Scott Johnson: Madison’s Young Baritone

For the second year in a row, the Florentine OperaCompany welcomes young, talented vocalists to its 2009-2010 Florentine OperaStudio, a full season of artist-in-residence employment for exceptional singersbeginning their professional careers. Joining the Florentine this season aresoprano Sarah Jones of Columbus, Ohio, mezzo-soprano Julia Hardin of Lawrence,Kan., tenor Aaron Blankfield of Memphis, Tenn., and baritone Scott Johnson of Madison, Wis. Johnsonearned his bachelor of music degree from USC and his master of music degreefrom the University of Wisconsin-Madison. Only 24 years old and yet so widelyexperienced, Johnson has sung both supporting and leading baritone roles inseveral operas, both in the United States and Italy, including Stravinsky’s TheRake’s Progress, Mozart’s Idomeneo and Nozze di Figaro,Verdi’s La Traviata, Gounod’s Faust and others.

Do you know what parts you’ll be singing inthe upcoming Florentine productions?

Yes, and all of them will be new to my repertoire.In Tosca I will be performing Sciarrone and the Jailer; in ElmerGantry I’ll be performing the Revival Worker and singing with the chorus,and in Rigoletto I will be singing Marullo.

When did you start singing and thinkingabout opera as a possible career?

I started in church choir and singing along withmusicals like Les Miserables and Phantom of the Opera while inthe car with my parents. Music took a back seat to sports for most of myadolescent life, [but] I tore a ligament in my elbow while pitching and had tore-evaluate my priorities. It almost seemed like fate.

Did you take any ribbing from your fellowhigh-school students?

I would occasionally get some good-natured grieffrom my buddies on the football or baseball teams. The only rule was that Iwasn’t allowed to sing along with them in the car if we were hanging out, as Iwould sing too well [laughing].

Do you have favorite composers, operas orfellow baritones?

I don’t have a favorite composer but rather try toappreciate the work of whichever composer I happen to be performing. As forother baritones, two of my favorites are Leonard Warren and Nicolae Herlea.Most of the time I listen for pleasure, although I will certainly admit tolistening for inspiration, too.

Have you thought about the fact that manybaritone roles in opera are “bad guys” as opposed to “heroic” tenors and“fatherly” basses?

I think that’s something every baritone thinksabout. As nice as it is to occasionally sing a romantic lead, I think playing avillain gives more opportunity to present a nuanced character…and sometimes itcan be just plain fun to play a mean guy and do things completely out of my owncharacter!