I went to Southwest Baptist University and got an B.A. in a double major, Theology and Speech/Drama. For the latter I got elected to Who’s Who in American Colleges and Universities. I did graduate work towards my M.Div at Southern Baptist Theological Seminary and Midwestern Baptist Theological Seminary. I did a pastoral internship and became a licensed Southern Baptist minister. However, I was not very happy with that denomination because they were becoming very right wing and anti-intellectual. But it was in seminary that I received an “inner call,” not to be a minister but to be an opera singer. Without any formal training in voice I entered the Metropolitan Opera Auditions of the Air in 1974 and won. I was given a two year apprenticeship with the Santa Fe Opera and made my stage debut there, then with the Tulsa Opera, which nourished me during my early years. I sang at the Metropolitan Opera in a Gala Concert in 1975 and was awarded the Gladys Axman-Taylor Memorial Award for being one of the ten National Winners of the Met Auditions. I moved to New York in 1975 and began studying with Jerome Hines and Cesare Bardelli of the Met and coached with Alberta Masiello, the head of the coaching department of the Met. For two years I had a mailbox at the Met because so many people were writing me there. Every day I would come in the side stage door and check my mail. I made my New York stage debut in 1980 at the Brooklyn Academy with the Chamber Opera Theater of New York, in an opera by Sir William Walton called The Bear, based on the Chekhov farce by the same name, and received a great review from The New York Daily News. I became a member of Jerome Hines’ personal Opera Company and sang with him for 20 years. In 1981 I starred in the New York premiere of Rimsky-Korsakov’s opera, Mozart and Salieri, and received highly favorable reviews from New York critics as well as 100 critics from all over the world. From that point I sang leading roles in all the major opera companies in America and some in Canada and Europe. Some of the fun times were when I sang La Traviata in Central Park with the New York Grand Opera. We also performed it at Coney Island and in Brooklyn. Also, in Lincoln Center, I sang a summer concert with the Guggenheim Concert Band.
I won several awards: Besides the Met Auditions, I won the national award for the WGN Auditions in Chicago and the Bruce Yarnell Memorial Award for Baritones in New York.
My European debut was in 1984 as Verdi’s Rigoletto which I played at the Belfast Grand Opera House as part of the Northern Ireland Opera Festival. One performance was broadcast over radio by the BBC. It was still dangerous over there then. We had a judge in the chorus who always had two body guards with him. The theatre itself celebrated Queen Victoria being named Queen of India and was ornately dressed with huge elephants all over the theatre, carved ones of course. The Director was the very famous Nicholas Hytner with whom I got along famously. Hytner went on to make many hit movies and became director of the National Theatre in England.
I was fortunate to sing with the great opera singers of that day who were international stars. I always felt my work in opera was to inspire my audience to look upward and ask the big questions in life: “What is Truth, Beauty, and Love.” Art cannot give the answers but it is very good at turning one’s gaze upwards. In short, I was trying to inspire people with my singing and acting. I felt that I could do it better on a stage than from behind a pulpit! But I did not lose my interest in theology. Far from it, I completed and finally received a legal Th.D degree in 2016 just out of my desire to finish something I started long ago.
I was Professor of Voice at the University of British Columbia, Indiana University, Perdue University of Indiana and the University of North Carolina at Greensboro. I am retired now but still teach a few students. It has been a long road from Carthage, and could have been longer. In 1982 I sang a concert based on war and peace, half in Russian (which I learned) and half in English, all high song literature on the subject, including Mussorgsky song cycle, “The Songs and Dances of Death” (sung in Russian). The sponsor for the concert, which was to be held at Marymount Manhattan College in Manhattan, invited the United Nations delegation from the Soviet Union and the delegation from The United States. The American delegates did not attend, but the entire Russian delegation came and filled the first three rows of the theatre. At the end of the concert, they rushed up on stage to thank me. The lead delegate said to me “That was real Russian you sang!” and we talked for a few minutes. He said he would try to get Goskoncert (the Soviet Art Agency, to invite me to perform in Moscow. All sorts of Congressmen recommended me to them including Rep Taylor from Missouri, but in the end it didn’t happen. In the course of my career I sang for US Representatives, Senators, Consuls, and Ambassadors. I almost sang for Jimmy Carter. I met him in the elevator going down to my rehearsal! Stars of the Met became my good friends and even were my fans. At the Met, James McCracken, Jerome Hines, Ezio Flagello, Carlo Cossutta, Teddy Uppman, Gilda Cruz-Romo, Marilyn Niska were all my fans and I was their colleague. Those were the days!
Galina Vishnevskaya, the Russian soprano, who was exiled from the Soviet Union along with her husband, Rostropovitch, chose me to sing the leading Russian Baritone role in Tchaikovsky’s Opera, Iolanta, which she was to direct at the Salzburg Festival. From hearing me sing, she thought I was Russian, so my Russian must have been pretty authentic. I sang the role of Boris Godounov many times in Russian. It was a role that fit me well, perhaps because I learned it from my teacher, Jerome Hines, who was one of the great Boris’ of all time. I received many reviews from world critics which placed me at the top of my operatic profession. But I developed personal enemies among the moguls who politically control opera because I would not depart from my goals to use opera to inspire people and uplift them. I would not do crazy things like wear a space suite and pretend to be singing on the moon, or sing totally nude! Such idiocies were creeping into opera even then. But I did the best I could to fulfill my dreams to use opera as an inspirational art. Hundreds of my performances are on youtube and have been seen worldwide now. I wish I could have done more, but the miracle is that I did all that I did fighting against congenital heart disease. I sandwiched my career in between three open heart surgeries. My life will just have to do! 🙂