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Opera star Brownlee returns for Akron recital
By GUY D’ASTOLFO
Lawrence Brownlee will return to the area this week.
The international opera star and Youngstown native will perform in a recital Thursday at E.J. Thomas Performing Arts Hall in Akron.
Pianist Kevin Murphy will accompany Brownlee at the 7:30 p.m. performance, which is part of the Tuesday Musical Association series. The program will include works by Mozart, Joseph Marx, Liszt, Alberto Ginastera and Ben Moore. A highlight of the concert will be a segment of spirituals from a recording sung by Brownlee and arranged by his friend and collaborator Damien Sneed. The critically acclaimed album was released last season.
Brownlee is the most in-demand American tenor in the world in the bel canto repertoire. His schedule routinely takes him across the globe, performing opposite the leading ladies of opera.
He last appeared in Youngstown in November 2012 in Opera Western Reserve’s production of “The Barber of Seville” at Stambaugh Auditorium. His last appearance in Akron came in the 2007-08 season.
Murphy, the pianist, is a professor at Indiana University’s Jacobs School of Music, and a concert collaborator with many top vocalists.
Eric Kisch of WCLV will give a pre-concert lecture at 6:30 p.m. in the concert hall.
In May, Brownlee will be back in the region to sing the role of Tonio in Pittsburgh Opera’s production of Donizetti’s “The Daughter of the Regiment.” Go to Pittsburghopera.com for times and tickets.
Brownlee, who was in Germany last week, discussed his current season and his upcoming regional appearances in this email exchange with The Vindicator.
Q. Your schedule is amazingly full, with lots of trips to Europe, and all over North America. Are you ready to catch your breath with a visit to Youngstown? Any special plans while you are in the area?
A. Yes, I am all over the map and I rarely get a chance to come home to Northeast Ohio, but I am looking forward to return to my home state, of which I am a very proud son, and also a huge fan of Ohio State football. Sadly, I do not have so much time, but I do plan to take a short trip to Youngstown to visit my parents and pastor and a few friends.
Q. For your Akron performance, you have selected compositions that are not from the opera repertoire. How did you select the program? Are they songs that you love? Do they complement your operatic work? Or is it a departure that shows another side of your ability?
A. This is a program for recital lovers. I picked it along with the pianist and we have been touring this recital. I love doing it because there are several composers and many flavors. The listener should not get bored exploring these sets of four different languages. Anything I program I enjoy singing. Some of the works are not that different from operatic works. For instance, the first piece is by Mozart who is one of the most well-known opera composers whose works are still central to opera houses all over the world. I hope that the recital attendees will feel fulfilled in hearing Lawrence Brownlee the opera singer, because they will appreciate the virtuosic writing of these composers, but also some different styles. A recital also requires that you keep the attention of the singer and make sure to connect in a direct an intimate way. I look forward to this.
Q. The Akron performance will finish with an arrangement of spirituals from a recording you released last year. Please elaborate.
A. Yes. As an African-American, it is important to continue the great legacy of negro spirituals. These are songs I grew up with because church and religion are a big part of who I am. My good friend and composer Damien Sneed picked and arranged these pieces for me and they have been received very well. We released them last year and there is quite a demand for us to record more. We look forward to performing them for Northeast Ohio.
Q. Do you enjoy the vocal concerts as much as you do an opera? Is there more of a chance to connect with the audience on a personal level? Is it more care-free, requiring less preparation?
A. Recitals are hard. There is no constant story line or language. We the performers are left to make meaning of every single word of every single song and every style. I always tell people that every vocal color, vocal dynamic, and text painting of words is important. But I do enjoy the challenge. The translations are given to the audience, and I enjoy when people can understand the pain or joy in a word because I am able to accurately convey the meaning thorough my presentation. It requires a different type of preparation and much more concentration. Never on “autopilot.”
Q. Regarding your role of Tonio in “The Daughter of the Regiment” with Pittsburgh Opera in May: Is this a relatively new role for you? Can you describe it, the character and the music? Have you sung with Pittsburgh Opera before?
A. I have performed “The Daughter of the Regiment” many, many times. It is one of my favorite roles, and I am happy to use it as my debut for Pittsburgh Opera. My father for some time has been asking me to come to the Northeast Ohio-Western Pennsylvania area so my dear friends and family can see me in opera, so I am happy to come to Pittsburgh. I am also a lifelong rabid fan of the Pittsburgh Steelers, so it’ll be nice to spend some extended time there. Hopefully I’ll get to visit the facilities or meet a player or two. I know that Brett Kiesel is a fan of classical music, and the coach, Mike Tomlin, is a member of my fraternity as well.
The character Tonio falls for a girl named Marie. Marie has been adopted, raised and cared for by an actual army of men; a military regiment. When they meet, Tonio is made aware that she has promised to marry a soldier of the regiment, so Tonio, being from a different place, decides to join the regiment to be able to marry Marie. After this she leaves, but eventually they end up together.
This opera is famous because it contains the famous aria for tenor with nine High C’s. Luciano Pavarotti made it famous years ago, and I have performed this in opera and concert for many years.