"Surround Yourself with Things That Inspire and Motivate You." Chatting w/ Edward Washington II!
Edward Washington II
By. Kevin Ray Johnson (Staff Writer for OnStage Blog)
It is my biggest honor to introduce you to Edward Washington II. Edward is an American Opera Tenor who was born in England, raised in Saudi Arabia, and lives in New York City. He recently performed in Fire Shut Up in My Bones at The Lyric Opera of Chicago and will next be seen in X: The Life and Times of Malcolm X at The Detroit Opera. He studied voice at Stetson University and then attended Morgan State University for his Master’s degree. His voice teachers were Mollie Rich, Craig Maddox, Kenneth Kamal Scott, and Marquita Lister. He performed with The Lyric Opera of Chicago, Orlando Opera, Central Florida Lyric Opera, Opera Orlando, International Festival of the Voice, New York City Opera, and the Metropolitan Opera, just to name a few.
Edward is one of those performers who put a smile on your face when you see them shine and Edward's light is shining very brightly right now which makes everyone who knows him very happy because he truly deserves all the success that is coming his way. I am so happy to have the privilege of featuring Mr. Washington!
How old were you when you knew you wanted to be a performer?
That's an interesting question! I was in mysenioryear in high school when I realized I wanted to BE a performer! I have performed before and I loved acting and singing whenever I could. I loved music and hearing it and being around it. But it wasn't until I was in the Niceville High School Chorus and Opus 1 that performing entered my mind as something I wanted to do.
Where did you study? Are there any mentors who helped you become the amazing performer you are today?
I had two voice lessons at Niceville High School. I studied formal voice lessons at Stetson University where I received my Bachelors of Music. Then seven years later I started at Morgan State University and graduated with my Masters of Arts. I have a very big list of important mentors I cannot truly name everyone that played a part directly in getting me to the point I'm at. My list of mentors is huge! My mom Jessica Beckett who I watched perform growing up and always encouraged me and poured endless amounts of love into me. Theresa Taylor, Tamera More, and especially Constance Andrews instilled the importance of an impeccable ear and clear communication in my presentation coming up through grade school.
Lisa Garmon and especially Scott Barth was my band teacher for 10th and 11th grades who helped me believe in myself (which was a constant struggle then) and guided me without pushing me getting me very cool honor band, and music program experiences. Michael Dye was my chorus teacher in my 12th-grade year. Mr. Dye was the game-changer that lead to me pursuing a career as a vocalist. In one year as a musical son, taught me how to sight-sing, pushed me into Opus 1 and even college while also making me feel loved among many other children/students. Ducan Couch was over the Stetson Choral program and recruited me personally, encouraged me as a conductor, and taught me to be a true leader (in terms of the details of musicality and communication) in choral settings.
Molly Rich and Dr. Craig Maddox were the two main voice teachers that poured so much wisdom, pedagogy, and knowledge in the field of singing into me. Taught me my 1st and 4th years at Stetson respectively and taught me for years after as well. They are part of me and my technique in a major way. There isn't a day that I phonate that doesn't include their instruction, advice, or wisdom. Molly Rich devoted so much time (many free years) to guiding me into the artist I am. Her level of instruction is legendary and profound and I'm forever in debt to her. Dr. Michael Rickman was my piano teacher at Stetson, and Organist at the church I attended for over 10 years. His work with me, watching him in recitals with the faculty, or turning pages for him were constant master classes.
Robin Stamper was my first professional chorus master and also coached me while with Orlando Opera. He also was in high demand for concerts and recitals. Being under his baton taught me a maestro can have fun professionally while having his chorus prepared for every event! His mix of brilliance, passion, and generosity instilled in me millions of examples of exceptional music-making and his trust in me to do well was very encouraging in times of self-doubt. I learned so much vocally and musically with him and he challenged me and also trusted me with opportunities to push my development as a professional musician and leader outside of singing. Bill Doherty hired me for numerous lead roles, especially at a time when I felt overlooked and forgotten. He could pull drama out of me and helped me with my technique and keep me from quitting. He showed me that I could be a principal artist with the right mindset and tools. I couldn't have grown as fast without the confidence and trust he was pouring into me putting me on actual stages. Fr. Rudolph Cleare saved my life from the deepest depression and made me more aware of and take ownership of my decision-making and understanding of how it affects my life and my work as Music and Education Director for the "Negro Spiritual" Scholarship Foundation changed me forever for the better. Molly Losey, life coach extraordinaire gave me invaluable tools to heal from wounds, accept difficult things, and battle self-doubt, especially in this singing field! Together this is how I developed as a performer in my early days.
Timothy Amukele pushed me to go to grad school, and pushes me as an artist on the constant through mentorship, friendship, coaching, and musically collaborating. Kenneth Kamal Scott was my voice teacher in grad school the first year. Helped me gain an understanding of my communication as a black American tenor, learning to have knowledge of what that means for myself, and to face my high notes fearlessly. He passed away in February of 2014; I was there with him. His legacy for me was that he could always hear (and reveal) the "rose" of the voice and was never distracted by the "thorns". He's me trying to stop myself from saying so much more about him. Vincent Stringer poured inspiration, knowledge, and care into me at Morgan. Watching and hearing this teacher/brother/artist sing is enough to grow from! But, his passion for teaching, learning, health, and excellence in music grew me. Opera diva Marquita Lister has an amazing and inspirational story. She taught me during my second year of grad school and we would be here all day for all that she poured into me in one year. A true inspiration/artist/ who became a powerful voice teacher and still mentors me. I cannot thank her enough for her passion for me or the students I've seen her work with.
Dr. Lloyd Mallory, Dr. Lester Green, Sam McKelton, Marvin Lowe, Courtney Carey, Louis Otey, Kenneth Overton, Reginald Smith, Kevin Bagby, Russell Thomas, Curtis Rayam, Rev Robert O Simpson, Craig Brown, Chauncey Packer, Janinah Burnett, Dr. Rebecca Bedell, Mark Oswald, April Haynes, Gregory Sheppard and I must highlight Robert Troeger whose belief and investment in me for over 10 years and the communities he's brought me to is a major reason why I am singing and teaching today. This list of people have directly and individually filled me with exceptional quality mentorship. Including knowledge of technique, artistry, authenticity, or provided me a professional stage or platform to be who I am artistically and grow from the experience and providing me a space to ask difficult questions. They have each pushed me to be a better artist, singer, and musician and have invested super high-quality time in me as well! I have still more names I could and should add and I apologize if anyone feels left out or forgotten. But the people listed above have truly added major improvements to who I am as an artist or how I sing.
Fire Shut Up in My Bones is a piece of history that will truly be remembered forever. How has your experience been in this amazing Opera?
I've now been part of the Metropolitan Opera and the Lyric Opera of Chicago productions of the show. My experience was truly thrilling and deep. On a personal level working on an Opera that dealt with childhood pain and trauma affecting us as adults, and learning to make choices as adults felt truly important. Seeing an Operatic intentionally black male character that possessed intelligence physically, mentally, and artistically with a desire to achieve great things hit home for sure. Thinking was of artistically seeing a growing black boy craving intimacy and love on stage, and possible unconscious mental shifts it can bring to the audience in breaking several subconscious perceptions that leads to teens getting killed and "mistaken" as adults.
To see such black culture on stage presented to the world through the Opera medium felt extremely important and real. Then there is the cast! I mean the singers are brilliant and inspirational and powerful and vulnerable. The chorus in both productions was filled with talent that could (and did in some cases) play principal roles to thrilling effect. There were so many things to be wowed by in every performance I've been in with this show. The principles poured so much life into the roles and at times I felt myself being healed or inspired by their performances. Then the community of the singers, actors, and dancers just poured into each other and connected and encouraged the constant. None of the toxic energy that tends to be associated with classical artists had space to thrive in this beautiful environment. This show has left a major mark on me and I'm eager to be a part of it again.
Are there any shows, moments, or performances in your career that stick out and will always be near and dear to your heart?
Oh, man! To keep it as brief as possible, the first time I did Ralph in HMS Pinafore, Tamino in Magic Flute, and Pong in Turandot with Central Florida Lyric Opera is very dear to me and showed me possibilities in myself I didn't think existed. Every single show with Orlando Opera is extremely near and dear to my heart! I'm so sad it didn't continue, but happy that Opera Orlando is doing great things now. Playing Mr. Scratch in Moore' Devil and Daniel Webster at Morgan State University was a major highlight for me. Firstly, the level of vocal talent there was awe-inspiring. Then to get to play an evil character and discover new perspectives, and body movement was a thrill. I had fun working through such wonderful and challenging music. Singing in concert with Air Force Strings.
Singing a solo at Carnegie Hall with Courtney Carey's Stars of Tomorrow will always be near and dear to my heart! Spoletta in Puccini's Tosca with Phoenicia Festival of the Voice will be incredibly memorable to me. The amazing work of Maria Tadaro and a fantastic cast while in a pandemic and working with COVID protocols and the answers to solutions was just groundbreaking! I hope Opera is presented with that much innovation more often. Porgy and Bess at the Metropolitan Opera holds its own wonderful place in my heart on so many levels. The community, the talent, the artistry, the fun, and the commitment!! My time as a chorister with Lyric Opera of Chicago again holds a deep place in my heart on so many levels. Now I'm here with Detroit Opera bringing back a full production of X: The Life and Times of Malcolm X back with composer Anthony Davis here and working with conductor Kazeem Abdullah (who is a black male) are highlights for me.
What advice would you give any aspiring artist who wants a career in the performing arts?
Run! lol. I would tell them to write things down regularly. This is one piece of advice so many people do not listen to. They try to "think through" or "ponder" or "work it out in my mind" or "find balance". I cannot tell you the change I see in people once they write things down. It's so simple, but there is so much aversion to it. (probably because it doesn't feel simple and takes a lot of time to be very honest about what's being written). Still, write down core values that inform actions and choices. Write down who you are as a person and artist. Be able to articulate "who are you'' with accuracy and evidence. Write down who they want to be and how they want to live. Write down the effect you want on the world and in your communities and environments. I would tell them to focus on thriving in the field and not surviving. I would tell them not to repeat the old negative tapes of what you aren't capable of or reactions to past mistakes. I would tell them to be goal-oriented, but emotionally aware.
I would tell them to be dedicated to a life of thankfulness and focus while allowing flexibility to enjoy things outside of their career. I would tell them to surround themselves as much as possible with things that inspire and motivate them to be the greatest human on this earth they can be (by their thought-out definition or image of who that is). I would tell them to focus on the team of people that believe in them and ask them hard difficult questions about yourself, their perception of your talent, and what steps to take to move forward. I would say prioritize mental and spiritual health. Focusing or overplaying mental messages like "I can't, it's too late, it's too early, it's too hard) all tend to cause stop or slow down an artist from their goals. 1)Taking the time and making the space to think through possibilities 2) confirming commitment and clarity through writing, and 3) living actively and persistently.
I would also say don't look for unconditional love, look for love that is unreserved especially if it is "conditional" and clear. Artists come (in general ) with an unusual amount of curiosity and emotional freedom in at least one space if not many spaces. Living in a realistic world of promises that sound good but are not grounded in reasonable and agreed-upon expectations can leave an artist stuck in making important decisions or functioning well, especially in a world where we are evaluated to high levels regularly.
X: The Life and Times of Malcolm X opens on May 14th with performances on May 19th and the 22nd. For more information please visit - https://detroitopera.org/season-schedule/x-life-and-times-of-malcolm-x/
To learn more about Edward, make sure you visit his official website at - https://www.edward2know.com