Opera must become more visible and accessible.
“A Turkish flag at Carnegie Hall—that moment stays with me.”
By Oya Bain
Burak Bilgili, Turkish Bass-Baritone, has been established in the world of opera for some time now.
Mr. Bilgili, coming from the heart of Anatolia, is at home on the stages of world-famous opera houses, such as the Metropolitan in New York and the Scala in Milan, just as easily with the moving songs of the Anatolian heartland. He graduated from Mimar Sinan University Conservatory. He made his international debut at the Scala while still a student at the Academy of Vocal Arts in Philadelphia, a premier institution of the study of opera in the world. It is encouraging that education and the art of opera in Türkiye are flourishing, and Turkish singers are being heard in many opera houses around the world. We celebrate Mr. Bilgili on his success in the world of opera, the most complex art form.
Can you tell us about your early beginnings? Your childhood? Original birthplace? Your parents, siblings?
I was born in Akşehir, a culturally vibrant town in the Konya region of Türkiye. I grew up in a disciplined yet creative household. My mother served as a police officer, and my father is an engineer; both are strong, determined figures who taught me the value of structure, integrity, and resilience. I have one sibling, my brother, who is a well-known pop singer in Türkiye. Music played a constant role in our lives from an early age, though we each found our own unique path through it.
What factors influenced you most in your formative years?
Discipline, family values, and a sense of curiosity. I was deeply inspired by Turkish folk culture and teachers who recognized and nurtured my voice long before I believed in it.
When did you become aware of your voice and talent in music?
In high school, my teacher noticed my unusually resonant voice. That encouragement was pivotal; it gave me the confidence to pursue vocal training seriously.
Your education and training? Where and what did you study?
I graduated from Mimar Sinan University State Conservatory in Istanbul in 2001. Thanks to a scholarship from my mentor, Prof. Güzin Gürel, I continued at the Academy of Vocal Arts in Philadelphia, one of the few schools dedicated solely to opera.
How did you choose your career path?
Opera became an irresistible calling. The emotional depth, theatricality, linguistic richness, and musical complexity all spoke to me. It was the ideal art form to channel both discipline and passion.
Could you tell us about your professional journey?
In 2002, I debuted at Teatro alla Scala in Milan as Don Alfonso in Lucrezia Borgia. Also I sang at the Metropolitan Opera in New York, making me the first—and still only—Turkish opera singer to perform there. Since then, I have appeared in leading houses worldwide: San Francisco Opera, Canadian Opera Company, Washington National Opera, Liceu de Barcelona, Grand Théâtre de Genève, and Teatro dell’Opera di Roma. I have worked with renowned conductors like Evelino Pidò, Nicola Luisotti, and Alberto Zedda.
What is your present status? You travel a lot. Where do you stay most of the time?
I split my time between Istanbul and the United States. My professional commitments take me across Europe, Asia, and the Americas. I try to maintain a balance between touring and family life.
What are your plans? Which Opera House would you most like to be associated with?
I hope to return to major houses like the Met and La Scala while collaborating with emerging companies in Asia and the Middle East. I am also deeply committed to fostering opera in Türkiye and mentoring the next generation of singers.
Do you sing lieder? Which operas and roles are your favorite?
Yes, I enjoy singing lieder, especially Mahler and Schubert. My favorite operatic repertoire is Italian and Russian. I am especially drawn to Verdi roles like Fiesco and Zaccaria and to characters like Don Pasquale and Mustafa in L’Italiana in Algeri. Russian roles like Boris Godunov are also close to my heart.
Do you have plans to sing in Russia? Are there more bass-baritone roles in Russian operas?
Yes, I look forward to singing in Russia. Their repertoire is full of complex, beautifully written roles for bass-baritone. The psychological and vocal depth required is uniquely challenging.
Modern opera? Favorite works?
I have recently performed in contemporary works like David DiChiera’s pieces and enjoy new operas that bring fresh stories and modern musical language while maintaining emotional truth.
Which character do you find hardest to sing?
Sarastro in The Magic Flute requires “perfect vocal balance and inner stillness” because of his calm authority and philosophical depth. It is deceptively difficult.
What is the status of opera in Türkiye at present?
Opera in Türkiye is growing. There is incredible talent and increasing public interest, but structural and financial support still needs strengthening, especially outside Istanbul and Ankara.
Are there other Turkish opera students or stars in the US?
Yes, and I am proud of them. I support and mentor young Turkish singers studying or performing abroad whenever possible. My Bass students are Cumhur Görgün, Berke Tülenmez, Tenor Emre Parlar.
Challenges and memorable experiences? Any reactions to being a Turk?
Being a Turkish artist often sparks curiosity. Representing Türkiye on international stages has brought pride and a sense of cultural responsibility. The unforgettable moment was performing Stabat Mater at Carnegie Hall and seeing the Turkish flag in the audience.
What do you think of the American public’s interest in opera? Have you thought of singing in musicals?
There is strong interest in opera in major US cities. While musicals are wonderful and theatrical, I remain committed to opera, which offers unmatched depth in both character and story.
Please tell us about vocal arts in education in Türkiye. Is there support for talented students?
There are excellent conservatories, but access is limited beyond major cities. We need more outreach and scholarships to support gifted students, especially from underrepresented regions.
What needs to be done to bring more public interest in classical opera?
Opera must become more visible. HD broadcasts like The Met’s are great examples. To make opera accessible and exciting, we need more digital presence, educational outreach, and community engagement.
Could you tell us about your current family?
My wife, Seda, is an accomplished restoration architect involved in significant cultural heritage projects. We are expecting twins this summer, which is perhaps my most life-changing performance yet!
What hobbies and activities do you enjoy in your free time?
I enjoy drawing historical architecture, walking in nature, and cooking Turkish dishes. These keep me grounded between productions.
Could you describe your daily routine for us?
My day starts with vocal warm-ups, score study, and physical activity when I am not traveling. I dedicate time to artistic growth and family.
What is your favorite quote? What is your proudest moment in your life?
“Art is the signature of civilizations.” —Beverly Sills. My proudest moment? Singing at the Met as a Turkish artist and seeing our flag in that hall of legends.
Who has been the most influential person in your life and why?
Prof. Güzin Gürel, who believed in me and opened the door to international training. My parents also grounded me in values that I carry to this day.
Is there something that the readers of TurkNetwork Magazine might be surprised to learn about you?
Before opera, I was on a path to study architecture. I still believe that music and architecture are siblings in structure, beauty, and emotion.
What are your recommendations to the Turkish-American Community? Is musical education important?
Invest in musical education. It teaches discipline, empathy, and cultural awareness. The arts are not a luxury; they are essential.
Would you like to share any message with our readers?
Opera is a mirror of human experience. Thank you for listening to mine. I hope to inspire others to follow their creative path. ■
