Thirty-year-old tenor Patrick O’Halloran fell into opera the way many singers do: he went to college, found he had a voice for singing classically, and was asked to join the opera program. And while his first passion was playing various instruments and writing and singing country music songs, he quickly grew to love the grand art form after being cast in the chorus for his college’s production of Gilbert and Sullivan’s Trial by Jury.
Several years later, O’Halloran met his fiancée, Canadian soprano Shantelle Przybylo, while they were in residence at Washington National Opera in 2013. The couple plans to get married, obtain Przybylo’s U.S. citizenship, and make a home for themselves—perhaps in the Midwest.
Until then, O’Halloran is focusing on upcoming singing engagements. I met with the up-and-coming tenor at a quaint coffee shop in Birmingham, Alabama, during his time there for Opera Birmingham’s January production of La traviata (Alfredo).
Growing up in Overland Park (a suburb of Kansas City), did the nearby classical music scene influence your decision to study music?
No, it really didn’t. Originally, I went to school to be a rock star. I just wanted to go learn more about music theory and take some voice lessons. I thought I would probably just get an education degree, teach, and try to pursue either rock or country music or something like that. That was at Pittsburg State University, a small rural school in southeast Kansas.
When did you start playing guitar?
In my early teens. I played country and rock and I was always in bands throughout middle school, high school, and college. I also play drums and bass. I started at Pitt State with a trombone minor, but I sucked.
How do you think learning those instruments helped with your singing?
I think that opera obviously has such an intense, specific technique. But to be able to take little bits and pieces from all those other instruments and genres that I grew up loving, I think that adds different colors. Different conductors like different things. Opera was definitely the last genre I ever picked up.
When did you start taking voice lessons?
During my freshman year at Pitt State. Brian Roberts, a mainstay at Ohio Light Opera, was my teacher for about six months. He was a great guy but, unfortunately, he passed away from cancer during my first year there.
So then Patrick Howell came in and he talked me into being in the chorus for Trial by Jury. Pitt State was a really small school—it wasn’t even really an accredited school of music, just a department. They had maybe six or seven people in opera shop, so they did insanely small productions.
I joined opera shop, and one day Howell brought me into his office. He realized I had kind of a big voice and gave me some CDs, made me listen to La bohème—and from that point on, I was just kind of obsessed with it. Opera was so cool and so new. I didn’t even really know opera was a thing up to that point.
What has it been like to have peers who started taking voice at a younger age than you did?
It’s been a very different path. I was fortunate enough to have these two school experiences, at Nebraska and Pitt State, where I got a lot of attention. These teachers looked out for me. It was a very personal experience. And I really got my first break at DMMO [Des Moines Metro Opera]. From there, it just kind of took off, which was great.
Once I hit the level where I was getting compensated to sing, it was very intimidating at first. People were throwing out terms I wasn’t familiar with. Not to discredit the schools I attended, but they don’t teach you about the business or agents or taxes. You get a lot of audition masterclasses, which is important, but that’s not everything.
What has your family’s reaction been to your career?
My mom studied classically as a violinist—and then she had four kids, so she became a stay-at-home mom. She taught me piano at a very early age. I think that was a big advantage—when you learn piano young, that sticks with you. My brother plays guitar, but no one else really is a musician.
My parents have been insanely supportive through the hard times when I haven’t had gigs. My parents, from day one, have just assumed I would make it in this career. It’s been great to have that support.
I think some people realize opera singers work only seven or eight months of the year, but that’s just in the professional setting. The other four months, they’re studying their librettos, practicing, filling out applications, [and] talking to an agent.
What would you be doing if not opera?
Being away from my fiancée is pretty tough, so I could always see myself teaching. I want to be an opera singer—but if I have a stable income and a family, I think I could be happy doing anything.
You sang the tenor solos in Verdi’s Requiem and Mendelssohn’s Lobgesang back in 2013. Have you had much opportunity to explore concert works since then?
Unfortunately, no. Over the past couple of years, I haven’t really had much of a chance to make it to New York for auditions because I’ve been doing gigs in the winter, but I love doing oratorio and sacred works and things like that.
Who are some tenors that have inspired you in your artistry?
José Carreras has probably the most beautiful voice of all time. His Lucia di Lammermoor recording with Montserrat Caballé is probably my favorite recording.
And Corelli literally gave everything he had when he was singing. It was a great technique, but even when he wasn’t singing with a great technique, he was still giving it his all—even when he was afraid to go onstage. It’s pretty inspiring.
How about conductors or coaches you’ve worked with?
[Maestro] Joseph (Joey) Mechavich [see the interview with him in the December 2015 issue of Classical Singer], he’s the best. And then David Roth, who just passed away in 2015. The people at Kentucky Opera gave me my first shot at being a principal singer onstage, and that’s a big thing for a young singer.
You have to have that one company that will stick their neck out for you. David Roth did that for me, and that gave me my chance to work with [Mechavich]. I’m happy Kentucky is in good hands with him. He’s a very singer-friendly conductor; he’s very generous, with a boatful of knowledge.
To this point, what have been your favorite roles?
I would have to say Arcadio in Florencia en el Amazonas and Rodolfo in La bohème.
What are some roles you hope to debut in the near future?
I am really excited to do Pinkerton with Kentucky Opera this fall, with Mechavich conducting. I have been wanting to do that show for a long time. I would like to do some more Bel Canto like Lucia di Lammermoor, maybe Anna Bolena. I puritani, if it fits.
I’ve been working with Diana Soviero and Bill [William] Stone, and they’re hearing some things in my voice that I’m going to work on intensively this summer, because I have a break in my schedule.
What is your process for learning a new role?
For me, first is always the text and the story. I just don’t see how you could sing or begin to practice a role without knowing what you’re saying. I’ll start by getting out the Nico Castel libretti and getting all my translations down—I have to make sure the whole score is translated before I start. Then I’ll listen to the whole opera a couple of times, just so I can get a sense of what might be the most difficult, and I’ll start with that. And then I just get to the piano and start plunking away.
With all your knowledge of those instruments you grew up playing, do you write any of your own music?
I don’t write anything classical, but I’ll write country music songs.
You look a little sheepish. Are you embarrassed to admit that?
No, I’m not. It’s funny, though, because in every single genre, mostly the bad stuff gets played on the radio. There is a lot of great country music that people just don’t get to hear. I’m not going to say the stuff I write doesn’t get poppy at all, but yeah.
Are you drawn to writing songs as a creative outlet?
Yes, and unfortunately it hasn’t happened in a while because I’ve been traveling so much. But there would be days I’d write four or five songs in a day. I’m one of those people that once I start something, I’m just really diligent.
Do you write words for your songs as well?
Yes, and usually when I record them I do all the instruments and the vocals. I’m not a professional recorder, but I’ve got some decent software I use.
What do you do with your songs?
I’ve sent them out to a few labels, but I haven’t had any response yet. I’ve gotten lots of good feedback, but it’s a very tough industry to get into, obviously.
You’re here in Birmingham for your third Alfredo—what has it been like to return to the role?
It’s fun, because the productions have been insanely different in how my directors have viewed each character. David Lefkowich, our director here, has given me tons of freedom with Alfredo. He wants the show to be real in the sense that we feel the way our characters feel.
What is your ultimate goal in your career?
As long as I can continue to sing at a high level and make a decent living and have a family, that’s what is important to me.
