Cinderella Story
citypaper.net exclusive: Talking with star tenor Lawrence Brownlee.
Q&A: Opera
Ohio-born Lawrence Brownlee is among the most sought-after tenors in classical music today, particularly noted for his mastery of the high-flying, fast moving music of Rossini. This year he became the first person to win both the Richard Tucker Award (the opera world's Heisman Trophy) and the Marian Anderson Award. On the verge of world stardom, he's already sung major gigs to vociferous acclaim in London, Vienna, Milan, San Francisco and elsewhere. Debuts in Houston, Tokyo and at New York's Metropolitan await later this season. His first solo album was released in the U.S. earlier in the year on EMI. How does it feel to walk into a store and see your CD on the shelf? "I was in London the first time," recalls Brownlee. "I inconspicuously looked through the 'B' bin, and it wasn't there. As I was leaving, I saw an area of new releases and bam!, it was right there in front of me. A gentleman was holding up a CD, reading the back; he looked over and recognized me. Before he could say anything, I high-tailed it out of the store. It was a bit embarrassing, but also a great feeling." This week he'll bow locally as The Prince opposite the lovely Ruxandra Donose in Rossini's delightful Cinderella at the Opera Company.
City Paper : What should audiences expect from Cinderella?
Lawrence Brownlee : The Prince is a role I like very much. I enjoy the fun relationship he has with [his butler] Dandini, and relish that it's an ensemble piece where individuals can shine within the context of being a unit. Expect my Prince to be young, energetic, and crafty,
CP : What does "bel canto" mean to you as a Rossini specialist?
LB : Of course, it means "beautiful singing," but more than that. Rossini is known for high melismatic phrases, very challenging to sing. When I approach Rossini, I work on making everything sound fresh and spontaneous. I try to make all my singing — especially the challenging parts — sound as effortless as possible: easy and beautiful.
CP : Veteran African-American singers like George Shirley and Gregg Baker have confronted obstacles in assuming leading romantic parts; you seem to specialize in them.
LB : I am very thankful for my predecessors and mentors who have opened doors for me as an African-American singer. You know, we don't choose our gifts. We are opera singers for a reason. The talent that George Shirley and Gregg Gaker were blessed with was not ignored but was cultivated and therefore doors were opened for them. I believe true talent cannot be ignored. That today's society is more and more accepting of interracial couples on stage is evident not only in live theater, but also in film and TV. Because of this, it has become easier for me and other African-American singers today. I have not had any touchy situations. I always try to be a good colleague, and I constantly seek to create a good work environment so that the relationship between me and my love interest seems comfortable and natural. If we can make it authentic, the audience senses it and can believe it.
CP : Are there other types of music you like?
LB : Yes, I grew up singing gospel, so it will always be a part of my life. I am also a big fan of Latin mambo. I have more than 4,000 songs, and have even had the chance to DJ once or twice.
CP : What do you do to relax?
LB : My big passion outside of singing is salsa dancing. I am a fanatic about it. I will definitely be going in Philly — I go everywhere I perform. I am also a huge sports fan; I recently returned to another passion, playing tennis.
Cinderella, Nov. 8-19, $6-$195, Opera Company of Philadelphia at the Academy of Music, Broad and Locust sts., 215-893-1018, www.operaphilly.com.
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