Lyric Opera 2025-2026 Issue 5 - BLAC

9 | Lyric Opera of Chicago by composers, living or past, with connections to Chicago. And from those results we put together a program where everyone would be able to shine. So you, for instance, will sing the Habanera from Carmen . We’re a bit short of mezzos. Although I classify myself as a soprano, I’m also a bit of a zwischenfach , so while I sing roles like Bess and Tosca, Carmen has actually also become one of my signature roles over the past few years. So yes: I’ll be honoring Grace Bumbry, who sang 10 or 11 roles at Lyric, including Carmen in 1964. Interestingly, her career was similar to mine in that she sang a range of both mezzo and soprano roles. She is one of the many legendary singers referenced on this program. I have had the honor of meeting several of the legends we are paying tribute to, including Ms. Bumbry. Amazing! Yes. Way, way back when I was a young artist at Opera Theatre of St. Louis. I actually sang in a master class for her. There are people who just have that “It factor” and have a wow presence and a regal bearing, and she was certainly one of them. In a way, you are a perfect example for the concept of this concert. Is this kind of an embodiment of what B.L.A.C. does? B.L.A.C. officially formed in 2023, but it was initially just meant to be people getting together and finding community after the pandemic. In the summer of 2021, the founding members had the idea to have a gathering (they called it the “Cuzzins Cookout”) in New York City, where Black vocalists and musicians could attend, for good times, food, and kinship. At the cookout, they noticed a lot of the younger artists were asking the older artists for advice. So, the next summer, they thought to incorporate a master class. In the years in between, it became clear that there was a need amongst young Black singers for mentorship and scholarship, and for creating more performance opportunities for them. I became a part of B.L.A.C. at the end of 2024, and our goal continues to be to keep growing and building, raising awareness of the importance of our mission and creating more of these important opportunities and experiences for the artists we support. There wasn’t something like this in place for those talents? There are many organizations that do support young artists and musicians in wonderful ways. What I think is so important and special about B.L.A.C. is that it is so specific. Our mentorship weekend is a good example. We have our four mentees, and we fly them into New York for three days. They arrive on a Friday afternoon, then they leave Sunday evening. We took them to the Met — the first time ever for several of them. We took them out to dinners and got to spend quality time with them. Voice lessons, a master class, career panels, and a headshot photoshoot session for all of them. The whole Board was involved with this? Yes. It is one of the things about which we are most proud. We all remember when we were coming up in the industry. When I moved to New York, I was 23. I had just won the Met Competition, and started in the Lindemann Young Artist Development Program. I was so green. And there was Morris Robinson, who, of course, has sung at Lyric, and he was a third-year artist in the program. He said, “I just want you to know I’m here for you.” Frankly, 25 years ago, there weren’t lots of singers of color singing on major operatic stages. There just weren’t. Morris was one of them, and he was so supportive and kind to me. A few years later, Larry Brownlee would make his Met debut. I remember becoming friends with him, too. I remember the fellowship, the nurturing, and the advice that they gave to me as a young Black singer. But it was B.L.A.C.’s mission,says Executive Director Alyson Cambridge, is to share professional knowledge acquired for decades. Enrique Vega