In an exclusive interview with rolling out, Reginald Smith Jr., baritone, delves into his captivating role as old Emile in the opera Champion, a character’s journey through redemption and the quest for love. He discusses the significance of representation in the arts, emphasizing how seeing performers like Donnie Ray Albert on stage inspired him to pursue a career in opera. Smith’s journey underscores the importance of visibility and the impact of diverse voices in traditionally exclusive spaces, highlighting opera as a medium for universal storytelling and personal discovery.
What drew you into the world of opera?
When I was in high school, we went to see the Atlanta Opera do a production of Tosca in the middle of the day. I didn’t know anything about opera. I have been to musicals. I’d seen lots of jazz concerts, lots of choir concerts at Morehouse and Spelman, and the Atlanta Symphony. I’d seen plays, the Tyler Perry-type things, but I had never seen an opera.
When I had the opportunity through my school, I thought, well, why not. I’d get out of school for most of the day. I was immediately moved by the music of Puccini, which is just so visceral and exciting in general. But when the main baritone lead, Baron Scarpia came out, I was shook because it was Donnie Ray Albert, who’s a legendary Black baritone.
I was with my 15 or 16-year-old self, seeing a Black man on stage singing this powerful role, and I was just so enthralled. I remember going to look up everything about Donnie Ray Albert. I bought his album. I told my teacher I wanted to take more voice lessons. That was really what started it for me.
What makes Champion such an essential piece to this contemporary landscape of opera?
Well, it’s for me with any opera: You must tell the truth of the story. You must dig into what makes this story so potent. The biggest thing for me with old Emile is redemption and love. I feel like he’s always, throughout his life, trying to find love in some way. He didn’t get it from his mother. His mother deserted him and left him with Cousin Blanche, who made him carry cinder blocks over his head and whip him with her leather strap. Then he comes to New York and reunites with his mother. He’s exploring himself. Do I like men? Do I like women? I don’t know. I’m trying to find myself. I’m trying to find love. He gets married to Sadie because that’s what he’s supposed to do. I’m sure he loved her, but that didn’t fill the void. There’s this sort of interesting complexity that I think by the end, you learn to love yourself and accept yourself for all of who you are.
Champion will run until February 11, 2024 at the Lyric Opera in Chicago.
