(Image Source: IMG Artists)

When Bass Baritone Michael Sumuel landed in San Francisco after finishing his run as Porgy in the Washington National Opera’s “Porgy and Bess,” he realized he’d only been home about 15 days the entire year. He was in town for a couple weeks before he flew to Sydney where he’ll sing the title role in “Le nozze di Figaro” in his debut with Opera Australia. He’s in Australia until the end of August and then heads to Houston to sing Porgy with Houston Grand Opera (HGO).

OperaWire caught up with him while he was packing his bags.

OperaWire: Are you a good traveler? What do you pack?

Michael Sumuel: I am but unfortunately, I can’t sleep on flights. I pack music to review and learn, and download a lot of books.

OW: What do you read?

MS: I’m on a kick now of reading books based on movies. I like to compare the two. My college voice teacher sent me Marian Anderson’s biography, so I’m going to read that on the flight. I’m tasked with passing it along to a cast member when I get to Houston. She was one of the greats who paved the way for singers like myself.

OW: You grew up in Texas, earned your Master’s at Rice, and spent two years with HGO’s young artist program. So in many ways, you’re returning home. How did you start singing?

MS: I was born and raised in Odessa, a small town in west Texas by a single mom, and twin sisters who are 11 years older than me. It was like having three moms, at times. Thankfully, there were a lot of cousins who were like my brothers.

I sang in the chorus in public school from early on. My junior high and high school choir directors, Kathy Lollar and Shawn Bell, inspired me to pursue music in college.  I wasn’t sure if I should pursue performance or education.

OW: What made you choose?

MS: Mr. Bell received recruitment pamphlets from the head of choral studies, Dr. Michael Marcades, at Columbus State University in Georgia. Another voice teacher in Odessa, Laurie Wash, helped prepare me for the audition. After I was accepted into Columbus State, she also suggested I do a recital in Odessa the summer before I began my freshman year. Foolishly, I declined but the more I sang art song, the more I loved it, and felt why not follow the performance track? During my sophomore year, my voice teacher Earl Coleman introduced me to lieder, the German art songs for solo voice and piano. I have to say, these were some of the most beautiful songs I had ever heard. Schumann’s “Liederkreis” and “Dichterliebe” song cycles were my favorites. They opened my ears and heart to a wider array of classical vocal music, which eventually led me to Mozart. Figaro was and still is my favorite role to date. That opened the door for me to the entire world of opera.  I was curious to see where it would take me.

(Credit; Cory Weaver)

OW: The Washington National Opera (WNO) production was your first time singing Porgy and first time in the full “Porgy and Bess” opera. What brought you to it?

MS: I’d studied the role for years and knew parts of the opera. I’d sung “Bess You is my Woman Now,” in grad school and worked on the arias while in the HGO studio. Eric Owens was the first Porgy I ever saw live in San Francisco during my summer at Merola. Mentors advised me to put off the role for as long as possible. My eventual manager told me, “Do as much Puccini, Mozart, and other standard rep before taking on Porgy.”

OW: Why did he say that?

MS: “Porgy and Bess” is a beautiful opportunity for so many black artists to shine on stage. The problem isn’t the piece itself- it’s magnificent- it’s how companies can sometimes pigeonhole black artists who perform “Porgy and Bess” and don’t envision them singing standard rep.   

OW: Porgy is on stage for long stretches of the opera. In the Francesca Zambello production, which was done in WNO and will be performed in Houston, Porgy uses a crutch to portray his disability. Was that difficult?

MS: I was singing Figaro at the Met while preparing for Porgy. I had spinal fusion surgery in 2023 and still get physical therapy for that. When Reggie [Reginald Smith Jr. and Sumuel split the role of Porgy in DC], and I started rehearsals, Francesca asked us which side we wanted to portray Porgy’s limp. For me, the left was better, for Reggie, the right. The physicality is as crucial to Porgy’s portrayal as anything but it takes a huge toll on the body.

OW: What role would you love to sing?

MS: Don Giovanni. I would love to portray antagonists. It’s interesting to see things from the villain’s point of view. He doesn’t consider his actions unjustified. It would be a fun challenge.

OW: You have a wife and young son. All the travel must be difficult. How do you make family life work?

MS: My family joins me on location as much as possible. We tour the city, visit museums, and attend musical events. We find ways to make a home away from home wherever I’m singing. It’s tough at times but it means I’m busy and I’m always thankful for the work.

OW: You’ll be back at the Met in November in “The Magic Flute.” What are you excited about?

MS: I’m finally diving back into the role of Papageno. The Met’s holiday presentation of “The Magic Flute” is a fan favorite and a great opportunity to bring in a wider audience to the opera. Between the two casts, I’ll be around a lot of familiar faces and on stage with old friends with whom I haven’t performed in many years. I’m looking forward to the process!