Podcast appearances and mentions of Lawrence Brownlee

Playlist: Nathan Schram, hear now berlin. - HNBEmily Doolittle, Melanie Harel - Social Sounds from Whales at NightSoeni Lee, Pacific Quintet - Three BagatellesMichael J. Baker, Array Ensemble - Unfinished BusinessJulius Eastman, Cleveland Orchestra - Symphony No. 2 'The Faithful Friend: The Lover Friend's Love for the Beloved'Erwin Schulhoff, Orava Quartet - 5 Pieces for String QuartetShawn Ehireime Okpebholo, Lawrence Brownlee, Kevin miller - RomanceTatev Amiryan, Lilith Ensemble - ElegyMieczyslaw Weinberg, Parlando - Concertino for Violin & String OrchestraJoan Tower, Texas Tech University Contemporary Music Ensemble - Petroushskates

On this episode, tenor Lawrence Brownlee discusses Rising, his Grammy-nominated album inspired by the Harlem Renaissance. He explores his bel canto repertoire, social justice, mentorship, and the power of music to inspire change.

Remember the summer of 2020? The good old days of lockdown? That was the first summer that I was producing Countermelody, and during that time I tried to inject a little levity into the podcast by doing a long series on crossover. One such episode was devoted to a century of tenors singing crossover, reaching back further than a century from Hermann Jadlowker and Caruso himself and extending to the present day. There was such a wealth of gorgeous material which led to an additional bonus episode on such “Rogue Tenors,” which includes (among the German-speaking singers) Helge Rosvaenge, Fritz Wunderlich, Peter Schreier, Richard Tauber, Marcel Wittrisch, Jonas Kaufmann, Anton Dermota, Walther Ludwig, Herbert Ernst Groh, Joseph Schmidt, Jan Kiepura, and Julius Patzak; others include Stuart Burrows, Roland Hayes, Richard Lewis, Lawrence Brownlee, Jan Peerce, José Carreras, Kenneth McKellar, Noah Stewart, Tino Rossi, Luigi Alva, Giuseppe di Stefano, and Jerry Hadley in a wide range of repertoire and styles ranging from Neapolitan songs Kurt Weill; from folk songs to Victorian parlor songs; from operettas and Tonfilm Schlager to jazz and rock. It's a rollicking good ride; hold on tight and enjoy! Countermelody is a podcast devoted to the glory and the power of the human voice raised in song. Singer and vocal aficionado Daniel Gundlach explores great singers of the past and present focusing in particular on those who are less well-remembered today than they should be. Daniel's lifetime in music as a professional countertenor, pianist, vocal coach, voice teacher, and journalist yields an exciting array of anecdotes, impressions, and “inside stories.” At Countermelody's core is the celebration of great singers of all stripes, their instruments, and the connection they make to the words they sing. By clicking on the following link (https://linktr.ee/CountermelodyPodcast) you can find the dedicated Countermelody website which contains additional content including artist photos and episode setlists. The link will also take you to Countermelody's Patreon page, where you can pledge your monthly support at whatever level you can afford.  

På lørdag bliver en lang fejring af at der er mange der nyder sommeren, og så er Rossini lige sagen, som perlende prosecco, yummi jordbær og sprøde asparges. Der bliver nogle skæringer man klart kan nynne med på, nogle mindre kendte, MEN faktum er jo at man altid til en vis grad kan nynne med på Rossini og det er netop det dejlige ved det! Lyt med og hør bla. de to super tenorer Lawrence Brownlee, Michael Spyres, den skønne mezzosopran Diana Damrau og soranen Marina Rebecca, vi høres ved. Vært: Lotte Heise.

Grammy nominated American tenor Lawrence Brownlee has been hailed as “an international star in the bel canto operatic repertory” (The New York Times) and as a voice for activism and diversity in the classical music industry. The pickleball fanatic discusses his Metropolitan Opera auditions, why the high C's aren't the only notes that matter, and what it was like to be cast as Tamino in The Magic Flute before he had ever seen an opera. Reflecting on his childhood rooted in gospel music, Lawrence shares how "music was inside of him" from the age of nine, what he felt at age twelve from the reaction to his first solo, and how he was inspired by The Three Tenors, specifically Pavarotti. Recounting the time an agent told him he'd never succeed because of his height and race, Lawrence talks about where he finds his confidence and what it's like to get a standing ovation mid-performance.Check out Lawrence Brownlee on Instagram, Twitter, Facebook, YouTube, Apple Music, Spotify, or the web. Follow Speaking Soundly on Instagram.Follow David on Instagram.You can find out more about Artful Narratives Media on Instagram and the web.Photograph of Lawrence Brownlee by Zakiyah Caldwell BurroughsThe Speaking Soundly theme song is composed by Joseph Saba/Stewart Winter and used by permission of Videohelper.Speaking Soundly was co-created by David Krauss and Jessica Handelman. This interview has been edited and condensed to fit the time format.Episode copyright © 2024 Artful Narratives Media. Hosted on Acast. See acast.com/privacy for more information.

Figaro! Figaro! Figaro! Rossini's cheerful comedy rounds out Seattle Opera's season in May 2024. Seattle Opera Dramaturg Jonathan Dean introduces THE BARBER OF SEVILLE with musical examples drawn from Seattle Opera archival recordings from 1992 (conducted by Edoardo Mueller and starring John Del Carlo and Kevin Langan); 2011 (conducted by Dean Williamson and starring José Carbo, Lawrence Brownlee, Sarah Coburn, and Kate Lindsey); and 2017 (conducted by Giacomo Sagripanti and starring Sofia Fomina, Matthew Grills, Will Liverman, Kevin Glavin, and Daniel Sumegi).

Tager dig rundt i verden fra Det Kongelige Teater hvor jeg var til en vidunderlig premiere på Saul af Händel. Vi skal USA og super tenoren Lawrence Brownlee. Så skal vi til Sverige med Maskeballet af Verdi, til Israel med Händels Saul. Til iskolde Rusland med spritny indspilning af Katja Kabanova af Leos Janácek og vi slutter i Aalborg - på en måde. Vært: Lotte Heise.

Anna Bonitatibus—2003 | Lawrence Brownlee—2018 | Javier Camarena—2013 | Karine Deshayes—2018 | Joyce DiDonato—2004 | Martine Dupuy—1990 | Tara Erraught—2019 | Juan Diego Flórez—2021

Known for singing roles in operas that demand his particular Bel Canto voice and leading projects that uplift music by African American composers, tenor Lawrence Brownlee is conscious of how the work of Black singers in the past have helped him succeed in his career, and he intends to do the same for upcoming young singers. Find out more in the latest episode of the 'Rhapsody in Black' podcast.

durée : 00:59:39 - En pistes, contemporains ! du dimanche 25 juin 2023 - par : Emilie Munera - Ce dimanche, nous célébrons la poésie afro-américaine avec le chanteur d'opéra très appécié : Lawrence Brownlee. Nous écouterons aussi la musique de Danny Elfman ou encore celle de Hans Werner Henze. En pistes, contemporains ! - réalisé par : Céline Parfenoff

durée : 00:13:38 - Le disque contemporain de la semaine du dimanche 25 juin 2023 - Dans ce nouveau disque, le chanteur Lawrence Brownlee met en lumières les poètes de la Renaissance de Harlem. Il est rejoint par le pianiste et accompagnateur exceptionnel Kevin J. Miller.

Superstar tenor Lawrence Brownlee joins Gianna Volpe on the WLIW-FM Heart of The East End in celebration of Black Music Month and the June 2 release of “Rising” pairing commissions from up-and-coming African American composers with poetry from the Harlem Renaissance, as well as his most recent operatic role—A full circle return to his first at 19 years old—as Prince Tamino in Die Zauberflöte at the Metropolitan Opera.Listen to the playlist on Apple Music

This week's guest on the Gramophone Podcast is tenor Lawrence Brownlee, who joins Editor Martin Cullingford to talk about his new album 'Rising', recorded with pianist Kevin J Miller, and available now from Warner Classics. The beautifully-performed programme includes commissions from six African-American composers of the younger generation who were invited to set texts by writers of the Harlem Renaissance, as well as songs by 20th-century composers.

Good morrow, dear Scorekeepers! It's time for another episode of your favorite podcast, THE SCORE! This week, we are joined by one of the most celebrated, world-renowned operatic tenors working today: LAWRENCE BROWNLEE! And we couldn't be more excited! Join us for an insightful and personal chat all about his musical upbringing, the ways he is keeping the doors open for the next generation of Global Majority operatic talent, and the surprising hobbies that he's passionate about when he's not busy being a once-in-a-generation operatic superstar (0:23:34)! All that plus: our Oscars recap (0:09:44), a long overdue dip into RuPaul's Drag Race season 15 (0:03:52), and, of course, a little Pure Black Joy to get you through the rest of the week (1:07:54). Let's do it to it, y'all! Hosts: Lee Bynum, Rocky Jones, Paige Reynolds (Iyawo Inwale)Guest: Lawrence BrownleeProducer: Rocky Jones--LinksLawrence Brownlee (Website) (Insta) (Twitter)"Black Women Are Dominating The White House Press Briefing and It's About Time" (The Root)African Queens (Netflix)"Zaya Wade's gender resistance" (Dazed)--New episodes of THE SCORE drop every other Wednesday. If you like what you hear, please support us and SUBSCRIBE to the show on your favorite podcast app and be sure to SHARE our show with your friends. Also, leaving a 5-star REVIEW on Apple Podcasts is a great way to help people find our show. For more info about the exciting EDI work happening at MN Opera, please visit mnopera.org/edi. Email your questions or comments to thescore@mnopera.org.

Renowned tenor Lawrence Brownlee details his new song cycle “Rising” and explains why he commissioned six acclaimed African American composers to set poetry from giants of the Harlem Renaissance to song. Plus, our series “Speaking of Dance” highlights comedic burlesque dancer Shellie Schmals.See Privacy Policy at https://art19.com/privacy and California Privacy Notice at https://art19.com/privacy#do-not-sell-my-info.

BLKBOK, also known as Charles Wilson III, is a neo-classical pianist and composer who has worked with artists such as Rihanna, Justin Timberlake, and operatic tenor Lawrence Brownlee. BLKBOK's first album Black Book was released to critical acclaim in 2021, and he continues to create, inspire, and innovate through his culturally-reflective compositions and high-energy live performances.

On track to becoming a doctor in Mexico and finding opera as something ‘for old people', Leonardo Sanchez made an unexpected career pivot and discovered that singing opera really could be a viable career choice. So how have the first steps in opera been for this emerging tenor? How has he squared reality and against his own high expectations? We hear from a number of people who are keeping a watchful eye on his development, namely Lawrence Brownlee, the American tenor and star of bel canto, and Julia Lagahuzère director of Opera for Peace, who is preparing her next academy for young singers in Paris; she explains how she asks the difficult questions in the opera business. View the OperaVision website here Find out more about the next Opera for Peace Academy in Paris here Watch now on Opera Vision Il Viaggio a Reims with the Accademia Rossiniana at the Rossini Opera Festival (only until 13.02.23) Lawrence Brownlee & Thomas Hampson's Masterclasses with Opera for Peace (until 26.02.23) An evening of Operetta & Zarzeuela from the Centre de Perfeccionament del Palau de les Arts (until 16.03.23)   Music Extracts Introduction & closing: Die Entführung aus dem Serail (Mozart): Overture. Gounod Ah lêve-toi soleil! from Romeo et Juliette Tenor Leonardo Sanchez, Pianist Kamal Khan Puccini's O soave fanciulla from La Bohème Tenor Leonardo Sanchez, Soprano Ana Garotić, Pianist Kamal Khan

Figaro! Figaro! Figaro! Rossini's cheerful comedy rounds out Seattle Opera's season in May 2024. Seattle Opera Dramaturg Jonathan Dean introduces THE BARBER OF SEVILLE with musical examples drawn from Seattle Opera archival recordings from 1992 (conducted by Edoardo Mueller and starring John Del Carlo and Kevin Langan); 2011 (conducted by Dean Williamson and starring José Carbo, Lawrence Brownlee, Sarah Coburn, and Kate Lindsey); and 2017 (conducted by Giacomo Sagripanti and starring Sofia Fomina, Matthew Grills, Will Liverman, Kevin Glavin, and Daniel Sumegi).

From one young soprano making audition videos in a shelter in Kyiv while the war swept through Ukraine, to another using an international singing competition to showcase her talent, we meet emerging artists from four leading young artist programmes across Europe.  In this episode, we dip into each programme, from Opera for Peace in Rome, to the Rossini Opera Festival in Pesaro, on to Palau de les Arts in Valencia and Oper Frankfurt.  As well as hearing from the artists about how their expectations matched reality, we feature insights from experts such as Lawrence Brownlee, and learn how the programmes are nurturing and developing the next generation of talent. View the OperaVision website here   Watch now on OperaVision: Lawrence Brownlee & Thomas Hampson's Masterclasses with Opera for Peace (until 26.02.23) Nombulelo Yende's winning performance at the Moniuszko Vocal Competition (until 11.12.22) Il Viaggio a Reims with the Accademia Rossiniana at the Rossini Opera Festival (until 13.02.23) An evening of Operetta & Zarzeuela from the Centre de Perfeccionament del Palau de les Arts (until 16.03.23)   Music extracts: Introduction & closing: Die Entführung aus dem Serail (Mozart): Overture Manon (Massenet) aria Manon: Adieu, notre petite table, Violeta Samon Il Viaggio a Reims (Rossini) Overture with permission from the Rossini Opera Festival Norma (Bellini) aria Norma: Casta diva, Nombulelo Yende live, Moniuszko Vocal Competition L'Incoronazione di Poppea (Monteverdi) duet Nero & Poppea: Pur ti miro, Ketevan Chuntishvili & Angelord Blaise, accompanied by Kamal Khan

durée : 01:59:01 - Musique matin du jeudi 23 juin 2022 - par : Jean-Baptiste Urbain - Le ténor américain Lawrence Brownlee est Platée, dans l'opéra de Rameau, au Palais Garnier du 17 juin au 12 juillet. L'œuvre s'inscrit dans la tradition de mise en scène de personnages animaux pour porter un regard satirique sur la société des hommes. - réalisé par : Yassine Bouzar

Opera luminary Joyce DiDonato joins us for a conversation about the star-studded album Hopes and Dreams: The Lullaby Project. An outgrowth of Carnegie Hall's Lullaby Project – which pairs pregnant women and new mothers with professional artists to write and sing personal lullabies for their babies – the recording includes contributions from Fiona Apple, the Brentano String Quartet, Lawrence Brownlee, Rosanne Cash, Joyce DiDonato, Janice Freeman, Rhiannon Giddens, Angélique Kidjo, Patti LuPone, Natalie Merchant, Dianne Reeves, Gilberto Santa Rosa, Pretty Yende, and Catherine Zeta-Jones.

On October 15, 2015, the extraordinary American tenor, Lawrence Brownlee, and the superb collaborative pianist, Craig Terry, shared repertoire by Rossini – a Brownlee specialty – as well as a spiritual, “Come By Here,” as well as Britten's lovely “Down By the Sally Gardens.” The post Lawrence Brownlee, tenor & Craig Terry, piano appeared first on WFMT.

“Sparkling” mezzo-soprano Madison Marie McIntosh has been praised for her “wondrouslyflexible voice,” “prodigious vocal skills,” and “richly textured and strong lower register” (Vocedi Meche). OperaWire has praised her “vocal power,” “enchanting voice,” “velvety mezzosoprano,”and “abundant vocal and dramatic technique, with no shortage of soaring high notesand flexible roulades.” She won The American Prize in Vocal Performance in 2020 and thenperformed a benefit concert for The American Prize that featured world premieres of works by eight composers. Madison has performed Ernesta (Un avvertimento ai gelosi) at Caramoor, Delia (Il viaggio a Reims) with the Rossini Opera Festival in Pesaro, and Alto Soloist (Messiah) with New Amsterdam Opera. In 2022, she performed in concerts with Gulfshore Opera and will sing the title role in La Cenerentola with Fargo Moorhead Opera, the title role in Giulio Cesare with Connecticut Lyric Opera, and Francesca Da Ponte in the premiere of Da Ponte, by composer Roger Neill and librettist Neil Cohen. In 2021, she sang Beppe in Teatro Grattacielo's production of L'amico Fritz at the Phoenicia International Festival of the Voice, the Domme in Three Way with Fargo Moorhead Opera, Melissa in La liberazione di Ruggiero with Connecticut Lyric Opera, Ruggiero in Alter Ego Chamber Opera's production of Alcina REVAMPED at the Philadelphia Fringe Festival, and Lola Lowell in the virtual premiere of Theodore Christman's opera The Impresario and the Dueling Divas with Mo. Eve Queler. Madison has also performed Rosina (Il barbiere di Siviglia), the title role in Carmen, Isabella (L'Italiana in Algeri), Angelina (La Cenerentola), Cesare (Giulio Cesare in Egitto), Hansel (Hansel and Gretel), Dido (Dido and Aeneas), Sara (Roberto Devereux), Giovanna Seymour (Anna Bolena), Zerlina (Don Giovanni), and lead roles in the world premieres of six operas. She has premiered song cycles and other works by composers such as Peter Breiner, Paula Kimper, Roger Neill, Amy Scurria, Jeff Shankley, Myron Silberstein, Webster Young, and Paul Ayres. In 2019, she joined Eve Queler as a soloist in her 25th annual Bel Canto Opera Concert. She has been featured as a soloist in venues such as Weill Recital Hall at Carnegie Hall, Avery Fisher Hall, the Kravis Center for the Performing Arts, Bruno Walter Auditorium at Lincoln Center, Symphony Space, the DiMenna Center, and the Teatro Rossini. She covered the title role in Tancredi and sang the Eco in the inaugural season of Will Crutchfield's Teatro Nuovo. In 2019, she performed the role of Prinz Orlofsky (Die Fledermaus) at the Wiener Kammeroper as a result of winning First Prize in the Vienna Summer Music Festival Competition. She worked with the late Mo. Alberto Zedda as a young artist of the Accademia Rossiniana in 2014 and was an Apprentice Artist of Sarasota Opera in 2018. Last season, she was presented in a solo virtual concert in the Kravis Center's series Kravis @ Home. “Sparkling” mezzo-soprano Madison Marie McIntosh has been praised for her “wondrously flexible voice,” “prodigious vocal skills,” and “richly textured and strong lower register” (Voce di Meche). OperaWire has praised her “vocal power,” “enchanting voice,” “velvety mezzosoprano,”and “abundant vocal and dramatic technique, with no shortage of soaring high notesand flexible roulades.” She won The American Prize in Vocal Performance in 2020 and thenperformed a benefit concert for The American Prize that featured world premieres of works by eight composers. Madison has performed Ernesta (Un avvertimento ai gelosi) at Caramoor, Delia (Il viaggio a Reims) with the Rossini Opera Festival in Pesaro, and Alto Soloist (Messiah) with New Amsterdam Opera. In 2022, she performed in concerts with Gulfshore Opera and will sing the title role in La Cenerentola with Fargo Moorhead Opera, the title role in Giulio Cesare with Connecticut Lyric Opera, and Francesca Da Ponte in the premiere of Da Ponte, by composer Roger Neill and librettist Neil Cohen. In 2021, she sang Beppe in Teatro Grattacielo's production of L'amico Fritz at the Phoenicia International Festival of the Voice, the Domme in Three Way with Fargo Moorhead Opera, Melissa in La liberazione di Ruggiero with Connecticut Lyric Opera, Ruggiero in Alter Ego Chamber Opera's production of Alcina REVAMPED at the Philadelphia Fringe Festival, anLola Lowell in the virtual premiere of Theodore Christman's opera The Impresario and theDueling Divas with Mo. Eve Queler. Madison has also performed Rosina (Il barbiere di Siviglia), the title role in Carmen, Isabella (L'Italiana in Algeri), Angelina (La Cenerentola), Cesare (Giulio Cesare in Egitto), Hansel (Hansel and Gretel), Dido (Dido and Aeneas), Sara (Roberto Devereux), Giovanna Seymour (Anna Bolena), Zerlina (Don Giovanni), and lead roles in the world premieres of six operas. S has premiered song cycles and other works by composers such as Peter Breiner, Paula Kimper, Roger Neill, Amy Scurria, Jeff Shankley, Myron Silberstein, Webster Young, and Paul Ayres. In 2019, she joined Eve Queler as a soloist in her 25th annual Bel Canto Opera Concert. She has been featured as a soloist in venues such as Weill Recital Hall at Carnegie Hall, Avery Fisher Hall, the Kravis Center for the Performing Arts, Bruno Walter Auditorium at Lincoln Center, Symphony Space, the DiMenna Center, and the Teatro Rossini. She covered the title role in Tancredi and sang the Eco in the inaugural season of Will Crutchfield's Teatro Nuovo. In 2019, she performed the role of Prinz Orlofsky (Die Fledermaus) at the Wiener Kammeroper as a result of winning First Prize in the Vienna Summer Music Festival Competition. She worked with the late Mo. Alberto Zedda as a young artist of the Accademia Rossiniana in 2014 and was an Apprentice Artist of Sarasota Opera in 2018. Last season, she was presented in a solo virtual concert in the Kravis Center's series Kravis @ Home. She also sang in virtual events presented by Fort Worth Opera, Maryland Opera, and the Art Song Preservation Society of New York. She performed one of the 22 ariette by Vaccai in Will Crutchfield's video “Bel Canto in Thirty Minutes,” which also includes singers such as Lawrence Brownlee, Jennifer Rowley, Lisette Oropesa, Angela Meade, and Tamara Mumford. She later collaborated with Mo. Crutchfield on a recording for Teatro Nuovo's Bel Canto Collection. She performed one of the 22 ariette by Vaccai in Will Crutchfield's video “Bel Canto in Thirty Minutes,” which also includes singers such as Lawrence Brownlee, Jennifer Rowley, Lisette Oropesa, Angela Meade, and Tamara Mumford. She later collaborated with Mo. Crutchfield on a recording for Teatro Nuovo's Bel Canto Collection.

TPP had the great fun and honor interviewing Mr. BLKBOK https://www.youtube.com/c/BLKBOK —a neo-classical pianist, composer, and Yamaha Artist who had worked as a lead pianist and musical director with A-list pop singers such as ☑️ Rihanna ☑️ Justin Timberlake ☑️ Demi Lavato ☑️ John Mayer 

On October 15, 2015, the extraordinary American tenor, Lawrence Brownlee, and the superb collaborative pianist, Craig Terry, shared repertoire by Rossini – a Brownlee specialty – as well as a spiritual, “Come By Here” and Britten's lovely “Down By the Sally Gardens.” The post Lawrence Brownlee, tenor & Craig Terry, piano appeared first on WFMT.

Well, Team OBS might be wrapping up their summer vacations, but they've still got a show for you... [@ 4 min] Oliver and Matt revisit going 'Inside the Huddle' with tenor Benjamin Bernheim… [@ 32 min] Then, Matt and Oliver rejoin tenor Lawrence Brownlee 'Inside the Huddle'... Next week, on Wednesday, September 15, the OBS returns for Season Seven - count ‘em! - at 9 pm CT on TDO Network… operaboxscore.com dallasopera.org/tdo_network_show/opera-box-score facebook.com/obschi1 @operaboxscore IG operaboxscore

This is the first in a mini-series of episodes where host Tim Cynova in joined by other white male leaders to discuss their personal and professional journeys as their companies engage in the work to become anti-racist organizations. DAVID B. DEVAN (he/him) joined https://www.operaphila.org/ (Opera Philadelphia) in January 2006 and was appointed General Director of the company in 2011. Since his arrival, David has worked closely with board and administration on strategic planning initiatives and building partnerships within the community and the opera world. David guided the company through a transformative period of innovation that led Opera News to describe it as “one of the leading instigators of new work in the country” and the New York Times to describe Opera Philadelphia as "a hotbed of operatic innovation." Under his leadership and artistic vision, Opera Philadelphia has grown to become a company of international stature and a favorite co-producing partner with companies all over the globe, developing fresh productions of classic works as well as premieres written by today's leading composers. The company has engaged and energized both established and emerging artists, providing opportunities for important role debuts for singers like Lawrence Brownlee, Eric Owens, Nathan Gunn, Stephanie Blythe, Christine Goerke, Leah Crocetto, and Lisette Oropesa. As The Daily Beast recently commented, “Opera Philadelphia has been at the forefront of commissioning new operas with contemporary subject matter and an innovative, genre-blending sensibility to snare a younger audience and revitalize opera for the 21st century.” Key achievements include the establishment of the Aurora Series for Chamber Opera at the Perelman Theater, an extremely popular and highly-subscribed opera series at the Kimmel Center's intimate 550-seat Perelman Theater; the establishment of the nation's first ever collaborative Composer in Residence Program with New York partner Music-Theatre Group, a comprehensive program supported by The Andrew W. Mellon Foundation, designed to foster the growth of tomorrow's great operatic composers; the creation of the American Repertoire Program in 2011, solidifying Opera Philadelphia's role as a national leader in the creation of new works; and the creation of the site-specific Opera in the City series. Under David's leadership, the company established the annual Festival O in 2017, launching each season with an immersive, 12-day festival featuring multiple operatic happenings in venues throughout the city. Opera Philadelphia also presents additional productions each spring, making it the first U.S. opera company to open a year-round season with a dynamic festival. Under David's leadership, Opera Philadelphia has commissioned or co-commissioned eight new operas, including Charlie Parker's YARDBIRD by Daniel Schnyder and Bridgette Wimberly, and starring Lawrence Brownlee, which has since been staged at The Apollo Theater in New York and Hackney Empire in London; Cold Mountain, based on the best-selling novel by Charles Frazier and written by Jennifer Higdon and Gene Scheer, and co-commissioned with The Santa Fe Opera; and Breaking the Waves by Missy Mazzoli and Royce Vavrek, based on the film by Lars von Trier, which has since been staged at Beth Morrison Projects' PROTOTYPE Festival and was named Best New Opera of 2016 by the Music Critics Association of North America. As immediate past Chair of the Board of Directors for the Greater Philadelphia Cultural Alliance and a member of the Opera America board, David is privileged to serve in a city with rich and diverse cultural roots. He continues to work tirelessly to make opera as an important part of our community. TIM CYNOVA (he/him) wears a multitude of hats, all in service of creating anti-racist workplaces where people can thrive. He is the Principal of the...

Lois Reitzes interviews author Becky Albertalli about her new novel "Kate In Waiting"; as well as Lawrence Brownlee and Michael Spyres about their album "Friends and Rivals."

Tenorikeskseid stseene Gioacchino Rossini ooperitest esitavad Lawrence Brownlee, Michael Spyres, Xabier Anduaga ja I Virtuosi Italiani. Kaastegev on metsosopran Tara Erraught.

Acclaimed opera singers, Lawrence Brownlee and Michael Spyres join Lois Reitzes to explain their friendly rivalry and demonstrate with some dazzling sounds. Their new album 'Amici e Rivali', also known as "Friends and Rivals" is out now. Plus, Otis Redding's classic song "Dock of the Bay" is reimagined as a children's book. Karla Redding-Andrews, the daughter of Otis Redding and executive director of The Otis Redding Foundation, and Atlanta artist Kaitlyn Shea O'Connor, the illustrator of the new book stopped by to talk about it.And we'll hear from Rob and Fox Rich, the subjects of the documentary "Time." They were joined by filmmaker Garret Bradley. The film is available to stream on Amazon Prime.

This week Phil and Adam talk to a returning guest. Azia Wiggins helps answer a voice message. She also shares about her journalism project. She tells them about the most authentic people in her life. They all talk about Code-Switching vs Inauthenticity. Adam's Artist Suggestions for Appreciating the Spiritual (many more could be added): American Spiritual Ensemble, Kathleen Battle, Leontyne Price, William Warfield, Simon EsteGrace, Bumbry, Paul Robeson, Shirley Verrett, Jessye Norman, Lawrence Brownlee, Pretty Yende, Marian Anderson, Denyce Graves, Willard White, Seth McCoy Phil's Artist Suggestions for Appreciating Black Gospel (many more could be added): Fred Hammond, Hezekiah Walker, Donald Lawrence, John P. Kee, Kirk Franklin, Clark Sisters, Rance Allen, Canton Spirituals, Jonathan McReynolds, Kim Burrell, Mississippi Mass Choir, the Winans, BeBe and CeCe Winans, Marvin Winans, any Mass Choir Azia's Article: Sick And Tired: No Time To Rest For The Resilient Black Woman In Mississippi Develop Authenticity: 20 Ways to Be a More Authentic Person --- Send in a voice message: https://anchor.fm/pawpod/message

Andrew Ousley is the founder of Unison Media, one of the top PR and Marketing companies for classical music, opera and performing arts. He formed the company based on the principles of honesty, transparency, and holding himself and his staff to a higher standard of results. Clients of Unison Media include some of the leading artists in the field of classical music, including conductor Gustavo Dudamel, tenor Lawrence Brownlee, jazz legend Wynton Marsalis, and more. Mr. Ousely also curates, presents and produces Unison's award-winning concert series The Crypt Sessions, which was included among The New York Times'"Best Classical Music Performances of 2017." In 2018 he launched a sister series, The Angel's Share, in the Catacombs of Green-Wood Cemetery in Brooklyn, which was featured in Vogue, The New York Times, NPR and many more, and whose opening opera The Rose Elf was WQXR's 'Best New Opera of 2018. In his spare time, Andrew runs Burger Club, a group that tastes and rates burgers all around the New York city area, and his photographs have been published in the Associated Press, Newsweek, New York Magazine, Philadelphia Inquirer, and more. The Question of the Week is, "How can classical musicians think more creatively about our art form?" Andrew and I discuss the mindset that led to his incredible concerts "Death of Classical", how classical musicians can effectively curate relationships with audiences, how he defines the current classical music experience and the areas for improvement, why it's not enough just to be good at your craft any more, and how he thinks young musicians can present classical music more creatively. You can find out more about Andrew on his website, andrewousley.com, and I would like to recommend listeners to check out the Death of Classical website and Instagram, at deathofclassical.com and @deathofclassical, respectively.

Wanna know what the OBS team looks like? Check out the video version of our show on The Dallas Opera Network… [@ 4 min] Maestro Keri-Lynn Wilson goes ‘Inside the Huddle’ with Oliver and guest panelist conductor Anthony Barrese. Find out what score the Canadian conductor carries around as leisure reading while she prepares to be part of the re-opening of performances at the Opéra Bastille in Paris... [@ 39 min] In the ‘Two Minute Drill’... Fresh off his triumph as an interview guest on the OBS, Lawrence Brownlee wins the 16th Annual Opera News Awards... operaboxscore.com dallasopera.org/tdo_network_show/opera-box-score facebook.com/obschi1 @operaboxscore IG operaboxscore

durée : 01:58:42 - Relax ! du lundi 07 décembre 2020 - par : Lionel Esparza - Au sommaire du nouveau numéro d'Opéra Magazine, un portrait du ténor américain Lawrence Brownlee, une évocation du baryton-basse George London, Boris Vian à l'opéra, Le Voyage dans la Lune d'Offenbach en tournée... Et à 16h, on écoute les Ballades de Chopin immortalisées par Krystian Zimerman ! - réalisé par : Antoine Courtin

durée : 01:58:02 - En pistes ! du jeudi 03 décembre 2020 - par : Emilie Munera, Rodolphe Bruneau Boulmier - Au programme : les Sérénades de Dvorak et Tchaïkovski par le Balkan Chamber Orchestra ; l’écriture chambriste française au cœur du premier album du Trio Machiavelli ; les ténors Michael Spyres et Lawrence Brownlee s'affrontent dans un disque entièrement consacré aux airs d'opéra de Rossini... - réalisé par : Lionel Quantin

Wanna know what the OBS team looks like? Check out the video version of our show on The Dallas Opera Network… [@ 3 min] It’s a classic NFC East match-up. Suiting up for Philadelphia, tenor Lawrence Brownlee meets your Dallas Opera Network team, to talk about singing the hardest music ever written, being an ambassador for opera to the Black community, and maybe a little Fantasy Football... [@ 40 min] Plus, in the ‘Two Minute Drill’... Middle Class Artist throws a flag on YouTube auditions, while Jonas Kaufmann wants YOU for Christmas... operaboxscore.com dallasopera.org/tdo_network_show/opera-box-score facebook.com/obschi1 @operaboxscore IG operaboxscore

durée : 01:56:51 - En pistes ! du jeudi 19 novembre 2020 - par : Emilie Munera, Rodolphe Bruneau Boulmier - Au programme également : la musique de chambre de Reynaldo Hahn par le Quatuor Tchalik; histoire du saxophone en Belgique au 19eme siècle; Paul-Antoine Bénos-Djian, Cyrille Dubois, Vladimir Dubois, Pauline Haas, Anne Le Bozec et Marc Mauillon réunis par leur passion commune pour Benjamin Britten... - réalisé par : Emmanuel Benito, Céline Parfenoff

durée : 00:14:59 - Rossini : Amici et Rivali - Michael Spyres, Lawrence Brownlee

In 2017 composer Tyshawn Sorey teamed up with writer Terrance Hayes and tenor Lawrence Brownlee to create a song cycle called "Cycles of My Being". It's a work that showcases the troubled relationship between America and its Black men that will have its digital premiere on the Opera Philadelphia Channel on November 20th. Tyshawn speaks with Garrett about this, and his broader perspective on writing Black-centric music. Scott honors the space-age music of another Black composer, and Garrett teases a move away from Minnesota. Playlist: Deniece Williams - "Let's Here It For The Boy" Blue Ivy Carter - "Lift Ev'ry Voice" ("Homecoming" excerpt) Johann Strauss - "Thunder and Lightning" Polka William Grant Still - "Ennanga" Antonin Dvorak - String Quartet No. 12, "The Negro" M. Piečaitis - Catcerto (https://www.youtube.com/watch?v=zmLuEkpij5E) Ozie Cargile - "Creation of the Universe" Fannie Lou Hamer - "Walk With Me" Margaret Bonds - "Montgomery Variations" Tyshawn Sorey - "Cycles of My Being" More: Malcolm X's "By Any Means Necessary": https://www.blackpast.org/african-american-history/1964-malcolm-x-s-speech-founding-rally-organization-afro-american-unity/ Blue Ivy narrates "Hair Love": https://www.billboard.com/articles/news/9481053/blue-ivy-carter-hair-love-audiobook Ann Hobson Pilot: http://www.annhobsonpilot.com/ Austria COVID Lockdowns: https://www.bbc.com/news/world-europe-54945400

We’re championing a new generation of younger artists who were also looking at ways to make this art form relevant, contemporary, and even more equitable” Author - Melanie SmithIn this episode, our featured voice is Melanie Smith, President of San Francisco Performances. San Francisco Performances is an innovative curator of established classical music, jazz, and dance artists as well as a leading supporter of the next generation of performance artists with a commitment to equity for all. Their artist’s residencies provide opportunities for public school students who encounter music and dance for the very first time—to engage personally with artists and gain a deeper understanding of their work.The Covid-19 pandemic has led to a very big economic impact on performance organizations and the performing art community with an estimated 50% unemployment rate for performance artists on a national level. The financial impact will continue since the gathering of people in theaters will be one of the last business sectors to re-open in the San Francisco Bay Area.  To Melanie and John’s point performing art organizations are being forced to develop new models of live streaming of shows and when small socially distanced audiences can come back into the theater the creation of hybrid performances of both on-line and in person could become the new theater experience. To find out more about how you support San Francisco Performances 41st season go to sf performances dot org.

Loss Hurts.It just does.So let’s be real for a sec.Let’s talk about it.Poems and thoughts By Casey BaileySamples of Lawrence Brownlee and Jason Moran Via NPR Sound by think Write Fly

Measuring just 5ft in height, the late Supreme Court judge was both small in stature and softly spoken.But the Brooklyn-born woman – known affectionately as the "Notorious RBG" – was a towering giant for gender equality and civil rights throughout her life.On this edition of the Sky News Daily podcast, Jayne Secker speaks to Christopher Scalia – the son of former Supreme Court Justice Antonin Scalia - and opera singer, Lawrence Brownlee, as they share their personal stories and fondest memories of the 87-year-old who passed away earlier this month.We are also joined by our US correspondent Cordelia Lynch, as we look back at Justice Ginsburg’s life and discuss her legacy.Subscribe to the Daily podcast on Apple Podcasts, Google Podcasts, Spotify, SpreakerDaily podcast team:Podcast producer - Annie JoycePodcast producer - Nicola EyersPodcast producer – Emma Rae WoodhouseInterviews producer - Oli FosterInterviews producer – Reece DentonArchive - Simon WindsorMusic - Steven Wheeler

Measuring just 5ft in height, the late Supreme Court judge was both small in stature and softly spoken.But the Brooklyn-born woman – known affectionately as the "Notorious RBG" – was a towering giant for gender equality and civil rights throughout her life.On this edition of the Sky News Daily podcast, Jayne Secker speaks to Christopher Scalia – the son of former Supreme Court Justice Antonin Scalia - and opera singer, Lawrence Brownlee, as they share their personal stories and fondest memories of the 87-year-old who passed away earlier this month.We are also joined by our US correspondent Cordelia Lynch, as we look back at Justice Ginsburg’s life and discuss her legacy.Subscribe to the Daily podcast on Apple Podcasts, Google Podcasts, Spotify, SpreakerDaily podcast team:Podcast producer - Annie JoycePodcast producer - Nicola EyersPodcast producer – Emma Rae WoodhouseInterviews producer - Oli FosterInterviews producer – Reece DentonArchive - Simon WindsorMusic - Steven Wheeler

WQXR’s Terrance McKnight hosts a conversation about the Black experience in the concert hall and the unique challenges people of color face in the classical music world with violinist Sanford Allen, vocalist & conductor Bobby McFerrin, vocalist Julia Bullock, tenor Lawrence Brownlee, and cellist Alvin McCall.Producer: Rosa GollanTechnical Producer: Ed Haber

Star tenor Lawrence Brownlee has always strived to live his life being the best version of himself, always trying to perfect who he is as an artist. He testifies that this can be done by positioning yourself and looking at how you can maximize what it is you have. Lawrence is one of the most in-demand opera […]

Star tenor Lawrence Brownlee has always strived to live his life being the best version of himself, always trying to perfect who he is as an artist. He testifies that this can be done by positioning yourself and looking at how you can maximize what it is you have. Lawrence is one of the most in-demand opera singers today and has starred in opera companies around the world in cities such as New York, Chicago, Houston, Philadelphia, Seattle, London, Milan, Salzburg, Berlin, Vienna, Amsterdam, Munich, and many more. Today, he sits down with Elizabeth Bachman to talk about the opera industry, give some advice to young people at the beginning of their careers, and share the lessons he learned from a bad performance.

There are so many stereotypes around business and art that would have us say that they are two separate things. For one, there is this pervasive image of the “broke artist” that implies that artists don’t have as much acumen and savvy for business as their non-artistic counterparts. As someone has been a working artist for many years, Elizabeth Bachman knows that this cannot be further from the truth. Art is a business. You get paid for your creativity, but a lot of times, you have to deliver under budget and on time. There is so much that the business world can learn from the arts. With this in mind, Elizabeth introduces The Relationship between Business and Art, a special miniseries within the show that explores the relationship within business and art from the point of view of some big and up-and-coming names in the performing arts, as well as the amazing geniuses behind the curtains. Her guest list for this mini series will include such names as J’Nai Bridges, Lawrence Brownlee, Christine Goerke, Valerie Day, Steven White, Kathleen Kelly, Darren Woods, Filippo Petteni, Colleen Bonniol and Bob Bonniol.

Hello??? We've missed you! We've been working overtime to get this Opera Company Spreadsheet finished, and it's OUT! Check our insta bio for the link. In today's episode, we're tackling way too many categories... the original recording was 2.5 hours lmao First, something objectively WILD happened with the Richard Tucker Foundation this week that led us to discuss our differing opinions surrounding the phenomenon often called 'Cancel Culture'. We have a nuanced conversation about accountability, consequence, and our place in this narrative. Do we as white people have more work to do after a Cancelation? Spoiler alert: YUP Then, we take a second to reflect on one of the most powerful conversations we've seen take place in the opera world. Mezzo-soprano J'Nai Bridges hosts a zoom call with five other Black opera singers (Karen Slack, Julia Bullock, Morris Robinson, Lawrence Brownlee, and Russell Thomas) to reflect on the Opera world's response to George Floyd's lynching. Finally, the spreadsheet detailing Opera Companies' responses to the BLM protests/rebellions is out. We talk though some of our categorizations, what to look out for, and some ways we've been able to think critically about this data. As always, we wanna hear from you! xoxo the TTA ladies --- Send in a voice message: https://anchor.fm/thrilledtoannounce/message Support this podcast: https://anchor.fm/thrilledtoannounce/support

Join us as we head to Florida to talk with the amazingly talented tenor, Lawrence Brownlee, about life off the road at home, new projects and the hope of operatic jobs to come. https://www.lawrencebrownlee.com/

Seattle Opera Dramaturg Jonathan Dean investigates two voice types infrequently encountered in opera: trebles (boy sopranos and adolescent female sopranos) and countertenors. Features conversation with Seattle Opera coach-accompanist Jay Rozendaal, and musical examples: TURN OF THE SCREW (Rafi Bellamy Plaice and Forrest Wu), LAKMÉ (Harolyn Blackwell), THE MAGIC FLUTE (Johanna Mergener, Emili Rice, and Isabel Woods), HANSEL & GRETEL (Sasha Cooke and Ashley Emerson), SIEGFRIED (Juls Serger and Julianne Gearhart), FALSTAFF (Peter Rose), Freddie Mercury, Colm Wilkinson, and Will Oakland, I PURITANI (Luciano Pavarotti and Lawrence Brownlee), Alessandro Moreschi, GIULIO CESARE (Bryn Terfel, Milijana Mijanovic, and Jochen Kowalski singing “Va, tacito” and Brian Asawa singing “L’empio, sleale, indegno”) and A MIDSUMMER NIGHT’S DREAM (Anthony Roth Costanzo).

World renowned tenor, Lawrence Brownlee, believes we can achieve a more equal and diverse future in classical music. He shares his experience as a black man in the world of opera, we discuss how organizations can work towards positive change, and even what steps we can take as classical music listeners.

On October 15, 2015, the wonderful American tenor, Lawrence Brownlee, and the great collaborative pianist, Craig Terry, shared repertoire by Rossini – a Brownlee specialty – as well as a spiritual, “Come By Here,” and Benjamin Britten’s lovely “Down By the Sally Gardens.” This broadcast is a favorite of Impromptu’s producer, Louise Frank. The post Lawrence Brownlee, Tenor [Encore Broadcast] appeared first on WFMT.

In this series of podcasts, Seattle Opera Dramaturg Jonathan Dean gives listeners a taste of nine different types of traditional opera. Opera buffa, the beloved old Italian tradition of opera comedy, is what you get by adding music to the even older Italian tradition of improvised (artisanal) comedy, commedia dell’arte. The fools and buffoons of commedia—the sassy wenches, befuddled old professors, suicidal young lovers, dirty old misers, hungry Harlequins, arrogant soldiers, zany servants, and all the rest—found new ways of entertaining us once they began singing gloriously. And with the opera orchestra functioning as a laugh track and adding jokes of its own, opera buffa continues to disarm us and charm us while putting a big grin on our faces. The Barber of Seville and The Elixir of Love are great examples of the genre. Musical examples on the podcast drawn from Seattle Opera recordings of La Cenerentola, 2013, conducted by Giacomo Sagripanti; The Barber of Seville, 2011, conducted by Dean Williamson and starring José Carbo and Lawrence Brownlee; The Marriage of Figaro, 2009, conducted by Dean Williamson and starring Nicolas Cavallier and Barry Johnson; Così fan tutte, 2006, conducted by Andreas Mitisek; the 1986 Hungaroton recording of La serva padrona, starring Katalin Farkas and Jozsef Gregor, with Capella Savaria conducted by Pal Nemeth; Falstaff, conducted by Karajan and starring Luigi Alva, soloists, and the Philharmonia Orchestra (Columbia 1956); Gianni Schicchi, conducted by Antonio Pappano (EMI 1998); and L’elisir d’amore, Ileana Cotrubas, Geraint Evans, and the orchestra of Covent Garden conducted by John Pritchard (Columbia 1977) Stay tuned for another podcast introducing another kind of opera next week!

Lawrence Brownlee is one of the most exciting and in-demand opera singers on the scene today. The internationally acclaimed tenor— hailed by The Guardian as "one of the world's leading bel canto stars."—will make his Baltimore debut this Sunday at Shriver Hall on the campus of Johns Hopkins University. Brownlee and pianist Myra Huang will present a new classical song cycle inspired by the Black Lives Matter movement. The program will include a pre-concert talk with Lester Green of the Coalition for African Americans in the Performing Arts. You can find more information and purchase tickets on the Shriver Hall Concert Series website.

A new opera that combines jazz and classical? Charlie Parker’s Yardbird is about music, creativity, communication, race and racism, drugs and addiction, and life and death and freedom. Seattle Opera Dramaturg Jonathan Dean introduces this new opera with music by Daniel Schnyder and a libretto by Bridgette A. Wimberly. Musical examples from an Opera Philadelphia performance, starring Lawrence Brownlee as Charlie Parker, Will Liverman as Dizzy Gillespie, Angela Brown as Addie, Emily Pogorelc as Chan, Elena Perroni as Doris, Chrystal E. Williams as Rebecca, and Tamara Mumford as Nica. The Opera Philadelphia orchestra is conducted by Corrado Rovaris.

A new production of Mozart’s classic promises a fresh look at the legendary seducer and how he is punished. Seattle Opera Dramaturg Jonathan Dean introduces the music and characters of Don Giovanni, with musical examples from Seattle Opera archival recordings of Don Giovanni from 1991, conducted by Gerard Schwarz; 1999, conducted by Klaus Donath, 2007, conducted by Andreas Mitisek; and 2014, conducted by Gary Thor Wedow. Voices include Vladimir Ognovienko as the Commendatore, Eduardo Chama, Ashraf Sewailam, and Kevin Langan as Leporello, Franzita Whelan, Sally Wolf, and Alexandra LoBianco as Donna Anna, Kurt Streit, Lawrence Brownlee, and Randall Bills as Don Ottavio, Elizabeth Caballero and Christine Goerke as Donna Elvira, Mark Walters, Marius Kwiecien, and Jason Howard as Don Giovanni, Anna Steiger, Laura Polvarelli, and Cecelia Hall as Zerlina, and John Kuether, Evan Boyer, and Chester Patton as Masetto.

“With Christmas I am away from home, but thanks heaven, we have Facetime and Skype”, says Lawrence Brownlee. The world famous tenor tells about his memories of Christmas at home and chose some music that brings back those memories. Brownlee not only talks about ‘the most wonderful time of the year’ but also about his very personal songcycle ‘Cycles of my being’. At the end we hear him sing about the angels that guard his family, far away in Ohio USA.

Soprano Lisette Oropesa was recently named as the winner of the 2019 Richard Tucker Award. She stars in  major productions around the world and has garnered acclaim in several prestigious debuts including in the title role of Lucia di Lammermoor at the Teatro Real Madrid and Royal Opera House.  Past winners include such luminaries as Stephanie Blythe, Lawrence Brownlee, Joyce DiDonato, Renée Fleming, Christine Goerke, Matthew Polenzani, and Deborah Voigt. Oropesa was inducted into this who’s who of American opera at the foundation’s annual gala on Sunday, October 27, at Carnegie Hall.  She chats with host Patrick D. McCoy about her career, winning the award and her upcoming appearance in DC with Washington Concert Opera in their performance of "Hamlet" by Ambroise Thomas on Sunday, November 24 at George Washington University's Lisner Auditorium.

Lawrence Brownlee is a big time Ohio State Buckeyes fan. Lawrence and Kai talk about whether singing gospel music influenced his operatic singing (7:40), how the world's obsession with body image has influenced his own image as an artist (10:35), and the surprising way he met his wife (19:20). They also discuss what keeps him motivated to keep working out when he is jet lagged (17:15), and whether he ever imagined he would have the career he has cultivated when he was a student at Anderson University (27:30). 

Internationally acclaimed tenor and opera star Lawrence Brownlee returns to "Across the Arts" with Washington, D.C. based arts columnist Patrick D. McCoy about his upcoming performance with Washington Concert Opera in Rossini's "Zelmira" and his recital under the auspices of Vocal Arts DC.  Previously, Brownlee chatted McCoy on THE I TOO SING AMERICA SERIES and was previously featured in Washington Life Magazine's "Perfect Pitch."  Named 2017 “Male Singer of the Year” by both the International Opera Awards and Bachtrack, American-born tenor Lawrence Brownlee has been hailed by The Guardian as “one of the world’s leading bel canto stars.”

Powerhouse vocalists Lawrence Brownlee and Eric Owens joined by Grant Wood Fellow Brandon Alexander Williams for our final Creative Matters collaboration of the 2018-2019 season. Hancher is always excited to partner with the Creative Matters team on this series that seeks to demonstrate that creativity is not only at the core of all research and discovery, but also central to our human experience. Listen in to hear Brownlee and Owens discuss their journeys into the field of opera, the artists whose work inspires them most, the necessity of infusing artistry with authenticity, the insights they share with students in masterclasses, the reason they will always consider themselves students, and more. Named 2017 “Male Singer of the Year” by both the International Opera Awards and Bachtrack, Lawrence Brownlee has been hailed by the Associated Press as one of “the world’s leading bel canto tenors.” Brownlee also serves as Artistic Advisor at Opera Philadelphia, helping the company to expand their repertoire, diversity efforts and community initiatives. Bass-baritone Eric Owens has a unique reputation as an esteemed interpreter of classic works and a champion of new music. He has been recognized with multiple honors, including the Musical America’s 2017 “Vocalist of the Year” award. Brandon Alexander Williams is a poet, MC, and DJ. He is currently a visiting instructor in the UI School of Music where he teaches courses in Hip-Hop.

THE ASSOCIATED PRESS CALLS HIM ONE OF THE WORLD’S LEADING BEL CANTO TENORS. LAWRENCE BROWNLEE, DEFINITELY HAS A GIFT. AND THIS TALENTED SINGER WILL TAKE CENTER STAGE THIS WEEKEND AT NORFOLK’S HISTORIC ATTUCKS THEATRE, WITH A CONCERT THAT’S SURE TO WOW THE AUDIENCE… AS HE BELTS OUT SONGS RANGING FROM OPERATIC CLASSICS TO NEGRO SPIRITUALS. BROWNLEE RECENTLY SPOKE TO OUR LISA GODLEY ABOUT THE PATH THAT TOOK HIM FROM SINGING SOLOS AT CHURCH TO THE METROPOLITAN OPERA. BROWNLEE WILL SHARE THE STAGE WITH BASS-BARITONE ERIC OWENS ON SUNDAY MARCH 3RD AT 7P.

Grammy-nominated Lawrence Brownlee speaks about his success singing bel canto opera. That music is part of his recital as part of the Secrest Artist Series at Wake Forest University. But the performance also includes spirituals, American popular songs, and gospel selections, and he talks about singing that repertory, as well. Learn more about the Secrest Artists Series

Philadelphia Chamber Music Society presents tenor Lawrence Brownlee and bass baritone Eric Owens with Craig Terry on piano, February 22nd at the Kimmel Center. KYW Newsradio's RJ McKay spoke with PCMS artistic director Miles Cohen.

A new opera that combines jazz and classical? Charlie Parker’s Yardbird is about music, creativity, communication, race and racism, drugs and addiction, and life and death and freedom. Seattle Opera Dramaturg Jonathan Dean introduces this new opera with music by Daniel Schnyder and a libretto by Bridgette A. Wimberly. Musical examples from an Opera Philadelphia performance, starring Lawrence Brownlee as Charlie Parker, Will Liverman as Dizzy Gillespie, Angela Brown as Addie, Emily Pogorelc as Chan, Elena Perroni as Doris, Chrystal E. Williams as Rebecca, and Tamara Mumford as Nica. The Opera Philadelphia orchestra is conducted by Corrado Rovaris.

Seattle Opera Dramaturg Jonathan Dean investigates two voice types infrequently encountered in opera: trebles (boy sopranos and adolescent female sopranos) and countertenors. Features conversation with Seattle Opera coach-accompanist Jay Rozendaal, and musical examples: TURN OF THE SCREW (Rafi Bellamy Plaice and Forrest Wu), LAKMÉ (Harolyn Blackwell), THE MAGIC FLUTE (Johanna Mergener, Emili Rice, and Isabel Woods), HANSEL & GRETEL (Sasha Cooke and Ashley Emerson), SIEGFRIED (Juls Serger and Julianne Gearhart), FALSTAFF (Peter Rose), Freddie Mercury, Colm Wilkinson, and Will Oakland, I PURITANI (Luciano Pavarotti and Lawrence Brownlee), Alessandro Moreschi, GIULIO CESARE (Bryn Terfel, Milijana Mijanovic, and Jochen Kowalski singing “Va, tacito” and Brian Asawa singing “L’empio, sleale, indegno”) and A MIDSUMMER NIGHT’S DREAM (Anthony Roth Costanzo).

Opera luminary Joyce DiDonato joins us for a conversation about the star-studded album Hopes and Dreams: The Lullaby Project. An outgrowth of Carnegie Hall's Lullaby Project – which pairs pregnant women and new mothers with professional artists to write and sing personal lullabies for their babies – the recording includes contributions from Fiona Apple, the Brentano String Quartet, Lawrence Brownlee, Rosanne Cash, Joyce DiDonato, Janice Freeman, Rhiannon Giddens, Angélique Kidjo, Patti LuPone, Natalie Merchant, Dianne Reeves, Gilberto Santa Rosa, Pretty Yende, and Catherine Zeta-Jones.

Amy Austin Holmes of American Univ in Cairo gives updates on the Syrian conflict. NASA InSight Project Manager Tom Hoffman on drilling into Mars' surface. Utah State Senator Lincoln Fillmore sponsored a new free-range parenting law. Lori Ospina of the Stockton Economic Empowerment Demonstration on the city's guaranteed income experiment. Opera tenor Lawrence Brownlee sings about being a black man in America. Rachel Wadham of Worlds Awaiting talks sketchnotes.

Lawrence Brownlee is one of the leading tenors of our time. He has sung on opera and recital stages all over the world. Tomorrow night, he will sing in Chicago, wearing the same boots that Pavarotti once wore (in Bellini's “Puritani”). A kid from northeastern Ohio, Brownlee is a huge Pittsburgh Steelers fan. He has sung the national anthem at Pittsburgh and other NFL games. And, yes... Source

With more than a decade of experience in the music industry, Andrew Ousley has worked with artists and organizations such as Lawrence Brownlee, Conrad Tao, Kevin Puts, Warner Music, On Site Opera and more. He has overseen the marketing, promotion, publicity and project management of fourteen #1 albums, from core classical to crossover to Fifty Shades of Grey - The Classical Album, and has built his company Unison Media into one of the the most highly-regarded publicity and marketing companies in the performing arts world. Join The Portfolio Composer community and support the creation of the platform on Patreon. Just $1/month to enable the creation of more great content to help you build your career! PR expert and entrepreneur Andrew Ousley shows us how we can clarify our story, define our brand, and better market ourselves and our music. Topics discussed in this episode: PR How the public perceives you PR=Branding=Marketing Controlling the story Slicing up the kaleidoscopic totality of your being PR is like dating Being in the public eye Slicing the personality of your brand The difficulty of talking to two audiences Make the story around your music feel momentous The question you need to ask yourself What a PR firm can do for you PR lead time Budgeting to hire a PR firm PR vs Agents Building a team Website: www.unison.media Recommended Listening: Ludwig van Beethoven, String Quartet 15 (Op. 132) Arvo Pärt, Spiegel im Spiegel Recommended Reading: David Cutler, The Savvy Musician: Building a Career, Earning a Living & Marking a Difference Milan Kundera, The Unbearable Lightness of Being: A Novel Give The Portfolio Composer podcast a Rating and Review! This post contains affiliate links.

Fearless Girl, a 130cm bronze statue of a young girl in New York's financial district, is at the centre of a fierce debate about public art, corporate power, and feminism. New York-based arts journalist David D'Arcy reports from the city. Now that the results are in, the official artist of the 2017 general election, Cornelia Parker RA, discusses documenting the 10-week campaign and the finished artwork she'll be creating for the parliamentary art collection.The leading American tenor Lawrence Brownlee talks about singing as fast and sweepingly as a jazz sax solo, and delivering jive talk in grand classical style, in the European premiere of the opera Charlie Parker's Yardbird. Radio 4's Poet in Residence, Daljit Nagra, discusses the work of poet and novelist Helen Dunmore, who died on Monday, and responds to Hold Out Your Arms, her final poem written just two weeks ago.Presenter Nikki Bedi Producer Jerome Weatherald.

Donald George ist Tenor und hat auf allen großen Bühnen der Welt gestanden wie z. B. die Scala in Mailand, MET in New York, in Wien, Hamburg, Genua, Teatro Colon in Argentinien u.v.a. Er ist Professor an der The Crane School of Music in Potsdam/NY und Ehrendoktor an der Musikhochschule in Shenyang/China. Im Interview wird darüber gesprochen wie er sich als Sänger auf eine Vorstellung vorbereitet. Was isst er, wie sieht seine Planung aus. Er geht den Tag quasi rückwärts an und plant von der Vorstellung zurück. Er spricht darüber, wie das Arbeiten an Rollen die Persönlichkeit entwickelt. Er beobachtet sehr viel und kann dadurch auch Menschen schnell einschätzen. Was ihm auch zugutekommt, wenn er bei Vorsingen dabei ist und Studenten hört und sieht. In seiner Arbeit mit seinen Studenten und Schülern sagt er immer, sie sollen ein Team bilden. Denn auf der Bühne steht man auch nicht allein. Man hat Kollegen, Musiker, Techniker, Maskenbildner und Regisseure um sich. Donald George hat das Buch „Master Singers: Advice from the stage“ herausgegeben in englischer Sprache. Dafür haben er und Lucy Mauro 21 berühmte Sängerinnen und Sänger interviewt und sie danach gefragt, welchen Rat sie geben können für den perfekten Ton. Darunter sind Lawrence Brownlee, Joyce DiDonato, Christine Goerke, Thomas Hampson, Jonas Kaufmann, Ana María Martínez, Jennifer Rowley, Gerhard Siegel u.a. Wie er erwartet hat, hat jeder einen anderen Tipp und gibt andere Ratschläge. Auch hier gilt: Viele Wege führen nach Rom … Im Januar und Februar 2017 tritt Prof. Donald George wieder in USA auf mit Carmina Burana und den Tenorpart in der 9. Sinfonie von Beethoven. Vorwiegend gibt er jetzt Meisterkurse für SängerInnen rund um den Globus. Derzeit ist er nicht an der Crane School, sondern hat ein Sabbatjahr eingelegt, die er für Forschungen nutzt um den Komponisten Hermann Zilcher. Seine Leidenschaft gilt der Forschung über Frauen in der Musik wie z. B. Margaret Lang, Mathilde Kralik, Mary McAuliffe, Alexandrine Gräfin Esterházy, Nadine Boulanger. Aber auch Anton Bruckner. Donald George wurde mit den Aufnahmen von Margaret Lang Songs I und II für Grammys nominiert. Lieblings-Ressource:  Youtube Eigene Bücher und Werke: Music Web International for  Classical CD of the year for "Love is Everywhere” Weitere CD’s: Songs of Margaret Ruthven Lang Mozart, La Finta Giardiniera Verdi, Requiem Und weitere, die auf der Website von Prof. George abgebildet sind. Buch: Master Singers: Advice from the Stage Bücher von anderen: Jeanice Brooks: The Musical Work of Nadia Boulanger Jerome Hines: Great Singers on Great Singing     Daniel Levitin/Susanne Röckel: Die Welt in sechs Songs: Warum Musik uns zum Menschen macht    Kontaktdaten: Website: Donald George  E-Mail: donald-george@donald-george.com   Likes, Teilen und Feedback sind willkommen. Und natürlich freuen wir uns auch über Kommentare und wenn der Beitrag gefallen hat über eine 5*-Rezension. :)

When Laurence Olivier played Othello in 1964, he would spend two hours a night coating his body with black grease, dying his tongue red and using drops to whiten his eyes. Such transformations have long since been banished from television and theater as racially insensitive, but some variations on this have doggedly continued in opera houses, including the Metropolitan Opera, up until this week. The Met has said that for its season-opening new production of Verdi's Otello the lead tenor, Aleksandrs Antoneko (from Latvia and white), will not wear dark-colored makeup. The company says it is "old-fashioned" and a "tradition that needed to be changed." Many would agree that at a time in which other symbols of racism are being discarded, that kind of makeup must go too. But some critics of the decision have argued that a blonde-haired, blue-eyed Moor is problematic too. Some say the real issue involves the lack of African-American tenors currently who can sing Otello. Lawrence Brownlee (Dale Pickett/Courtesy of the artist) In this podcast, we get three views on this. Lawrence Brownlee, who is one of today's most in-demand tenors, and who frequently appears at the Met and other companies, says he doesn't personally have a problem with a colleague wearing blackening makeup if it serves the characterization. However, if a singer "feels they're being humiliated or they cannot accurately or appropriately portray that character with makeup on – and it takes them out of their zone when performing – then I don’t think they should be forced to do it." But Naomi André, co-editor of the book Blackness in Opera and a professor at the University of Michigan, suggests that if blackening makeup is used, companies should include a disclaimer in a program note. Naomi André, co-editor of 'Blackness in Opera' (University of Michigan) "Have it discussed," she said. "Say that 'we realize that this has a very difficult history and for these reasons we've decided to use it or for these reasons we've decided not to use it.'" She adds: "What I think is most damaging is when there's no discussion about it, and then you get a situation where the cover of an artistic brochure shows somebody in blackface and then the rest of us are thinking, 'what's going on?'" (The Met's decision came after an outcry from some subscribers who took issue with a photo in its season brochure.)        Vinson Cole, tenor (Robert Schraeder) Vinson Cole, a tenor who has sung with many of the world's leading opera companies and orchestras over three decades, believes that the issue can be overstated. He says the use of makeup can be done subtly and without the connotations of racist minstrelsy. "When somebody's singing Otello or Aida, you don’t have to use a great deal of makeup to make it so very heavily black," he noted. "You want to give the illusion" of a black or ethnic character.  Listen to our guest's views on Madama Butterfly and the future of audience expectations at the top of this page and leave a comment below: What do you think about the Met's decision?

Lawrence Brownlee discusses the world premiere of Charlie Parker's YARDBIRD with Dyana Williams and Derrick Sampson on "Soulful Sundays" on WRNB-FM (100.3)

Lawrence Brownlee discusses the world premiere of Charlie Parker's YARDBIRD with Stephanie Renee on The Mojo on WURD-AM (900)

Lawrence Brownlee discusses the opera Charlie Parker's YARDBIRD with Dan Reed of WXPN-FM (88.5)

Lawrence Brownlee and Damien Sneed perform selections from Charlie Parker's YARDBIRD and Spiritual Sketches on Sirius/XM Real Jazz Channel 67.

Lawrence Brownlee and Damien Sneed perform selections from Charlie Parker's YARDBIRD and Spiritual Sketches on Sirius/XM Real Jazz Channel 67.

Lawrence Brownlee discusses the world premiere of Charlie Parker's YARDBIRD with Stephanie Renee on The Mojo on WURD-AM (900)

Lawrence Brownlee discusses the world premiere of Charlie Parker's YARDBIRD with Dyana Williams and Derrick Sampson on "Soulful Sundays" on WRNB-FM (100.3)

Lawrence Brownlee discusses the opera Charlie Parker's YARDBIRD with Dan Reed of WXPN-FM (88.5)

In this edition of In Tune with Opera Philadelphia, host Michael Bolton provides prepares listeners for the World Premiere of composer Daniel Schnyder and librettist Bridgette A. Wimberly's CHARLIE PARKER'S YARDBIRD, a commission by Opera Philadelphia as part of its American Repertoire Program. The podcast includes a brief bio of the historic Charlie Parker, reviews the opera's plot, and shares interviews about the creation of the piece with Daniel Schnyder and conversations with Lawrence Brownlee, Angela Brown, Tamara Mumford, and Will Liverman, about working together and discovering their characters.

In this edition of In Tune with Opera Philadelphia, host Michael Bolton provides prepares listeners for the World Premiere of composer Daniel Schnyder and librettist Bridgette A. Wimberly’s CHARLIE PARKER'S YARDBIRD, a commission by Opera Philadelphia as part of its American Repertoire Program. The podcast includes a brief bio of the historic Charlie Parker, reviews the opera’s plot, and shares interviews about the creation of the piece with Daniel Schnyder and conversations with Lawrence Brownlee, Angela Brown, Tamara Mumford, and Will Liverman, about working together and discovering their characters.

Each day during February, we posted a “Classical Music Moment in Black History” on our Facebook page to show the contributions of black artists to classical music throughout history. We’ve collected our twenty-eight February entries in this article. By the way, these entries were originally part of an episode of the Classical Classroom podcast (audio included below).  Composer Chevalier de Saint-Georges.  In the mid-to-late 1700’s, Chevalier de Saint-Georgeswas an Afro-French composer who was also France’s best fencer. After Napoleon re-instituted slavery in France, de Saint-Georges’ works were rarely played, though lots of his work has been recorded since the 1970’s. In 1803, virtuoso violinist George Bridgetower, who had studied under the leader of the Royal Opera, played with Beethoven. Beethoven then dedicated his Violin Sonata No. 9 in A Major to Bridgetower, and they premiered the piece together. Later, the two had a falling out – something to do with a lady – and Beethoven changed the piece’s name. It’s now called the Kreutzer Sonata. Poet Rita Dove wrote a book about Bridgetower and Beethoven’s relationship. Soprano Elizabeth Taylor Greenfield, “The Black Swan”.  In 1853, soprano Elizabeth Taylor Greenfield – people knew her as the “Black Swan” – made her New York debut at the Metropolitan Hall. While she could sing, her skin color would have denied her entrance to the concert. But that didn’t slow Greenfield down: In 1854, this classy lady sang a command performance before Queen Victoria. Composer Scott Joplin.  In 1868, innovative composer and pianist Scott Joplin was born in Texas. Joplin wrote 2 operas, one ragtime ballet, and 44 original ragtime pieces before he died. Composer Harry Thacker Burleigh.  From 1892-95, Antonin Dvorak – not black as you might know, but stick with me – was director of the National Conservatory of Music in New York City. The woman who founded the school, Jeanette Thurber, opened the school to men, women, blacks, and whites – pretty unusual for that time. Dvorak felt that a true American style of music should grow out of African- and Native-American music. Harry Burleigh, one of the earliest African-American composers and one of Dvorak’s pupils, introduced Dvorak to American spirituals. In 1898, Afro-British composer Samuel Coleridge-Taylor wrote the musical Hiawatha’s Wedding Feast. It was wildly successful during his lifetime. Coleridge-Taylor also visited the States and inspired American blacks to become composers. Tenor Roland Hayes.  In 1921 tenor Roland Hayes gave a performance before King George V of England. In 1923, Hayes debuted at Carnegie Hall. He was the first African American man to become famous worldwide as a concert performer, and he became one of the world’s greatest Lieder interpreters. In 1926, Undine Smith Moore graduated cum laude from the Juilliard School. She was the first graduate of Fisk University, a historically black school, to receive a scholarship to Juilliard. According to the Richmond Times-Dispatch, Moore became “…one of this country’s most prominent composers and arrangers of choral works, many based on or inspired by Negro spirituals and folk songs.” Composer William Grant Still.  1931 was the year William Grant Stillbecame the first Black American composer to have a symphonic work performed by a major American orchestra. The Rochester Philharmonic performed his Afro-American Symphony. Stills had another big “first” in 1949 when his opera Troubled Island – based on a libretto by Langston Hughes – was performed by the New York City Opera, becoming the first opera by a black person to be performed by a major company. William Grant Still was also the first black man to conduct a major orchestra (LA Phil) and he won 2 Guggenheim fellowships. In 1933, Caterina Jarboro became the first black woman to appear in a leading role with a major American opera when she again played the title role in Aida with the Chicago Opera.  Composer Florence Price. Also in 1933, the Chicago Symphony Orchestra performed Florence Price’s Symphony in E Minor. She was the first female African-American composer to have a symphonic composition performed by a major American symphony orchestra. Baritone Todd Duncan and Anne Brown. Culver Pictures/file 1935. In 1935, George Gershwin’s Porgy and Bess opened on Broadway, with baritone Todd Duncan as Porgy, and sopranos Anne Brown as Bess and Ruby Elzy as Serena. In 1945, Todd Duncan became the first African American to sing with a major American opera company, when he played the role of Tonio Leoncavallo’s I Pagliacci with the New York City Opera. Contralto Marian Anderson In 1939, both the Daughters of the American Revolution and the District of Columbia’s Board of Education refused to allow contralto Marian Anderson to use Constitution Hall and Central High School auditorium for a recital respectively. So, she gave her concert on the steps of the Lincoln Memorial instead, drawing a crowd of 75,000 – not to mention the millions who listened on the radio. (To read more about the performance, go here.) Lyric Soprano Camilla Williams (l) with Margery Mayer. Courtesy of Fred Fehl/New York City Opera. Also in 1945, lyric soprano Camilla Williams signed a contract with the New York City Opera in 1946, becoming the first African American to do so with a major American opera company. She debuted with the role of the heroine in Madama Butterfly. And in 1947, soprano Helen Phillips was the first African American to sing on the stage of the Metropolitan Opera. In 1951 William Warfield and Muriel Rahn were the first black concert artists on TV – they appeared on The Ed Sullivan Show. Soprano and educator Dorothy Maynor. In 1953, soprano and educator Dorothy Maynor was the first black person to sing at a US presidential inauguration when she performed the national anthem for Dwight Eisenhower. Composer Margaret Bonds. Wikimedia Commons. Margaret Bonds, who frequently collaborated with Langston Hughes, was one of the first black composers and performers in the US to gain recognition. In 1965, when the Freedom March on Montgomery, Alabama took place, she wrote Montgomery Variations for orchestra, dedicating it to Martin Luther King, Jr.. For more information about Ms. Bonds, check out this piece from WBUR 90.9 FM. Conductor Henry Lewis. In 1968 Henry Lewis became the first black conductor and music director of a major American orchestra when he was appointed to the New Jersey Symphony Orchestra. He was also the first African-American to conduct at the Metropolitan Opera. 1972 saw Scott Joplin’s opera Treemonisha finally premiere – 55 years after his death – at the Atlanta Memorial Arts Center. In 1976, Joplin posthumously received a special Pulitzer Prize for his contributions to American music. Trumpeter Wynton Marsalis. Photo by Luigi Beverelli. Courtesy Mr. Marsalis’ website. In 1983 and 1984, trumpeter Wynton Marsalis became the only artist ever to win Grammy Awards for both jazz and classical records. He won the Pulitzer Prize for Music in 1997 for Blood on the Fields, a three-hour oratorio for 3 singers and a 14-member ensemble. The oratorio follows the story of an African couple sold into slavery in the US. In 1987, conductor Paul Freeman became Founding Musical Director of the Chicago Sinfonietta. This orchestra’s mission is “Musical Excellence Through Diversity”. Dr. Freeman served for 24 years. Violinist Aaron Dworkin. Courtesy of the MacArthur Foundation website. Violinist Aaron Dworkin founded the non-profit Sphinx Organization in 1996 to cultivate the development of young black and Latino musicians in the classical music profession. The Sphinx Competition, spotlights young black and Latino string players on a national platform. Composer George Walker received the Pulitzer Prize in 1996 for Lilacs for Voice and Orchestra, a work commissioned by the Boston Symphony Orchestra as part of its tribute to tenor Roland Hayes. This was the first time a living African American won the prize for music. Mezzo-Soprano Denyce Graves. Courtesy of the artist’s website. In 2001 mezzo-soprano Denyce Graves sang “America the Beautiful” and “The Lord’s Prayer” at the National Day of Prayer and Remembrance Service at the Washington National Cathedral following the September 11 attacks. James DePriest conducting the Oregon Sympony. Courtesy of the Sympony’s website. In 2005, James DePriest, one of classical music’s most accomplished conductors who at the time of his death in 2013 was Laureate Music Director of the Oregon Symphony and Director Emeritus of Conducting and Orchestral Studies at the Juilliard School, received the National Medal of Arts. Tim Brooks won a 2007 Grammy award for Best Historical Release with his Lost Sounds: Blacks and the Birth of the Recording Industry, which includes performances by Harry Burleigh, Roland Hayes, and Edward Boatner. Tenor Noah Stewart. Photograph: Mitch Jenkins Mitch Jenkins/PR. In 2012, tenor Noah Stewart became the first black musician to top the UK Classical Album Chart. Of course, we had to leave a GAGILLION people out of our daily Black History Month Facebook posts because (duh) there are just not enough days in the month. Like Jeffrey Mumford, Awadagin Pratt, David Baker, Imani Winds, André Watts, Chelsea Tipton, Thomas Wilkins, Morris Robinson, Lawrence Brownlee, Valerie Coleman, Rachel Jordan, and Tona Brown. And Daniel Bernard Roumain. And Black Violin. And… you get the idea!  But, blacks are still one of classical music’s most under-served communities. As of 2011, according to the League of American Orchestras, only 1.83% of our nation’s orchestras’ makeup was black. Aaron Dworkin has pointed out that African-American composers are often missing in traditional classical music station programming. But people like Dworkin and many others are working to change that!  We hope you’ve enjoyed learning about all of these awesome artists.

THE CELEBRITY SERIES welcomes opera superstar, tenor Lawrence Brownlee as the first interview of the new year. Brownlee is perhaps one of the most internationally acclaimed singers on opera stages around the world. Proudly carrying the torch passed by the legendary tenor, George Shirley, Mr. Brownlee majestically carries forth the rich legacy set by his predecessor. Superstar Metropolitan Opera tenor  Lawrence Brownlee is one of the most consistently sought-after artists on the international scene. He is lauded continually for the beauty of his voice, his seemingly effortless technical agility, and his dynamic and engaging dramatic skills. Mr. Brownlee’s professional stage debut took place in 2002 as Almaviva in Barbiere with Virginia Opera, a role he subsequently performed in: Vienna, Milan, Berlin, Madrid, Berlin, Dresden, Munich, Baden-Baden, Hamburg, Tokyo, New York, Washington, San Diego and Boston, among other memorable engagements.   A native of Youngstown Ohio, Mr. Brownlee received a Bachelor of Arts degree from Anderson University and a Master of Music degree from Indiana University.  

Welcome to TENOR HEAVEN!!!!!     There are so many superb tenors in the opera world today,I thought you would like a sample of their art.They include: Lawrence Brownlee, Eric Cutler, Jan Botha, Salvatore Licitra, Ben Heppner, Marcelo Alvarez, Ramon Vargas, Roberto Alagna, Juan Diego Flores, Jonas Kaufmann, Rolando Villazon, David Daniels (countertenor), Marcelo Giordani, Joseph Calleja, Piotr Beczala (in photo).        (70 min.)

Since Marian Anderson made her Met debut as Ulrica in 1955, several Afro-American artists have followed; in addition,several black artists of the past must be recognized for their fine singing:       Marian Anderson (photo),Leontyne Price,Paul Robeson, Dorothy Maynor,Grace Bumbry,Shirley Verrett,Florence Quivar,Angela Brown, Lawrence Brownlee