I've been thinking that it takes a lot of courage to be a musician. You have to nurture your talent and share it with others. You have to travel constantly and dedicate yourself to your art, plus you must be creative and innovative in a rapidly evolving world, careful to always be true to yourself. This is a challenge that the young baritone Justin Austin is meeting with enthusiasm. He is the winner of the Kennedy Center’s 2024 Marian Anderson Vocal Award, which offers a cash prize, a residency at Washington’s Duke Ellington School of the Arts, and a recital presented by Washington National Opera. Prior recipients include illustrious names such as Leah Hawkins, Frederick Ballentine, Will Liverman, Soloman Howard, Ryan Speedo Green, Denyce Graves, Eric Owens, Lawrence Brownlee, J’Nai Bridges, Janai Brugger, John Holiday, and many others.
Nicole Lacroix: First of all, congratulations on winning the award. How did you find out you had won?
Justin Austin: The news came as a complete surprise to me just a few months ago. Francesca Zambello [Artistic Director of WNO] sent me an email letting me know that she, Sam Gelber [Director of Artistic Planning & Operations], and the board selected me as the 2024 winner. I was over the moon because not only did I always dream of singing at the Washington National Opera, but this particular honor in the name of one of my heroes means more than words can describe.
NL: Part of the prize is a Kennedy Center recital. You write that your program is reflective of your musical journey—where you've been, where you are, and where you are going. Can you elaborate?
JA: My program is a reflection of who I am and what I represent in the world of classical music. Both of my parents were opera singers, so I've been a part of this beautiful and rich tradition for a long time. One thing I have learned in my experience with opera and classical music in general, is that it stays alive by artists continuing to perform the beloved standard repertoire as well as forging a new path performing contemporary works. The classics that we all love were once contemporary works that needed to be introduced to the public. That being said, my mission with both opera and song has always been to carry on the tradition of standard rep while also premiering new works that speak to the current world. This specific recital feature repertoire tackling stories and topics that are over four hundred years old. It also features themes and events that were very present in my parent’s generation. In addition to this, it includes material that was written just in the last year for me to premiere. All of this is an example of telling stories about where I (we, as a people) have been, where I am, and where I'm going.
NL: Marian Anderson is an important figure not only for her prodigious talents but for her triumph against racism and injustice. Did you feel in putting this program together that you had a responsibility not just to entertain with beautiful music, but to tell stories that resonate with our place in history? (I'm thinking of the pieces by Olaf Bienert and Hanns Eisler, also of Ricky Ian Gordon’s Marvin Gaye Songs and Robert Owens’ Mortal Storm)
JA: Marian Anderson was an ambassador of peace and her extraordinary career, as you mentioned, was indeed used to triumph over hate, injustice, and racism. She is a hero of mine and like her, I try to use whatever platform I have to help our country and the world be a more united and loving place for all of us. An important step within that is facing some of the challenges. In my recital, I consciously have programmed pieces that speak about some of the injustices and issues that adulterate not just our country, but the world. These selections strategically highlight the political, social, and psychological impact of greed and hatred while also highlighting the incredible brilliance and artistry of historically marginalized communities like the queer, Black, and female communities.
NL: Your parents were both opera singers. How does your career differ from theirs? (the world of classical music has evolved—is it wider, more stylistically diverse, somewhat more open to new music—or am I imagining things?)
JA: My career is very similar to theirs, but also has some differences. The main difference would have to be the time period. This leads to a plethora of other differences, including: updated contemporary influences on composers, economic challenges (that not only make the standard of living difficult for artists but everyone else, leading to a lack of interest and motivation to invest in arts and culture), limited opportunities due to Covid, the general standard aesthetic of singing, and many other things. Ironically, one positive outcome of today’s lack of interest from the general public, is opera companies are trying and investing in new ideas to grow their audience. There has recently been somewhat of a renaissance of new works that seem to be captivating and generating new audiences. Me being an artist that understands the importance of new music, has greatly benefited from opportunities to tell these new and exciting stories. Even though my parents had very long and successful careers, they didn't necessarily have an abundance of opportunities to tell new stories.
NL: Part of the Marian Anderson prize is the opportunity to mentor young people at the Duke Ellington School. Do you enjoy working with kids?
JA: Working with and mentoring young people is extremely important to me. I am where I am today because I was exposed to this art form at an early age. I was encouraged and supported in my dream to be an opera singer. I never had issues of feeling like opera wasn't for me or that there wasn't a place for me. I know that so many young people would be interested in opera if they just had some of the same exposure and encouragement I received when I was a child. Therefore, I make a point with almost every company I work for, to go into schools and work with young people. This isn't just to encourage them to pursue classical music, but also to illuminate how classical music and art in general can enrich their lives.
NL: What's next for you?
JA: Just a couple of weeks after my recital, I start rehearsals at the Lyric Opera of Chicago singing the title role in Terrence Blanchard’s “Champion.” This is one of three title roles I have coming up this season, and I'm truly honored and grateful to be sharing my gifts in this way. “Champion” is a contemporary opera with lots of themes that will resonate with today’s audience. The opera I have scheduled after “Champion” is Rossini’s “The Barber of Seville,” which premiered in 1816, so my mission of performing both standard and contemporary repertoire is thankfully right on track.
NL: Thanks so much for taking the time to chat with WETA Classical. Your program is wide-ranging, inspiring, and significant, and I have no doubt, will be beautifully performed with pianist Howard Watkins. Thanks for taking us on such a rich and courageous musical journey. Congratulations again.
Marian Anderson Vocal Award Recital:
Justin Austin, baritone
Howard Watkins, piano
Tuesday, December 12, 7:30 p.m.
Kennedy Center Terrace Theater
Program:
Shawn Okpebholo
(b. 1981)
“Oh, Freedom”
Maurice Ravel
(1875–1937)
Don Quichotte à Dulcinée
“Chanson romanesque”
“Chanson épique"
“Chanson à boire”
Olaf Bienert
(1911–1967)
“Augen in der Grossstadt”
Hanns Eisler
(1898–1962)
“Embrace the Fascists”
Kurt Weill (1900–1950)
“Ballad of the Easy Life,” from The Threepenny Opera
Kurt Weill
“Call from the Grave”/“Death Message,” from The Threepenny Opera
Ricky Ian Gordon
(b. 1956)
“Song for a Dark Girl”
Marvin Gaye Songs
"Mercy"
"Sugar"
Robert Owens
(1925–2017)
Mortal Storm, Op. 29
“A house in Taos”
“Little Song”
“Jaime”
“Faithful One”
“Genius Child”
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