On May 16, Jack Swanson will make his Metropolitan Opera debut.

The American tenor has become one of the most in demand for his work in the Bel Canto repertoire singing at major houses like the Staatsoper Hamburg, Houston Grand Opera, Rossini Opera Festival, Opéra National de Paris, Grand Théâtre de Genève, Lyric Opera of Chicago, Arena di Verona, and Wiener Staatsoper.

He has become particularly known for his Count Almaviva in “Il Barbiere di Siviglia,” the role with which he will debut at the Met. For his interpretation, critics have raved stating, “His performance in the demanding rondo finale, ‘Cessa di più resistere’ (often cut because of its difficulty), is a standout. Swanson’s mastery of the coloratura, breath control, and secure high notes is impressive – a true tour de force.”

OperaWire spoke to the rising star ahead of his Met debut about the significance of performing in the New York stage and Rossini.

OperaWire: What does it mean to make your Met debut?

Jack Swanson: I’d like to say it’s just another debut, but for me personally, it isn’t. For an American artist, singing at the Met is like climbing Mount Everest. It’s the place we hear about when we first start singing, and we often think it’s probably just a pipe dream. I’m extremely honored to have been given the opportunity to interpret Almaviva on this stage. This has also been a good time for me to reflect—to sit back and congratulate myself for the hard work and dedication, because without that, making this climb would be nearly impossible.

OW: You are also getting an HD performance. Does this make the debut even more exciting?

JS: Definitely! It was so much fun telling my friends and family—those who aren’t able to be here live—that they’ll have the chance to see it in theaters on the 31st. I’m excited to see what the Live in HD performances entail.

OW: Do you have any memories of first seeing an opera at the Met? Tell me about that.

Yes, the first opera I ever saw at the Met was “La Bohème,” in 2013. I was there for a very short trip, but I still remember the feeling I had when I walked into the theater—and when the first downbeat of that iconic score hit. That moment made the dream of one day singing there feel even more real to me.

OW: Tell me about Almaviva and why it’s the perfect role to debut with.

JS: Almaviva is a deceptively challenging role—one I’ve been aiming to perfect for ten years. But I’ve come to terms with the fact that each performance presents new challenges, and now I enjoy that. I’ve learned that perfection is unachievable in art because everyone’s idea of perfection is different. Once I accepted that, I started having so much more fun with the role. Practically speaking, it’s the perfect debut role for me at the Met because it’s the role I’ve performed the most.

OW: How has the role developed in your voice, and how has the character developed?

JS: I love going back and listening to my first few performances of Almaviva. Sometimes it’s gratifying to hear how much better I sing certain phrases now than I did at 22—but it can also be humbling when I hear something and think, How the hell did I do that back then? It’s a great role for continuing to develop my technique, finding ease, and exploring vocal colors with the voice I have now. The characters Almaviva gets to play—like the drunk soldier or Don Alonso—are always fun. I always try to add one or two new aspects to those characters to keep things interesting.

OW: What do you like about Bartlett Sher’s production, and had you seen it before?

JS: What I love about Bartlett Sher’s production is the simplicity of the staging. He allows the singers to bring their own experience and expertise into the world he’s created onstage. The production stays classic but adds a bit of modern flair, which is my favorite flavor of Barbiere. I had, of course, seen the HD recording of this production before, and I’m so excited to bring my Almaviva into the Seville he created!

OW: Rossini seems to be an important composer in your life right now. What is your favorite thing about singing his music?

JS: I think singing Rossini keeps you honest. At a certain point, you realize you really can’t fake it if you want to sing all the notes on the page. Rossini demands that you stay dedicated to your technique and musicianship. For that reason, it’s incredibly gratifying when I feel I’ve sung it successfully.

OW: What are some of your favorite Rossini roles? What are some of his operas you want to sing?

JS: My favorite Rossini role to date is “Comte Ory!” It’s one of the few Rossini roles where I get to play a character who’s more conniving and less of the stereotypical bel canto tenor. It also doesn’t hurt that the music is glorious and so much fun to sing. In the future, I hope to sink my teeth into the role of Arnold in “Guillaume Tell”—not yet, but soon.

OW: What are you looking forward to this summer?

JS: I’m very much looking forward to returning to Pesaro this summer for Rossini’s first opera, “Il Cambiale di Matrimonio.” But honestly, I’m most looking forward to spending time with my wife and our six-month-old son, Karl. He brings me so much joy—joy that not even Rossini can compete with.