It’s been a busy summer for tenor Alek Shrader. He’s coming off a run of “Idomeno” as Arbace at the San Francisco Opera. He’s going to direct “Così fan tutte” in San Jose. He has a Manetti-Shrem performance in Napa Valley. And just recently it was announced that he was joining the staff of the Merola Opera Program.

Shrader, who has appeared at such companies as Metropolitan Opera, San Francisco Opera, Lyric Opera of Chicago, Seattle Opera, Santa Fe Opera to Dallas Opera, Los Angeles Opera, Minnesota Opera, Opera Philadelphia, Pittsburgh Opera, Opera Theatre of Saint Louis. Internationally, he’s sung with Bayersische Staatsoper, Hamburgische Staatsoper, Opera de Lille, Opera National de Bordeaux, Theatre du Capitole de Toulouse, among others, joins a growing trend of seeing opera singers diversifying beyond their performance careers, but Shrader is excited for the challenge, citing his commitment to the art form as a way of life.

Speaking with Alek Shrader, I discovered the old-fashioned belief in the importance of opera even in a day and age that puts itself on the firing squad of short, quick, telegramic communication. In his new role with Merola, Shrader will take his 20-plus years of opera singing and performance into the world of fund-raising to increase support the expressive, intelligent and exciting world of sung, heard and glamorous expression. He will never give up singing and performing, but he will sideline as he shifts focus to the job of arts administrator. He spoke to OperaWire about the move.

OperaWire: How did you come to singing?

Alek Shrader: Opera was always part of my life. My mother and father were both opera singers. I was often with them when they were enroute to their opera performances. Some nights he could be found in one of their dressing rooms as they were getting ready for their show. When it came time for me to decide what I wanted to do in college, almost automatically I chose to study music, and opera in particularly. Earlier, I formed and played in a rock band, and had the aspiration to make it as a rock singer.

OW: What is it like singing and performing primarily?

AS: Traveling around, being in new places, new people, new roles, it was always wonderful to me. I always liked make-believe. I always loved being the story-teller, and telling stories. Like Improvisation, telling stories is always being in the present, being alive to the excitement and joy of trying things out, being able to handle new things that come up, to solve problems, to over-come challenges. This still gives me joy. When I’m on stage, I am happy. I feel fully alive to the present.When I first entered the opera world, on my own, I was not only wide-eyed, but thrilled. I saw how all of the opera worked, what people did in their jobs, and what went into the whole production.

OW: What was a big turning point for you and your career?

AS: Winning one of the six places in the Metropolitan Opera 2007 National Council Auditions.

OW: What followed after that? 

AS: I spent many years as a performer and Adler Fellow with the San Francisco Opera Merola Program. There, many roles came my way : Nemorino, Tamino, David, Tom Rakewell. I am a happy alumnus. There too, I met my wife-to-be, Merola mezzo-soprano, Daniela Mack. Although we were ‘warned’ by so many people, not to marry another musician and certainly, not an opera singer, we came together and so far have defied the odds. We have built a strong bond with our two daughters, which enriches us all, and provides a solid base for each of us.

OW: What are some of the negatives of such a prestigious singing career? 

AS: The negative side – it was always a lot of work, and also, including a lot of commentary, and getting a lot of feedback. People have their ideas of what Almaviva is like or Tamino or Lindoro, or David in “Die Zauberflote”. Not that they shouldn’t. But you have to choose what you want to do as a performer, and like it or not, some people will speak their minds. People always have opinion, a lot of opinions. You get approval or not. You get praise or not. Even as a successful performer, you are always getting praise or not. The bottom line, you are always on the edge. You are always taking a risk. It creates a lot of unease. There are multiple expectations of you in every aspect of your performance. And there is a lot of hustle.

OW: How would you describe yourself in the opera world?

AS: I like to see myself as a factotum: a guy who does a little bit of everything, who does all kinds of things.

OW: Tell me about the shift to taking on an administrative role with Merola Opera Program?  What effect does doing the new job do to the primacy of your successful  singing career?

AS: I will of course continue to sing, but not as the mainstay of my activities. Always I would sing “Candide,” any time, any place, even as an older man. I will continue to keep my  voice in shape, always to nurture it. But my days of singing Count Almvaviva will slowly become part of my background. Of course I feel pangs when I think of not singing some of my favorite roles, but that’s probably natural. Still, I see my place as a family man, caring for children and supporting my wife, well-known mezzo-soprano, Daniela Mack,  as she makes her way to a solo career.

OW: How does it seem to be part of the San Francisco Merola company?

AS: I love Merola, and I look forward to helping other young singers reach their goals.First and foremost, however, I want to show donors that without them there is no opera. U.S. doesn’t support opera. Individual donors have to do that. Do you need a lot of money to contribute? Not necessarily. Every little bit helps. Give as you can. Show that you care. Make your love of opera count. Make sure your voice is heard.

OW: How will you juggle such a full-time set of projects with your family?

AS: We will continue to work on it. My wonderful wife, mezzo-Soprano Daniela Mack, also Artist in Residence in Napa and our two daughter family, seek fresh solutions every day. Daniela and I came together as new singers at Merola and although we never aimed to package ourselves as an opera duo singing, we have been paired in performances, most recently, in San Francisco Opera’s “Idomeneo.”  We aim to work it out, however challenging.

OW: How do you see the future of opera?

AS: Opera must be nurtured and supported. It is a remarkable art form, and although it will always lack the popularity of the movies and broadway musicals, it has its steady proponents who cherish its rich heritage and its lineage. He wants to do what he can to keep it going. It is vital. He wants to help young singers on their journey. Since I have actually been on that journey myself, perhaps people will hear what I have to say, and  continue to provide the necessary resources to keep their support forthcoming. Without supporters, there is no opera. I would hate to see that happen. I believe in opera and those who love it as I do, believe in its power too.