This week the Seattle Opera is set to world premiere “Jubilee” created by Tazewell Thompson and with vocal arrangements by Dianne Adams McDowell and orchestrations by Michael Ellis Ingram. The work tells the story of the historic Fisk Jubilee Singers that came together after the emancipation and the end of the Civil War.

The work features important spiritual and and 13 singers. For the world premiere, the Seattle Opera has enlisted some of the most important black singers in the world, including Aundi Marie Moore.

Moore will make her Seattle Opera debut after performing to wide acclaim at such companies as the Metropolitan Opera, Dutch National Opera, Opera de Monte Carlo, and Sarasota Opera, among others. A winner of the Sphinx Medal of Excellence, Moore spoke to OperaWire for a short interview in anticipation of the world premiere.

OperaWire: What is it like to work with a living creator? What are the rewards of working with Tazewell?

Aundi Marie Moore: It’s amazing to work with Tazewell because it feels like you’re creating something with him. He’s open to ideas, so we try things and see how they work. He’s also done so much historical research – he’s actually the one who introduced me to these hidden figures. I had heard of Fisk University, but had no idea how it came about, and I had never heard of the Fisk Jubilee Singers. Now I know that the university exists because these singers performed all over the world. They had the fortitude – and I can’t imagine the obstacles and struggles they faced – to persist so that there was a college to educate Black people after slavery. Having Tazewell here to teach us about this history has been invaluable, and it’s amazing to collaborate with such a giant.

OW: What is the responsibility of creating a role and premiering an opera? Tell me about your character Maggie Porter.

AMM: Well, Maggie Porter isn’t just a role or a character – she was a real person, so I’ve tried to be as authentic as possible. In addition to learning from Tazewell, I did my own research, including listening to native Tennesseans on YouTube so I could do my best to emulate their lilt. I also try to embody her strength and courage. Ella Sheppard kept detailed journals in which she described each of the Jubilee Singers, and Maggie was clearly the diva, always wanting to be front and center. Even though it was a choral group, she always envisioned herself as a soloist. She had those types of diva dreams and I’m all here for it! But that wasn’t all she was – she was also a teacher who believed that education was how Black people would be able to rise and have a better life. She was the last of the original Jubilee Singers to pass – she died at age 89 in 1942 – and she is probably one of the reasons I’m singing on stages right now. I stand on the shoulders of Maggie Porter and other African American singers who followed her.

OW: What are the challenges of this music?

AMM: This is a cast of individual opera singers who have all trained extensively as soloists, so the biggest challenge is pulling off the illusion that we’re a choral ensemble with one homogenous sound. It’s a tricky thing for all of us to blend and pull back when needed. We also need to sound like we’ve been singing together forever, as the Jubilees had been. Luckily, everyone is really lovely to work with, so it’s been a lot of fun rehearsing with the cast.

OW: What are you excited for audiences to see in this new work?

AMM: I’m most excited for audiences to learn about the Fisk Jubilee Singers and their enduring impact. This music puts me in such a peaceful state, and I pray that the audiences, no matter their religious beliefs, also feel at peace when they hear these beautiful arrangements. More than anything, I hope that they come away believing that there is always more that can be done. You think back to this troupe of young singers, most of them 18-21 years old – I doubt they imagined they would leave such a legacy. I want others to see that everyone can do their small part and that there’s always more to be done.

This world premiere is not like anything you’ve seen. The beautiful music and great story will keep you engaged, and the singers are so talented. Especially if you’ve never been to the opera, it’s a great first opera.

For those not in Seattle, Moore is set to perform with the National Philharmonic and Opera Theatre of Saint Louis this season. 

Recordings

For those wanting to hear more from the soprano, here is a first look at Moore in “Jubilee” and here she is in “Porgy and Bess” and “La Boheme.”