist.

What have you recorded?

I have two crossover albums out with Forteon Sony/Columbia. I also have recordings of Jack Perla's SHALIMAR THE CLOWN with the Opera Theater of St Louis, Mozart's ZAIDE with the Festival d'Aix en Provence, Puccini's MANON LESCAUT with the Metropolitan Opera, and Stravinsky's PERSEPHONE with the Bard Festival. A release of Henze's THE BASSARIDS from Salzburg is pending.

What are your thoughts on downloads vs. compact discs?

Compact discs are outdated already. Everything is digital now. It's almost like cassette tapes when compact discs first came out. We have access to much more music than we ever did before with services like Apple Music and Spotify. Audiophiles may quibble with sound quality of a vinyl record vs cd vs digital, but for most of us digital audio is the only thing now.

What do you see yourself doing five years from now?

In terms of roles, I think I'll be singing slightly heavier repertoire. I'm already getting offered some pretty heavy stuff that I'm holding off for now, but as long as I'm singing in a healthy way and doing interesting work I'll be happy.

How much modern technology do you use in your work?

In terms of listening to recordings, everything I need is on my phone or accessible by phone, but I do so much new music that I learn music in the traditional way of sitting at a piano and singing. I also don't put scores on an ipad like many people do. I prefer to have paper in my hand, but I know even that is becoming old fashioned.

What effect do you think technology has on the presentation of opera?

Technology's influence on opera depends on the production. There are times where video heavy productions are extremely effective and other times when old school productions produce the desired result. I don't think one is bad and the other is good. It's just like the various styles within the larger umbrella of opera. There is room for LA BOHEME and SATYAGRAHA.

Do you ever have time for a private life?

My wife Jane and I met as freshman at The University of Michigan. She was a trumpet performance major who was also in a piano and vocal studio. She is truly a renaissance woman. I asked her to be my accompanist and the rest is history. We are going on 14 years of marriage. She went on to do her master's in conducting and currently is an active church musician, one of the Michigan Opera Theater Children's Chorus directors, and a teacher.

We have two children, ten-year old Maria and seven-year old Mark. They are both singers in the Michigan Opera Theater Children's Chorus, they both study piano, and Maria also plays violin. We homeschool them, so that one or both can travel on the road with me. Maria has been in several operas-with and without me. Technology definitely plays a role when I am working, as I am able to Facetimewith my family every day. I also handwrite Maria, Mark, and Jane an individual letter every day that I am away. I have been doing it for years and I have never missed a day. It's like my therapy at the end of the day and they enjoy getting physical mail.

We always spend the entire summer all together as a family so this past summer we were in Madrid, Spain, for one month and then two months in Salzburg, Austria. Then during the year, we check the schedule and see who is available to travel with me based on schedules. If they can't come for an entire engagement, they will come for a few days here and there. I also try to leave space between jobs so I'm not going straight from one thing to another without being at home with them for a short while, at least.

What do you listen to for relaxation?

I never listen to music for relaxation. I only listen to sports talk radio podcasts. Tony Kornheiser is my "Go-to Guy" after a day of rehearsals.

Sean Panikkar can be seen in Glass's SATYAGRAHA at Los Angeles Opera on October 20, 27, and November 1, 4, 8, and 11.

Photo by Cory Weaver for Los Angeles Opera

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