I was compelled by their creations. The Harriet Tubman Opera and The Emmett Till story by Trilogy: An Opera Company, a non-profit organization that focuses on the works of black composers and artists of color.
These two stories are almost mythic in African American history because in many ways they represent our greatest emotional victory and our greatest perceived emotional failure. The victory of choosing life at the risk of death; and the compromise of building community with those who hate us and kill our children.
We struggle with both of these impulses, humanly.
Trilogy is our humanity.
VISIONARY presents Kevin Maynor’s Trilogy: An Opera Company.
- Noelle Lorraine Williams| VISIONARY| A Project of REBORN
This interview took place by e-mail September 2009.
NOELLE LORRAINE WILLIAMS| Trilogy’s work is truly postmodern. Each piece symbiotically merges the best of traditional opera with what is innovative and relevant but also significant to African American worldview and cosmologies.
Witnessing your Harriet Tubman piece, surrounded by the water bank and the noises of downtown Newark made the emotional and visceral impact of the story powerful and moving. It was there that I understood that of all music styles, opera in many ways reflected the rawest and most guttural of human emotions. How do you maintain this very delicate balance of traditional form and being communally responsive?
KEVIN MAYNOR| Relevancy is the name of the game. The art I choose and the artist must be or be willing to, reflect the world in which we live. This kind of art will find a very real place with the audience member. They will relate to what is familiar first...then they can except newness and even change as long as there is respect for their own personal journey.
"I have long felt that excellence is the only product left for the artist to conquer. I have always wanted my art to speak for itself. Money must not decide what is great." – Kevin Maynor
NOELLE LORRAINE WILLIAMS| You are a recognized artist and have performed with acclaim internationally. Fanfare described you saying "This is a super voice, a voice to compare not only to Robeson but also to Alexander Kipnis, to Boris Christoff, even to Ezio Pinza-in other words to the very greatest bass voices of the century." In what ways does your commitment to your craft influence both your decision to artistically direct and how you direct Trilogy?
KEVIN MAYNOR| I have long felt that excellence is the only product left for the artist to conquer. I have always wanted my art to speak for itself. Money must not decide what is great. Humankind must have a chance to discover this. This happens by way of exposure. My standard in an art form that is built on perfection or close to it, drives me in the direction of greatness regardless whatever the financial constraint, the audience always knows right from wrong and good from bad.
NOELLE LORRAINE WILLIAMS| There were two significant aspects to 'Emmett Till’ composed by Charles Lloyd, Jr. and Sonya Sanchez that you debuted last year. One was the use of the photographic images (Till’s mutilated body) that visually set this country on fire. The second was the powerful performance by Robert Mack depicting Emmett Till as a young teenager. During so many parts of the piece I remember the mostly African American audience being moved by his playfulness, “growness“, wit and finally his vulnerability. This piece succeeded in so many ways because it made us remember that young Black male teenagers are just that; they are inquiring, growing and manifesting their own identity - human beings.
In what ways do these operas serve to remind us of our humanity and the desire to grow and be reborn?
KEVIN MAYNOR| When an operatic piece finds "common ground"...those things that are clearly familiar we see and are reminded who we really are and want to be, we cannot help for remembering this is a simple beauty - taken for granted.....often.
"Opera is larger than life and full of chance… So many people fear not being able to understand. But the music is the motivation and all must be reflective of the music." -Kevin Maynor
NOELLE LORRAINE WILLIAMS| What is the urgency behind your work?
KEVIN MAYNOR| The drive you see and hear is indeed urgent. There is no time to waste. The art I practice you must see live and experience this. You cannot sit at home and have the experience of the music theatre. Opera is larger than life and full of chance. Do you dare to come to the operatic theatre and try to take in so much at one time?
So many people fear not being able to understand. But the music is the motivation and all must be reflective of the music. All in opera must reflect the music or it must clearly not reflect the music. If neither is clear to the audience member, then you are watching a poor performance.....it is as simple as that.
NOELLE LORRAINE WILLIAMS| In what ways can people help?
KEVIN MAYNOR | You may help by planning your giving to us and all that you give to. This practice will help all who exist in life and will surely help us...especially if you plan to give to us for the rest of your life.
