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See photo highlights from the Harriet’s Spirit Hands-On-Opera Workshop below.

Meet Bradley Kynard, soloist, Montgomery and The Janitor

My initial introduction to Opera Parallèle occurred in 2016 when I was hired to sing in their groundbreaking opera Champion. I knew from that experience that OP was a company that I would love to work with again. I went on to sing in OP’s productions of Xochitl and the Flowers and Trouble in Tahiti. When the invitation came to collaborate in Harriet’s Spirit, there was no question. Initially, I was brought on to sing the part of Montgomery in a scene with Harriet Tubman. Later, when asked to sing a second role, I was happy to oblige. This new character, The Janitor, has a fantastic aria.

Due to the rigorous Covid-19 restrictions and protocols, I was concerned that this experience wouldn’t be as fulfilling as those in the past. Thankfully I couldn’t have been more wrong. In fact, the protocols made it much easier to relax and participate in the music-making process. When learning a role, you read the complete story, study your part, and put your interpretation into the notes. Some of that usually goes out the window when you hear the part in context and hear the full orchestration. This music was unlike much of what I’d performed in the past. It was so inventive in the way the notes shaped the character. Much of the work was already done for me. I hadn’t encountered these types of harmonies before. Mr. Shelby’s music fell easily to my ear in a uniquely unexpected yet pleasing way. As usual, the OP staff was professional and supportive, which made our jobs as artists a joy.

The power of music is often overlooked or misunderstood. I’ve been in many operas, and rarely, with the exception of modern opera, do they address topics that I have a personal connection to or are familiar to me. For instance, I’ve never been a person in the line of succession to the throne or been betrayed by a confidant; however, I am an African American male who knows our country’s history and have read many accounts of the life of Harriet Tubman. In the case of Harriet’s Spirit, I immediately had a connection to the subject matter. I encountered something that I rarely experience – an immediate connection to the text. After reading the score, I felt I already knew the characters and how I wanted them to feel and speak. I remained open to the notes from the creative staff, but it was great to have my own ideas secured when I arrived.

During the workshop, I experienced what I think all artists want to experience – artistic freedom and understanding. Further, the best music and roles teach you something or give you further insight into the human experience. This was that kind of experience. I can’t wait to share it with a live audience.