Five Question with Ryan McKinny – Boston Lyric Opera's Seductive Bluebeard

Watch Ryan McKinny mezzo-soprano Naomi Louisa-O'Connell rehearse "Bluebeard's Castle" at the Boston Lyric Opera.

Opera News calls bass-baritone Ryan McKinny "one of the finest singers of his generation." He is also one of the busiest – just this season he has played one of opera's most compelling villians, Scarpia, in the LA Opera production of "Tosca." As well as returning to a role he created in a concert version of John Adams' "Girls of the Golden West" conducted by the composer at LA Philharmonic. He also played two iconic bass-baritone roles: Kurwenal in Wagner's epic "Tristan und Isolde" at the Seattle Opera and as Jochannan in Strauss' "Salome" at the Houston Grand Opera.

He looks forward to continuing his partnership with contemporary American composer Jake Heggie with a three-city tour "For a Look or a Touch," by Jake Heggie and Gene Scheer, commissioned by Music of Remembrance with performances in Seattle, San Francisco and Chicago. And it was announced McKinny will star opposite Joyce DiDonato in Heggie's "Dead Man Walking" on opening night of the Metropolitan Opera's 23/24 season.

Ryan is also a filmmaker, having collaborated on projects with artists like J'Nai Bridges, Jamie Barton, Russell Thomas, John Holiday, and Julia Bullock to create stunning and innovative performances for streaming audiences at Dallas Opera, Glimmerglass Festival, Houston Grand Opera, Lyric Opera of Chicago, On Site Opera, and Helio Arts.

Currently Boston audiences can catch McKinny playing one of the most infamous villains in opera: Bluebeard in Bela Bartok's "Bluebeard's Castle" at the Boston Lyric Opera. Joining McKinny in this operatic two-hander is Irish mezzo-soprano Naomi Louisa-O'Connell as Judith. "Bluebeard's Castle/Four Songs" runs from Wednesday, March 22 to Sunday, March 26 in an unusual venue: The Terminal @ Flynn Cruiseport Boston in the Seaport district. For ticket information, follow this link.

For this production, the one-act Bartok opera is paired with "Four Songs," one of three song cycles that Alma Mahler wrote before her marriage to Gustav Mahler.

EDGE spoke to the hunky opera star recently about his villainous role, working with Anne Bogart, and what's unusual about this production (virtually everything.

EDGE: It may be rude to start with this question. But what is it like to play one of fiction's most famous serial killers?

Not rude at all! It's always fascinating to play an iconic character, especially one who is known to do bad guy stuff. My goal is always first and foremost to find the humanity in a character. What made them the way they are? Could they change? If they could but they don't why not? In the case of this particular Bluebeard, Bartok writes music that isn't your typical mustache twirling bad guy, there's a ton of depth to him. And Anne Bogart's production really focuses on the relationship between these two people. It's actually a kind of tragic love story, not really a horror flick.

EDGE: What has the experience been like working with Anne Bogart?

Ryan McKinny: She is just so fantastic. She has brilliant ideas, but always leaves room for the performers to discover things. Anne is also unrelentingly positive and makes the process really enjoyable. My feelings about theater are so similar to hers, and it's really a pleasure to figure out this show together.

EDGE: Can you describe the immersive aspects of the production?

Ryan McKinny: Besides the very unique venue of the Flynn Cruiseport, one of the most interesting things is that the audience is around three sides of the stage and the performance really happens in all directions.

EDGE: Given the work was written in 1911, how does it feel relevant today?

Ryan McKinny: I think any story that deals with two people in a relationship who are struggling to figure it out is always relevant. In more social and political terms, the framing of Bluebeard with Alma Mahler's "Four Songs" centers the female character and really gives her the power. The end is reinterpreted in a way that I think modern audiences will really appreciate.

EDGE: Can you talk about your work with Helio Arts and the documentary you are making with Jamie Barton and Stephanie Blythe?

Ryan McKinny: My wife, Tonya McKinny, and I are filmmakers and have been producing opera films over the last several years, especially for companies that couldn't produce live performances during the COVID lockdowns. One of the things we are working on is a documentary about the making of Carmen at Chicago Lyric Opera, with Jamie singing Carmen and Stephanie singing the part of Don Jose (usually sung by a tenor). It's really a beautiful look at these two artists and what can happen when a company bucks conventional casting trends. We are still looking for funding to finish it so get in touch if you'd like to help!

"Bluebeard's Castle/Four Songs"runs from Wednesday, March 22 to Sunday, March 26 at The Terminal @ Flynn Cruiseport Boston in the Seaport district. For ticket information, follow this link

Tickets to "Bluebeard's Castle/Four Songs" start at $25 and are available through BLO Audience Services online at blo.org, by phone at 617.542.6772, or via email at [email protected].