Taking Porgy
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Taking Porgy 42 BOSTONIA Fall 2016 24-53 Bostonia_FA16.indd 42 9/30/16 4:48 PM The role is musically difficult, physically grueling, and politically sensitive. Operatic bass Morris Robinson is all in. BY SUSAN SELIGSON Photograph by Dana Smith on Fall 2016 / Bostonia / 43 Fall 2016 BOSTONIA 43 24-53 Bostonia_FA16_r1.indd 43 10/5/16 3:26 PM MORRIS ROBINSON HAS LED many lives, but the destiny of the former NCAA off ensive lineman and Citadel graduate who went on to train account executives for several major corporations has been determined in large part by his sonorous, limber, and soulful bass, for nearly three decades fl exed only in church choirs. At the age of 30, what the devout Christian would call his God- given gift was nurtured, polished, and coaxed into singing Italian and German librettos after he won a full scholarship to the BU College of Fine Arts Opera Insti- tute. That gift continues to ma- ture even as Robinson commands the world’s great opera stages. “The bass voice is a very rare instrument,” says Robinson, who, unlike a soprano, speaks in the same key he sings in. (Think Bar- ry White.) “I’m a true bass, not a bass-baritone, and those don’t just grow on trees.” Robinson has been honing his gift rigorously since his fi rst opera role, as the king in a 2001 CFA main stage production of Verdi’s Aida. It was the fi rst live opera he’d Robinson as the periodically. But the La Scala African American basses since Grand Inquisitor, ever seen. with Eric Owens production, conducted by Alan former CFA faculty member Now, after years of reluctance, as King Philip II in Gilbert and directed by Philipp Simon Estes sang Porgy opposite Robinson (CFA’01) is poised Don Carlo. Harnoncourt, is likely to soar Grace Bumbry (CFA’55) at its to sing the part of Porgy in the above them all. Metropolitan Opera debut George Gershwin opera Porgy Still, says Robinson, a virtuoso in 1985, the part came with a and Bess, to be staged this No- of Verdi’s choral works as well potential curse: once you sang vember at Milan’s fabled La Scala as a sometime performer at the Porgy, you could be seen as lack- theater. It is a carefully pon- Metropolitan Opera, it was a ing the gravitas for Puccini or dered career move. Although the diffi cult decision. It isn’t just the Wagner. For several talented musically rich role, written for a physical demands of the role— basses who sang the part in the bass, is a perfect fi t for his vocal Porgy’s legs are withered and popular production truncated for range and theatricality, Porgy is a Robinson is six-foot-three and Broadway, there was no Salome departure for Robinson. Remem- 300 pounds. And it isn’t that the or Aida in their futures. Robinson bered by most as the kneeling role is laden with nuance: Porgy felt he could not embrace the man on a cart portrayed (also is a robustly resilient yet tragic often-underestimated role with reluctantly, it turns out) by Sid- k ONLINE: innocent willing to sacrifi ce looming doubts about his ability ney Poitier in Otto Preminger’s Watch a video everything for the world-weary, to master any classical opera, 1959 fi lm version of the con- of Morris Rob- manipulative Bess. Robinson’s re- anywhere. densed Broadway operetta, Porgy inson singing luctance stems from the fact that At La Scala, where he began is a vulnerable role that could as the Grand the role was conceived at a time rehearsals in October, Robinson not be more unlike most of the Inquisitor in when leading parts for African will sing opposite Kristin Lewis villains, gods, and kings mark- Don Carlo Americans were few and stereo- as Bess and Lester Lynch as ing Robinson’s string of classical at bu.edu typical and did little to open Crown, the menacing, posses- opera roles. With its memorable /bostonia. stage doors largely padlocked to sive laborer Porgy kills to protect bluesy score and nearly all-black people of color. his beloved Bess. Porgy and Bess cast, Porgy and Bess is revived What’s more, for many great premiered in 1935, with music 44 BOSTONIA Fall 2016 24-53 Bostonia_FA16.indd 44 9/30/16 4:48 PM and his football background en- “Morris’ voice literally shook the rafters when he approached the stage. dowed him with the team skills Friends talked about getting chills from the sheer power of it.” a professional cast demands, Daniels says. Robinson has become one of by Gershwin, libretto by DuBose Robinson at a 1998 concert in opera’s most sought-after basses. Heyward and Ira Gershwin, Salem, Mass. Robinson was He has what singers call “a really and lyrics by Ira Gershwin and singing in the rarely produced good top,” with a range from a Heyward. With bone-chilling Halloween operetta Satanella, by seismic low F to an F two oc- songs like the lullaby “Summer- the Victorian composer Michael taves above it. “My range is your time” and the ballad “Bess, You William Balfe. “Morris’ voice typical basso (up to the E above Is My Woman Now,” it portrays literally shook the rafters of middle C), but I sing baritone African American life in the fi cti- the tiny town hall when he ap- F-sharps all the time,” says Rob- tious Catfi sh Row. Conceived by proached the stage from the back inson. “I also sang a low C in a Gershwin as an “American folk of the audience,” Daniels recalls. performance of The Magic Flute opera,” Porgy and Bess featured a “Friends talked about getting at Houston Grand Opera. The cast of classically trained African chills from the sheer power of it.” audience started clapping in the American singers, a bold move in After the concert she encour- middle of the scene. I shouldn’t those times, and Gershwin con- aged Robinson to apply to BU. have done it; it’s not written and sidered it his fi nest work. But in She recalls his work ethic and his doesn’t make any sense musi- America it was not considered a understanding that as a diamond cally. But I was showing off . Even legitimate opera until 1976, when in the rough, “he needed to work the conductor had a chuckle, but a Houston Grand Opera produc- much harder than his classmates, was like, ‘Morris…from now on, tion of the complete three-hour who, even though the work is just sing what Mozart wrote. He score established the work as grueling for everyone, entered doesn’t need your help.’” important as well as powerful. the program with classical music Anyone who wants to hear Its Met premiere came nine training.” Robinson still works exactly what that true basso years later. perhaps twice as hard as other range means can fi nd the You- “Some African Americans singers to nail a role. His high- Tube video of Robinson singing still see Porgy as perpetuating a stakes supervisory positions at Robinson, as the Show Boat classic “Old Man Sarastro in The . stereotype, but I’ve moved away fi rms such as Exxon and Mon- Magic Flute, is River ” In that gospel anthem from that,” says Robinson. “I santo, where he was an accounts “a true bass, not a single word—jail (“You gets had the same issue with Joe in manager overseeing distributors a bass-baritone,” a little drunk and you lands in Show Boat he says. “The bass ,” referring to his role and their sales representatives, voice is a very rare jail”)—is a musical journey unto as the Mississippi stevedore in a groomed him for long hours, instrument.” itself, plummeting to a low G and critically acclaimed 2015 revival of the Jerome Kern and Oscar Hammerstein (Hon.’57) musical, which premiered in 1927. The iconic Paul Robeson inaugurated that role, in stage and a later fi lm version. But Robinson put his stamp on the part, and he intends to do the same with Porgy. “When I studied Joe, I saw that he was dignifi ed in his stance,” he says. “And the only thing wrong with Porgy is his legs don’t work. He has strength and character. I’ve never been the underdog. He’s a strong character who turns Bess’ life around and shows her what a real man is.” Mozart Doesn’t Need Your Help Former Opera Institute director Sharon Daniels, a CFA associate FACING PAGE: KELLY & MASSA; THIS PAGE: EDWINA PICKLES EDWINA THIS PAGE: & MASSA; KELLY PAGE: FACING professor of music, discovered Fall 2016 BOSTONIA 45 24-53 Bostonia_FA16.indd 45 9/30/16 4:48 PM then climbing slowly to middle E. Robinson belts out the notes as Robinson’s “Old Man River” is a revelation. In his hands the song inhabits written, and adds some range his entire body with simmering rage and tragic frustration. for good measure. The result: you feel the word, with all its un- dertones of pain and defeat, June. As a child, he sang with Some singers prefer to spend in your gut. the Atlanta Boy Choir, but at 10 the hours before going on stage In fact, the whole of Robinson’s he persuaded his parents to let in quiet meditation, but Allison “Old Man River” is a revelation. him give up his music lessons Voth, a CFA associate professor His delivery, more full-bodied to play football. He earned a BA of music and Opera Institute than Robeson’s both physically at the Citadel in 1991, where he principal coach, recalls Robin- (he was nicknamed “Massive” was twice a Kodak All-American, son prepping by running up and during his run as a two-time All- and after graduation took a job down the stairs.