Performance Sunday, January 21st at 2:00pm

Moody Performance Hall, Dallas, TX

World class tenor Lawrence Brownlee made his long awaited Dallas Opera debut yesterday afternoon with a program inspired by poets of the Harlem Renaissance. Brownlee partnered with celebrated pianist Myra Huang, their mutual musicianship captivating the audience which was already so excited to receive them. Despite the chill of the January afternoon, I was pleased to note the recital was well attended; the greetings of friends attending together and separately in the lobby made for a happy prelude.

Brownlee’s setlist features a rich variety of music, with an emphasis on Composers of Color and Millennial composers. The words of Langston Hughes were brought to life in two song cycles written by African-American composer Robert Owens. The program opened with Owen’s “Desire,” a cycle requiring equal parts intensity and lyricism. Brownlee and Huang were a well matched ensemble.

Brownlee opened the second set with an announcement that composer Jeremiah Evans (b.1978) was present to hear his works realized, and the composer was greeted with applause before the set began. “April Rain Song” and “Lost Illusions” were lovely pieces, with pleasing melodies and some welcome harmonic surprises, but the crown of this set was certainly found in “Southern Mansion,” set to text by Arna Bontemps (1902-1973).  An unsettling picture rose from the tinkling melody, representing the party inside the mansion, while a menacing bass line and bluesy harmonics drag you outside into the cotton fields as a real and heartbreaking reminder of the horrors that built the vast wealth of the American South. The set was met with raucous applause and shouts of “bravo” from throughout the hall.

It is worth noting that at this point in the afternoon, the exuberant audience was so very pleased with what they were hearing that set list etiquette was thrown out and almost entirely ignored. There was applause after nearly every piece, and although it was well deserved, it did threaten to slow the pace of the program to a drag. Pianist Myra Huang, however, did not let the noise keep her from swiftly and consistently moving on to whichever piece was next, a decision that served the program well. A simple solution would have been to simply remind concert goers that in a recital setting, applause is typically held until the end of a set. 

The third set featured five songs by Joseph Marx (1882-1964). Although Marx is neither a person of color nor a living composer, the songs fit seamlessly into the themes of the afternoon. While I did think it was odd to include only one set not in English, Brownlee sang the lieder with much attention to detail and excellent diction, demonstrating artistic as well as vocal range. His singing was an excellent reminder that well rounded singers typically focus on more than just role preparation. Brownlee’s command of the melody and the text resulted in a complete story told every two or three minutes, which is quite a challenge when an opera typically allows for two or three hours to tell a single tale. 

After intermission, Brownlee again broke the fourth wall to discuss the importance of connection and musical intimacy to remind us that it is humanity which creates a truly great recital setting. He opened the second half with one of three Vocalises by Carlos Simon. The transition worked well to remind us that even without words, we are capable of communicating great thoughts and emotions. Vocalise I was very traditional, calling to mind French melodies, soaring on an “Ah” to a beautifully sustained high note. Vocalise II was written to evoke Gospel vibes and made good use of dissonance. Vocalise III was certainly the most interesting of the group, including consonants and syllables not typically heard in such pieces. The vocal line wove in and out of the piano, which was equally important to the composition, and I found myself fighting the urge to tap my foot. 

Another composer was found to be present in the audience with the introduction of Jasmine Barnes (b. 1991). Barnes has an easy command of melodic storytelling and Brownlee certainly did that justice in his presentation of her songs, which despite being presented as a set, were both met with cheers. “Peace” is a truly beautiful song, full of hope, and an excellent opportunity to showcase Brownlee’s beautiful head voice, which was neither too light nor too heavy, but Barnes, like Evans,  is also best exemplified in the last piece of her set. “Invocation” was a stand out moment of the afternoon. Rhythmically masterful, Barnes did not have in mind a piano accompaniment, but an interaction between piano and voice. There were moments that seemed to almost resemble an habanera, and it was easy to be moved by Brownlee’s interpretation. 

Brandon Spencer (b.1992) is another Millennial composer refreshingly showcased. “I Know my Soul” and “The Dance of Love” were both groovy pieces, using syncopation and almost post-tonal harmonics to inspire the audience to dance as much as they could in their seats without disturbing their neighbors. Both poems were well set, and it was refreshing to see a singer actively communicating with their collaborative pianist during a performance rather than simply expecting to be followed. 

Brownlee next presented music by Damien L. Sneed (b. 1979). “Beauty that is Never Old,” “The Gift to Sing,” and “To America” continued the more gospel feel of the Spencer set. Brownlee changed the order of these songs to close with “The Gift to Sing.” With its high tessitura, it fits particularly well into Brownlee’s instrument. 

Perhaps the most interesting (certainly the longest) piece on the program was Shawn E Okpebholo’s “Romance.” Before beginning this piece, Brownlee asked the audience to think about what inspires them to come alive, and urged them to use their answer as motivation. “These songs are not just for People of Color,” Brownlee said. “There are a multitude of things in here for everyone, don’t hesitate to study these songs and make them part of the canon.” The piece he proceeded to perform was particularly challenging. I found myself in the audience desperate to find myself a copy. The tessitura, the intervals, evoked Stravinsky and Messaien. Head voice and falsetto flew in and out of these incredibly difficult passages. Although long, I would highly recommend a listen. Brownlee has recorded it and it is available on Apple Music. The sheet music can be purchased for $15 at www.shawnokpebholo.com and would be an excellent addition to any graduate recital, although it is likely too challenging for most undergraduate students. 

Closing out the recital sets are three songs by Joel Thompson (b. 1988). This set began somewhat introspective and serious, with “Supplication” playing almost as a prayer, and “Compensation” serving as an entreaty to use one’s gifts wisely. The last programmed piece, “My People,” soared over the crowd, bursting with clever compositional turns, sounding at some points of jazz, R&B, even of salsa! The words of Langston Hughes are set well in a song that joyfully encompasses the musical stylings of Black People in America. The laughing runs towards the end of the piece were contagious, eliciting giggles and laughs from the crowd as Brownlee seemed to express a very genuine joy in his singing and in Black Culture. The charming lyrics end:

Dream-singers,

Story-tellers, 

dancers, dancers, dancers, 

And loud-mouthed laughers in the hands…

Loud-mouthed laughers in the hand of Fate– My People!

Insistent applause drew Brownlee and Huang back for an encore. Due to the themes throughout the programmed music, I expected that Brownlee might present a Spiritual or Gospel selection, but of course, as a recital artist at the Dallas Opera, he chose to encore with an aria, and “Una Furtiva Lagrima” from L’elisir d’amore by Gaetano Donizetti was performed. A better interpretation has rarely been heard.

In response to the encore, a standing ovation was interspersed with murmurs and whisperings as fans hoped that Brownlee might perform a second encore, and all around the words were whispered, “Ah mes Amis?”

To my utter shock and delight, after having performed two hours of incredibly demanding music, Brownlee and Huang again returned to the stage and gave the people what they wanted. The audience was treated to a stunning rendition of “Ah Mes Amis” from La fille du régiment. It’s as if Donizetti had Brownlee in mind when he composed this aria. The absolute endurance necessary to have closed with this is astounding, but truth be told, Brownlee made it look easy. 

This is not the first time Brownlee has presented this recital, and I certainly hope it is not the last. It was a thought provoking and moving program, and as a Millennial myself, I was very pleased to see so many Millennial composers featured on the bill. Brownlee let us know that he had personally commissioned several of the pieces on the program and I think more of us should consider doing the same when choosing our own set lists. We spend an awful lot of time studying “the greats,” but truth be told, you can only hear so many interpretations of Lieder or Melodie before you start longing for something more contemporary, something fresh. Brownlee’s set list certainly ticked off those boxes for me, and I have already purchased a copy of “Romance.” I will be looking for reasons to perform it. 

My biggest complaint from the afternoon is that the second half of the program seemed slowly paced. I think one set could be easily eliminated for a better overall flow, but what would one cut? Each grouping was clearly chosen for a reason. As beautifully sung as it was, I think perhaps eliminating the German set and presenting a fully English language program would be the solution. Regarding Brownlee’s singing, I have only positive feedback to offer. 

Fans of classical music can look forward to the Hart Institute for Women Conductors Showcase Concert, which will take place on Sunday, January 28th at 7:30pm, and if you didn’t get enough German yesterday, The Dallas Opera will raise the curtain on Elektra on Friday February 9th.