Willard White, the Jamaican-born British bass-baritone, has sung in every great opera house in the world, having made his professional debut at New York City Opera in La bohème in 1974. He sings the final recital in the 2015 Temple Song series at Middle Temple Hall, London E4 on Thursday, 7pm.
How did you choose the programme for this recital?
I like to collaborate with my pianist, Julius Drake. We do research and dig around. I’m singing some Kurt Weill songs – settings of Walt Whitman – I’d never come across before, about military events and the effects of war. Since singing in Mahagonny recently, I’ve become fascinated by Weill. The Schubert songs are standard lieder repertoire that give my voice a chance to tell a story. And then there’s Copland and Ives and show tunes by Cole Porter - an opportunity to include the American influence and have a really international range.
You came to classical music via other kinds of music. How?
Not by my design! I was messing around with pop songs. I didn’t think I wanted to express myself through classical music at all. It was quite distant from me. Then at high school I began to find that perhaps that kind of singing would work better for my voice, and I’d sing for longer too, rather than ruin my voice trying to shout against loud backing music. One day I was fooling around at school, hiding behind the other boys in some choral music. I didn’t realise I was singing so loudly. The teacher singled me out and sent me to learn Valentine’s song from Gounod’s Faust. Then I won a competition, got a scholarship to the Jamaica School of Music, and it catapulted me in the direction I’ve been following for more than 40 years.
Describe a change in opera since you started.
Scenery used to be heavy, elaborate, traditional. The last three productions I’ve done have taken place in a box with fluorescent lighting. Do I mind? I’m not in a position to mind. Change is inevitable. I do what works best for the integrity and quality of the performance.
You’ve done some spoken acting roles. Apart, obviously, from the music, what’s the chief difference?
When I played Othello with the RSC I assumed there’d be total freedom - no musical metre to follow, or conductor to control you. But it’s almost a luxury to have music to rely on - or sometimes blame. In a play, there’s no one to tell you when to start! But you can go on stage and act with almost no voice, which you can’t do if you have to sing.
One word, apart from deep, to describe the bass voice?
Embracing. It offers a reliable energy you can lean on. It’s comforting. It’s often seen as the voice of God because it’s so resonant and powerful. But it’s good at being the devil too…
Favourite roles?
There are so many. I always say “The one I’m singing now”. But I have loved doing Mephistopheles in The Damnation of Faust and Klingsor in Parsifal.
You’re in Paris this week. Why?
I’m spending some days with my wife! I should have been in St Petersburg but there were visa problems and the work was cancelled, so I’m enjoying the time and preparing for my recital.
What’s next?
Lots of concerts, and a Messiah – my first for 20 years – and a Christmas Oratorio. I’m looking forward to the vocal exploration needed for those. Life’s a continual learning process for me, every day non-stop discovery. I’m lucky.
