Ryan Townsend Strand
Ryan Townsend Strand, tenor, is a Minnesota native whose "beautiful vocalism" (San Francisco Chronicle) and "...attractive nimble tenor” (Chicago Classical Review) have afforded him a budding career as a concert and oratorio soloist. Highlights of the 2020-2021 season include returning to Haymarket Opera Company to perform Handel’s Acis and Galatea in October, debuting with the Illinois Philharmonic as the tenor soloist for Handel’s Messiah in December, and continuing his performances of Bach’s Cantatas this spring with the Bach Vespers at Grace Lutheran Church in River Forest, IL. Strand made his professional Chicago opera debut in Haymarket Opera Theater’s production of Alessandro Scarlatti’s Gli equivoci nel sembiante (Armindo). With his passion for the next generation of singers, Strand was cast as Frederick in Pirates of Penzance with Opera for the Young, touring throughout the Midwest for elementary school audiences. Opera credits include productions of Così fan tutte (Ferrando) with Transgressive Theater-Opera & Elmhurst Symphony; Mark Adamo’s Little Women (Laurie), Monteverdi’s L’incoronazione di Poppea (Nero), and Ricky Ian Gordon’s The Grapes of Wrath (Al Joad) with Northwestern Opera Theater. He would have made his onstage debut at Lyric Opera of Chicago this spring in Richard Wagner’s Götterdämmerung prior to COVID-19. Strand is a founding member and executive director of Constellation Men’s Ensemble in Chicago.
Don’t miss Ryan in Acis and Galatea - Get your tickets now!
Q&A with Ryan Townsend Strand
Q: Who are you singing? Tell us about your character?
RTS: Chorus/Acis Cover - Handel uses the idea of a Greek chorus to serve as the commentary, almost like the fellow citizens, of the ongoing story. Our singing enhances joy, underscores tragedy, and provides some of the most beautiful music during the opera. I am so excited to be adding my voice to such an iconic operatic work.
Q: What do you love about the opera?
RTS: I love the fearlessness of Acis, the subtle smirk and beautiful humanity of Galatea, and my favorite piece in the opera is the duet, “Happy We.” Handel outdid himself with the bubbling coloratura and jubilant melody. It makes me smile every time I hear it.
Q: Is there something about your character or this opera that modern audiences can relate to?
RTS: I think that with the current society in our nation feeling quite polarized, there is compassion to be found in the chorus, whose responses to the victory and tragedy of the piece are aligned in one voice.
Q: Favorite aria/chorus from the piece?
RTS: My favorite aria is Acis’ second aria “Love in her eyes sits playing.” There is an almost waltz like feel to the piece, even though it is most certainly felt in four. I think it is relatable to how one feels when they think of their beloved. Everything takes on a dance-like feel when we are infatuated with someone. I find it quite beautiful.
Q: What is it like to prepare for film? Are you ready for your close-up?
RTS: It’s very exciting to be preparing for my first musical film! There is an aspect of nerves surrounding the fact that we need to get good takes of everything, and I’ve leaned how hard that can be during this pandemic, recording music at home. But I’m up for the challenge and I know how incredible Haymarket is at creating visually stunning productions so I have every faith this forced transition to film will be a good one.
Q: These operas center around a theme of forced transformation. How has the pandemic forced you to change? Have there been any silver linings?
RTS: As a professional singer, there has been much forced transition in my life due to COVID-19. It was almost 6 months between my last singing performance and my latest one last month. The largest silver lining I’ve found has been the time to find perspective and brainstorming what I hope my career to look like when I come out of this pandemic. I am thankful for some truly wonderful friends and colleagues who have given me their time and advice to be planning some wonderful upcoming projects!
Q: On the topic of rep from the Age of Enlightenment, do you have a dream role? Is there an opera you wish audiences could hear? Do you love Handel? If you could steal any role from another voice type what would it be?
RTS: My dream role would be to sing the title role in Gounod’s Faust. But I love early music so much, Handel, Rameau, and Monteverdi are my top three composers. Bach goes without saying as my number 1. If I could steal a role from another voice type, it would be a tie between Beth from Mark Adamo’s Little Women and Mrs. DeRocher from Jake Heggie’s Dead Man Walking. Both of their arias leave me completely exhausted from tears.
Q: As it’s Haymarket’s 10th anniversary, do you have a favorite Haymarket memory?
RTS: Haymarket was where I made my professional Opera Debut in 2014 here in Chicago. The company holds a very special place in my heart. I think my favorite memory was our opening night of Gli Equivoci nel Sembiante, sneaking through the audience from the rear of the theater and seeing all of the beautiful candles and faces of the Mayne Stage Theater awaiting my singing. I will never forget it.