The Artist of the Week is baritone Jorell Williams, who will be singing Belcore in Manitoba Opera‘s production of The Elixir of Love from October 26th to November 1st (info and tickets here).
Jorell is a vocal powerhouse and advocate for artists. This season you can find him on stages in both Canada and the United States including appearances with Kentucky Opera, Omaha Symphony, New York Festival of Song, National Philharmonic, Stratford Symphony, Choeur-St. Laurent and Opera Columbus. He is also on the Artistic Advisory Council of On-Site Opera and a member of the New Music Board for the Brooklyn Art Song Society, where he consults on Diversity, Equity and Inclusion initiatives.
This week, we sat down with Jorell to find out more about how he prepares for a new role, his musical family and a surprising celebrity run-in.
What/who inspired you to sing?
Walter Belinsky, my elementary music teacher. This man made sure that we had every option available to us, and to this day he is thoroughly invested.
If you weren’t a singer, you’d be…?
A teacher, songwriter or public speaker. I would add “comedian” to the list, but I don’t think I’m funny (I’m lying, I’m hilarious).
Which opera role do you want to be singing in 10 years?
Papa Germont in La Traviata. I have a story here: When I was a senior in undergrad, we were tasked with selecting an aria by a composer from the early period of renaissance all the way to contemporary. This stretched the entire year. By the time we got to Verdi, I wanted to sing “Cortigiani” – my coach asked me “Are you sure?” and I confirmed. Keep in mind, I am 19, 20 years old and just finding my voice. After singing the first phrase, I let out an audible “nope”, and a piece of music slid across the piano. It was “Di Provenza”, with the caveat that I learn the aria for Verdi style and nuance, and to keep it in my back pocket until I am much, much older!
Who is a singer you admire that is currently working?
Justin Michael Austin – He’s my baritone baby brother and I am so incredibly proud of him.
What’s the strangest/funniest thing that has happened to you on stage?
Pants ripped AND fell during a production of L’enfant et les sortilèges, but I ran with it and made an incredible bit out of a clock with chains dangling everywhere while shuffling off the stage for my costume change.
What’s your favourite orchestral instrument? Why?
The viola – It has the spirit of a violin and cello combined into one. Also – VIOLA DAVIS, I LOVE HER!!!
What is one surprising thing that you have learned in becoming an opera singer?
It’s always strange to say “I’m an opera singer” when I meet people casually who would never in a million years look and me and think “Yeah, let’s roll the dice on this and take a wild guess!”
Are there more musicians in your family? If yes, who and what do they play/sing?
My dad is kind of a funk and R&B legend – his name is James “D-Train” Williams. Our careers do not intersect, so when older folks find out they freak out. I can tell you this – it will never have the impact on my career as one might think because to me, he’s just my dad!
What’s the best thing about being an opera artist?
Traveling around the world, experiencing beautiful cultural discoveries, finding your voice as an individual, and for me, continuing to defy racial stereotypes that come with diverse representation on stages around North America and the world.
Which actress/actor would be cast as you in a film about your life?
Actress…I would want Michelle Obama. Actor? Probably Jamie Foxx or Will Ferrell.
Do you sing in the shower?
Absolutely not…in tune (haha), but it’s because I like to run through the Broadway catalogue for my wife who is listening in the next room.
What’s a big investment for an opera artist, but totally worth it?
A composer in your pocket to write things for you.
Do you have a funny joke for us?
I once entered a contest where I had to enter ten puns on paper to see which one would win. No pun in ten did.
What is the best advice you have ever been given?
People make mistakes. Also, don’t be afraid to fail – we all do it at some point, and it’s how we regain our position that challenges us to be better.
If you could be stuck in an elevator with one person, who would it be?
It already happened – Catherine Zeta Jones talked me off a ledge when I was heading to a big audition after leaving my binder at another audition on the upper far left quadrant of New York City. She then said “You’re going to be amazing,” patted me on the shoulder, and as it turned out, she was rehearsing across the hall from my audition. I made sure to sing the hell out of “Queen Mab” that day.
The music industry is tough, and filled with rejection. How do you cope? Does it get easier? At the end of the day, not everyone is going to like what I have to offer. That doesn’t mean that I’m not good enough, or that their reasoning is off – it just means that at that specific time and place that I’ve presented my best work, it does not fit what they may need me for. Something is always lurking around the corner, so I just play the waiting game and find something else to do in the meantime. If the pandemic taught us anything, it’s to make sure you have a backup plan to the backup plan of your original backup plan.
Were there any directors in the past that have really inspired you?
Bartlett Sher is a dream director to work with. Mary Birnbaum is a dream director to work with. Jacque Trussel had a legendary career and brought the killer stage instinct out of me. Tazewell Thompson made me feel like I had wings. Michael Cavanagh was my heart and soul.
What is the ultimate goal of opera?
Grand storytelling with drama and comedy, while playing a game of “telephone” that ends up with the tenor and soprano consummating only to find out he’s her brother and she jumps off a castle while he runs through a fire, and the baritone is left high and dry while the bass smokes a cigar and the mezzo-soprano cashes in on a bet she made with everyone because she already knew what was going to happen.
How long do you spend preparing to get into a character?
As soon as I sign the contract, I start to draw out the timeline of character development in my head. Sometimes I finish a character arc, and immediately combine it to the next character I am working on in order to continue their story in a different way (by design, but also because sometimes we have to finish a production, hop on a plane, and start staging a completely new opera the very next day in another country).
What is happiness for you?
Anything that gives me a reason to smile. Since my wife and I have had our daughter, she is the exact definition of “happiness.”
Are you a perfectionist?
If I can get one to three things to go right everyday, then I could care less about perfection. Perfect to me is being present, available, honest and doing everything you can to make special moments last.
What does success look like to you?
Being interviewed for this article.
LEARN MORE ABOUT JORELL WILLIAMS
VISIT HIS WEBSITE
© Dahlia Katz
© Dahlia Katz
The Elixir of Love
Manitoba Opera
October 26 – November 1
ADINA: Andriana Chuchman
NEMORINO: Jonah Hoskins
BELCORE: Jorell Williams
DR. DULCAMARA: Peter McGillivray
GIANNETTA: Karen Santos
CONDUCTOR: Tyrone Paterson
DIRECTOR: Ann Hodges
This Charming Comedy Is Sure to Warm Your Heart.
Whimsical wit and beautiful music combine with playful imposters, mistaken love, and a “magical” elixir to create a tantalizing comic concoction.
Gaetano Donizetti’s sparkling opera is overflowing with tunes to dazzle your ear and warm your heart. Features one of the most popular tenor solos ever written, Nemorino’s achingly beautiful and touching “Una furtiva lagrima” (One furtive tear) and the show-stopping ensemble, “Adina, credimi” (Adina, listen).
Lovesick Nemorino, the poor, but good-hearted country boy, has fallen madly in love with the rich, smart, and beautiful Adina. She’s out of his league, but luckily the scheming Dr. Dulcamara has just the cure for what ails him: drink his celebrated love potion and within 24 hours, Adina will be unable to resist him. Will this magical tincture really work?
Sung in Italian with projected English translations.
MUSIC Gaetano Donizetti | LIBRETTO Felice Romani (Based on the French comedy Le Philtre)
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Máiri Demings is Opera Canada’s digital content specialist. She’s also a mezzo-soprano who has sung with Tapestry Opera, performs regularly with VOICEBOX: Opera in Concert and Toronto Operetta Theatre, and is one half of duo mezzopiano with pianist Zain Solinski.
