Greek tenor Mario Frangoulis has friends in high places.
Placido Domingo, opera's once and future king, has encouraged his ambitions. Another opera icon, Marilyn Horne, introduced him to the great Spanish tenor Alfredo Kraus, who was so impressed he became his vocal coach. Kevin Kline made sure he had a spot in the Cole Porter bio-film "De-lovely." And Peter Gelb, the former head of Sony Classical and now general director of New York's Metropolitan Opera, signed the rising talent to his label.
But for all his accomplishments, Frangoulis, 38, remains largely an unknown, at least in the United States. At home and in Europe, he operates on the lofty level of fellow Greek stars George Dalaras and Nana Mouskouri.
Elsewhere, you wonder if he must ever feel like shouting out those lines from Puccini's "Tosca," as the hero Cavaradossi welcomes his secret passion: "Mario! Mario! Mario! ... Son qui!" ("I am here!")
Frangoulis laughs at the suggestion. "It's largely a geographical problem," he said, speaking Tuesday from Athens. "I have to perform more in the United States. People need to know you're around and available."
With that goal in mind, he's planning to relocate to New York City and has just launched an American tour, which brings him Monday night to Symphony Center in a benefit concert for Chicago's Hellenic Museum and Cultural Center. Frangoulis is especially excited about this concert because members of the Chicago Symphony Orchestra will accompany him. "They are amazing musicians, some of the best in the world, so it is a great treat for me."
Concerts like this are part of his campaign to segue from the ranks of classical crossover into the more rarefied realms of opera. With albums "Follow Your Heart" (2005) and "Sometimes I Dream" (2002), which blend elements of pop music with classical, Frangoulis became identified with the increasingly popular realm of "popera." Others at play in this lucrative field are international favorites such as Il Divo, Andrea Bocelli, Josh Groban and Russell Watson.
Because of his training -- he studied voice at the Guildhall in London and Juilliard in New York, Frangoulis views himself in a category apart. "They're not real opera singers," he said, his voice revealing traces of a slight British accent, the result of his years in Rhodesia (now Zimbabwe), where he was born, and England, where he started out in musical theater. "Don't get me wrong. Bocelli is wonderful, I much prefer him to Watson, he's closer to a classical singer. But I studied to be a legitimate operatic tenor. [Among his awards: the Maria Callas Scholarship in 1988 and the Luciano Pavarotti International Competition in 1994.] In my professional career, I have sung a lot of opera, which I enjoy very much. And I have performed with greats like Domingo, Kraus and [Spanish soprano] Montserrat Caballe."
Still, for all his success, opera assignments have largely eluded him. But the dream remains in view. He recalls a 2005 concert in Cyprus with soprano Kallen Esperian, who said: " 'My God, you've got to come to the States, and sing at the Met or Lyric Opera. This is where you belong.'"
And one of his fans happens to run the Washington National and Los Angeles opera companies: "Placido is a great inspiration. He has told me: 'Mario, you can do opera. Any time you want to start, let me know.' But I don't want to ask anyone for anything. I want to be invited."
With his former mentor Gelb now at the Met, an invite might be in the offing. "I always have had hopes of working there," Frangoulis said. "It would be a dream come true. I have sung at La Scala, in 'West Side Story,' but to sing at the Met would be an incredible thrill."
Some might scoff at his chances of moving into opera. The classical music world remains a fortress designed to keep intruders out. Its gatekeepers sort of function like the ring of fire that guards Brunnhilde in "Die Walkure." But other "outsiders" have made it into the inner sanctum before, such as Bocelli, who launched his opera career in Massenet's "Werther" at Detroit's Michigan Opera Theatre in 1999. Another unlikely ascent gives Frangoulis hope: the rise of Mario Lanza, who moved from glossy MGM vehicles to a contract at La Scala before his untimely death in 1959.
Besides, Lanza has inspired Frangoulis since his childhood: "I've modeled myself after him. We do both opera and Neapolitan songs. Lanza is closer to opera than any of them," referring to the Groban-Watson gang. "I'm not really interested in the pop side of things."
If plans fall into place, Lanza might help launch Frangoulis into a movie career. Discussions are under way with the Lanza estate to make a movie based on the tenor's life, with Frangoulis in the lead role. "Damon Lanza [his son] was very enthusiastic when we met," he said. "They feel I have all the right elements, the voice, the appearance, the acting ability. But I can't talk about the movie with any certainty quite yet."
Whether the movie happens, Frangoulis feels indebted to Lanza: "Through his records and films, I have learned so much. Lanza was all about communication. And that's always been a big part of my professional life. I love to sing songs that everyone can relate to, not just classical music fans."
Speaking of fans, Frangoulis has his own rabid variety. One group has mounted a campaign to get him on "The Oprah Winfrey Show," which has proven crucial in the rise of Il Divo and Groban. Here's a snippet from the GuyTV site, which is marshaling this mission: "I've been a fan of Mario Frangoulis for about a year. I have yet to see this global miracle grace the TV screens of America. ... We need to get him on Oprah's show."
A call for comment was sent off to Fortress Winfrey. A Harpo Co. spokeswoman responded tersely: "Our production team has received some e-mails regarding Mario Frangoulis. Nothing is planned at this time."
Frangoulis remains unfazed by it all. "Yes, my fans do all sorts of crazy things."
They even greet him with that salutation from "Tosca": "Mario! Mario! Mario! ... Non la sospiri la nostra casetta?" ("Don't you long for our little house?")
"But they are very loyal," he said. "And I thank them for helping to create that magical moment of truth between you and the audience. That's something that nobody can take away from you."
In addition to the Symphony Center concert, Frangoulis will appear at the Art of the Greek Soul Gala, beginning at 5:30 p.m. Sunday, at the Ritz Carlton, 160 E. Pearson. For tickets, $200, call (312) 655-1234.
MARIO ON HIS MENTORS, AND MUSICAL INSPIRATIONS
Alfredo Kraus: "He had the perfect singing technique, with a sort of nobility in his voice, especially in the French repertoire. He could place his voice so well, it sort of caressed the ear."
Placido Domingo: "He's one of those complete artists I'm totally in awe of. I've seen him do almost all of his most famous roles."
Maria Callas: "It was a great honor to win the Callas scholarship, it changed my life. I was always a fan of her work. She had such commitment to her art. Her model is the way to do it -- combining great acting and vocal technique to become a contempoary opera singer."
Carlo Bergonzi: "Such a great performer, he always interpreted his roles so beautifully. Bergozi is more a spinto tenor, so I can't say was the ideal teacher for me. He started pushing me [at 22] into the heavier repertoire but I wasn't ready for that so soon."
CONCERT PREVIEW
MARIO FRANGOULIS When: 7 p.m. Monday
Where: Symphony Center, 220 S. Michigan
Tickets: $30-$200
Phone: (866) 468-3401
Source: Chicago Sun Times
