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Chicago Reader
2023
Albert Herring balances indie aesthetic with traditional music
Benjamin Britten’s 1947 opera Albert Herring (set in 1900) has been a perennial production for Chicago Opera Theater. But the new mounting opening tonight at the Athenaeum, helmed by director Stephen Sposito, promises to infuse Britten’s story with what the company is calling an “indie-film vibe.”
Sposito—who was associate director for The Book of Mormon, resident director for the Broadway and touring productions of Wicked, and director of the national tour of Shrek the Musical—explains, “We’re still setting it at the turn of the century . . . but, visually, I tried to make it a little kooky.”
Dame Jane Glover, head of Chicago’s Music of the Baroque ensemble and a frequent interpreter of Britten, conducts, while the titular role is sung by Miles Mykkanen, who is performing in his fifth Britten opera.
“He’s a composer I feel at home with,” Mykkanen said. “I’ve lived with his music since I was 17 or 18 and starting my training. The opportunity to sing Albert Herring has been at the back of my mind, and I’ve just been waiting for the chance to sing it.”
Opera News
2022
Sound Bites
Miles Mykkanen sings Brighella in the Met’s revival of Ariadne auf Naxos this month—his third role for the company this season. In September, the Michigan native sang the Holy Fool in Boris Godunov, followed by Vogelgesang in Die Meistersinger von Nürnberg. “The overwhelming bookends to the pandemic for me were my Met debut as one of the Apprentices in Wozzeck [in December 2019] and the Holy Fool in Boris Godunov on the second night of the [current] Met season. I finished the Wozzeck run in New York in January 2020. A few months later, in March, I was in Lausanne for my seventh production of Candide. We made it to the first dress rehearsal, and there I was in my Christian Lacroix costume when the axe fell. And that was that.
“So coming back to the Met after more than a year away was daunting, but [stage director] Stephen Wadsworth, whom I had worked with at Juilliard, gave me such a gift by beefing up the part of the Holy Fool. In the first three scenes I was onstage, but not singing—I was so much less nervous than I would have been. All I had to do was be there. My re-entry was so much less stressful than it might have been.
“And to go into Meistersinger at the Met right after Boris was a master class for me. To watch how Michael Volle, Johannes Kränzle, Georg Zeppenfeld and the others maneuvered over the course of a run—over the course of a night! You saw these wonderful minute differences from show to show, but everything was kept so spontaneous and alive!”
Mykkanen’s 2022 calendar includes Jaquino in Fidelio at Austin Opera and Arnalta and Nutrice in L’Incoronazione di Poppea at the Aix Festival. Not bad for someone who entered Juilliard “not sure that opera was for me. I wasn’t even sure if I was a baritone or a tenor. At eighteen, I was much more interested in what was going on twenty blocks south of Juilliard than in what was on at the Met.
“But boy, was I lucky to be accepted there! I found my artistic family at Juilliard. The big question during my time there was how to tackle my voice—how to let it develop naturally. Being a tenor isn’t just a matter of hitting notes—it’s about tone and timbre, too. My teacher, Cynthia Hoffmann, built my voice note by note from the time I was eighteen. Each year, Cynthia took me and my voice another half–step north!”
Musical America
2021
New Artist of the Month
It looked set to be a gala year for Miles Mykkanen. The 29-year-old tenor made his Metropolitan Opera debut as Second Apprentice in the company’s new production of Wozzeck, but when the run ended on January 22, 2020, lockdown was less than two months away.
I’d seen him twice previously, as a fabulously funny Flute in Robert Carson’s A Midsummer Night’s Dream at Opera Philadelphia in 2019 and singing Jonathan Dove’s The End at the Marlboro Festival, the last of three summers he spent in Vermont making music with the likes of Mitsuko Uchida and Jonathan Biss. His clear, penetrating, lyric tenor comes with a winning stage presence, great comic timing, and a real way with words. Mykkanen’s is the kind of voice, you sense, that could develop in all sorts of interesting directions. Like a Wunderlich or a Gedda, he should flourish across a range of repertoire.
Back to his Michigan roots
His parents suggested voice lessons at age 15—“if you’re going to be on Broadway, don’t be one of those people who can’t really sing,” they told him. A teacher was found two-and-a-half hours away, and his dad would drive him there every Wednesday night. Meanwhile, at Interlochen, his teachers started telling him he should apply to Juilliard, Curtis, or Eastman for opera. “I hadn’t heard of Curtis, and with Eastman in Rochester, I felt I’d lived with enough snow in my life. So, I thought I’d apply to Juilliard.”
Lake SUperior Magazine
2021
U.P. or NYC? Miles Mykkanen Chooses…Both
You’ve heard plentiful variations of this story already…
2020 was set to be a spectacular year in the career of young Miles Mykkanen. Wrapping up eight years of vocal study at Juilliard School in New York City, the native of Bessemer, Michigan, had landed a full-time gig with the Metropolitan Opera. Yes, the legendary Met—a kid from the Upper Peninsula—it’s like the plot of a Broadway fairy tale.
Enter the villain: COVID-19. On-stage performances folded up for the year, and Miles decided the best thing was to come home.
If you think that’s a sad tale, you don’t know Miles, you don’t know the U.P., and you didn’t figure in Lake Superior. One might say the Lake was already calling him.
“My first year in New York, I was just so glad to be in civilization,” Miles remembers with a bit of bemusement. He grew up in a U.P. town of nearly—but not quite—2,000 folks and appreciated the north woods, the close community, deer camps, and especially the wild moods of the world’s most expansive freshwater lake. Both of his parents taught music. His mom’s from Bessemer, his dad from Republic; they met on the marching band field at Northern Michigan University in Marquette. Miles and his sister grew up surrounded by music, and Miles had stage aspirations—the kind that looked toward Broadway.
In his senior year of high school, he signed up for the Interlochen Arts Academy in Traverse City. The kid had talent; his instructors encouraged him to apply to Juilliard. He applied to major in vocal arts, and the school said yes.
Then, like a rogue wave on the Big Lake, opera splashed over him.
He had only dipped a toe into the genre in his younger years. “My first opera was at the Pine Mountain Music Festival; it was La Bohème. I had not seen much opera.” (He later joined the “UPstarts” under the festival’s program.)
At first, he wasn’t looking to the Metropolitan Opera for inspiration. “I wanted to be 20 blocks south, on Broadway.”
Learning the fundamentals of voice at Juilliard, he began exploring the world of opera. “The operatic emotions are so big, they’re so over the top, you can’t help but be affected by the music. On top of that, there are real-world emotions being sung at you… and it’s all acoustic.”
The power of operatic voices impressed him. “There’s a 100-piece orchestra, and somehow that singer is using their body to sing over the brass and percussion and strings… Sitting in the theater, you felt the music.”
His passion for the stage grew to encompass opera. “It was a surprise for all of us. My parents are, of course, very proud. I really lucked out with the most supportive family,” Miles says, recalling his dad driving him the 220-mile round trip from Bessemer to Superior, Wisconsin, for voice lessons.
Miles felt encouragement coming from home. “This community was just there for me. People didn’t know exactly what I was doing, but they have always been incredibly supportive.”
Meanwhile, in New York, the city fascinated him with its overdose of arts and culture, its constant human motion, and its seemingly endless options. But by his second year in the Big Apple, he noticed a longing. “It was honestly about six weeks into my second year, it hit me: ‘Where are the trees? I’m living in a concrete jungle… It hit me very hard.”
Even looking down on the 1.4 square miles of Central Park as he rode an elevator up in a building on Columbus Circle didn’t cut it.
He already appreciated that his roots from the U.P. served him well in the harder aspects of honing a powerful tenor voice and an operatic vocabulary.
“Sisu,” he credits his Finnish tenacity with a smile. “It was that kind of Yooper grit and sisu that got me through German diction at Juilliard… The characteristics of the people from the U.P. live in me every time I step on stage.”
Miles has stepped on a lot of stages. He was a 2019 winner of the Metropolitan Opera National Council Auditions and has performed on stages from Europe to Canada, from the East Coast to the Gulf Coast to the West Coast. He’s done plenty in the middle, too, including Detroit and the Minnesota Opera. His 2020-21 performance season, or so it was planned, would have taken him from France to Lithuania to Seattle, to NYC’s Carnegie Hall, and, of course, to the Met to perform as The Novice in a production of Billy Budd.
When COVID started bringing down the curtains on stages around the world, Miles decided it was a great time to visit those trees and the Big Lake in the U.P. “I was thinking it would be maybe a month,” he says, “then slowly I saw the next year and a half of my performances evaporate.” A month became most of 2020, and Miles remains in the U.P. for now, awaiting the reopening of performances on the East Coast.
Still, reconnecting with home has been a boon for Miles and his home region. He’s already agreed this year to perform in the annual Pine Mountain Music Festival and has helped create the Emberlight Festival with art, film, and performances. He has pitched in as a choir director for the Bessemer High School.
The idea for Emberlight came to Miles during a long weekend last year as he pondered how to connect his U.P. life with his big-city one. “I was camping and being the Yooper last summer—playing tourist—and I looked around and thought, ‘This could be a much bigger dream.’”
His city friends already wondered about the “wilderness” of his youth. “People always talked about wanting to visit this area,” Miles says. He decided, “Let’s create that reason. I just hit the ground running. I have the most incredible board of directors.”
Emberlight is his mission to create world-class performances and life-transforming experiences for U.P. residents and for those who come to visit. “Performers from the Broadway production of Wicked, Carnegie Hall, and the Met will be Emberlight’s 2021 guest artists,” he says.
They will dazzle the local audiences, he hopes, and he plans a few dazzling moments for the guests, like tasting a pasty and enjoying a sauna (with a side explanation of how to properly pronounce it).
And for his pièce de résistance? We are absolutely going to hike the Black River waterfalls and climb Copper Peak,” promises Miles, “for the greatest view of Lake Superior.”
Ironwood Daily Globe
2021
Emberlight Festival aims to make Ironwood a 'hub for opera'
Longtime opera fans and new listeners alike gathered in Miners Memorial Heritage Park on Saturday to hear a selection of recordings curated by tenor Miles Mykkanen. Mykkanen, who is also artistic director of the Emberlight Festival, provided commentary and context on 18th- and 19th-century compositions by Mozart and Beethoven.
During the event, Mykkanen announced his plans to "make Ironwood a little hub for opera, and it starts today."
Mykkanen argued that the classical canon should be part of the school curriculum. Mykkanen said the work of Mozart and Beethoven are more than mere historical curiosities and that they continue to speak to an essential part of the human experience.
"As much as appreciation for people have changed, the human condition hasn't," he said. "We still love the same way that they loved 500 years ago. We still hate or feel guilty. Emotions don't change. It's just the context around those emotions that has changed. The love that Mozart was writing about in his concerto in 1791 is the same love that I can experience tonight when I go and sit down with my loved ones and my family."
Mykkanen said listening to classical can help people develop a deeper understanding and appreciation of these emotions. He also said that we should remember our heritage because those who forget the past are doomed to repeat it.