David Govertsen

Chicago native David Govertsen has been active as a professional singer for nearly twenty years, portraying a wide variety of opera’s low-voiced heroes, villains, and buffoons. Mr. Govertsen has appeared as a soloist with numerous local and regional opera companies, including Lyric Opera of Chicago, Santa Fe Opera, Tulsa Opera, Chicago Opera Theater, and the Haymarket Opera Company. He is a member of the vocal chamber quartet Fourth Coast Ensemble, performing art song in Chicago and throughout the Midwest. As a concert soloist Mr. Govertsen has performed with the Chicago Symphony Orchestra, Detroit Symphony Orchestra, Madison Symphony Orchestra, Rochester Philharmonic Orchestra, Grant Park Orchestra, Santa Fe Symphony and Santa Fe Chamber Music Festival among many others. He made his Carnegie Hall debut in 2011 as the Herald in Otello with the Chicago Symphony Orchestra conducted by Riccardo Muti. He is an alumnus of the Ryan Opera Center and the Santa Fe Opera and Central City Opera apprentice programs and holds degrees from Northwestern University, Northern Illinois University and the College of DuPage. Mr. Govertsen is currently on faculty at North Park University, Valparaiso University, Lewis University and the College of DuPage.

Don’t miss David as the iconic cyclops, Polyphemus in Acis and Galatea - Get your tickets now! 

Q&A with David Govertsen

Q: What role are you singing? 

DG: Polyphemus - the one-eyed giant from Greek mythology, just the usual type-casting for me.

Q: What do you love about the opera?

DG: Like so much of Handel this piece has a little bit of everything: a love story, a raucous villain (me!), exciting coloratura, heartbreaking melodies. This opera also contains quite a few choral numbers as well as a duet and a trio which provide some extra fun beyond the usual litany of da capo arias.

Q: Is there something about your character or this opera that modern audiences can relate to?

DG: Like so much art that has stood the test of time Acis and Galatea deals with themes of love, jealousy, loss--universal subjects that transcend time and place.

Q: Favorite aria/chorus from the piece?

DG: It is not often that I think my character has the best music in the opera, but 'O ruddier than the cherry' is easily one of the highlights.. The bass voice of Polyphemus sings a clumsy melody as he awkwardly chases after the nymph Galatea, portrayed by a soprano recorder. Handel's use of orchestration to contrast the two characters could hardly be more exaggerated, and the result is a bit of Baroque comic genius.

Q: What is it like to prepare for film? Are you ready for your close-up?

DG: Preparing an opera for film comes with some different considerations. The close-up nature of the camera allows for more subtlety and nuance, as well as the possibility of breaking outside of the confines of the proscenium arch.

Q: These operas center around a theme of transformation. How has the pandemic forced you to change? Have there been any silver linings?

DG: Life is obviously much different than it was in March, the loss of live music has been difficult for so many of my friends and colleagues. On the plus side I have spent much more time with my family and have been able to cook dinner every night. We have made quite a few delicious pies during quarantine.

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?

DG: I was very excited that Haymarket was finally going to produce a Monteverdi opera with 'Coronation of Poppea', that the pandemic forced its cancellation was incredibly sad, I was much looking forward to performing Seneca. I absolutely love Handel, he is one of those composers who can write incredibly complicated fugues or thrilling fioritura but also a simple aria that is beautiful, dramatically impactful, and a masterpiece of craftsmanship. If I could steal a role from another voice type I would probably choose Ruggiero from 'Alcina' (sorry mezzos!), so many good arias, 'Mi lusinga il dolce affetto' is one of my favorites.

Q: As it’s Haymarket’s 10th anniversary, do you have a favorite Haymarket memory?

DG: The Dragon of Wantley is easily a favorite Haymarket memory, I am sure that anyone who saw the show would agree. I don't think I'll ever wear a better costume on stage.