"What's Yours Will Not Pass You By." - Chatting with the Incomparable Leah Hawkins
Leah Hawkins is one of those performers you rarely come across, but when you do, you think two things: "is she real?" and "I need to know her journey when it comes to how she became the amazing performer she is today." A native of Philadelphia, soprano Leah Hawkins begins the 2020-21 season as Desdemona in 7 DEATHS OF MARIA CALLAS at Bayerische Staatsoper & Greek National Opera, joins Valery Gergiev and Accademia Nazionale di Santa Cecilia in Beethoven Symphony No. 9, and presents a recital at The Phillips Collection in Washington, D.C. A recent alumna of the Lindemann Young Artist Development Program at the Metropolitan Opera, last season she appeared last season at the Met to great acclaim as the Strawberry Woman in Porgy & Bess and Masha in The Queen of Spades.
Other highlights include the 2019 North Carolina Opera Gala, Verdi’s Requiem with the Colorado Symphony, and the Caterina Jarboro Memorial Recital at the University of North Carolina, Wilmington. In the 2018-19 season she made her Met debut as an Alms Collector in Suor Angelica and the High Priestess in Aida. Additional appearances included a Park Avenue Armory Recital, a return to the National Symphony Orchestra for a Labor Day Concert and DECLASSIFIED, and a Gala Concert with the Chesapeake Youth Symphony Orchestra.
Ms. Hawkins is an alumna of the Cafritz Young Artist Program at Washington National Opera, where stage appearances included Mrs. Johannes “Ma” Zegner in the world premiere of Mazzoli’s Proving Up; Celestial Voice in Don Carlo; the premiere of Mohammed Fairouz’s The Dictator’s Wife; Cousin Blanche/Sadie Griffith in Champion, an “opera in jazz” by Terence Blanchard; Mrs. Dorsey/Amelia Boynton in the premiere of the revised version of Philip Glass’ Appomattox; and in Justice at the Opera with late Supreme Court Justice Ruth Bader Ginsburg, performing scenes from Aida and Un ballo in maschera with the Washington National Opera Orchestra.
On the concert stage, she has appeared with Yale Philharmonia in Mahler Symphony No. 2; the New Haven Symphony Orchestra in Beethoven Symphony No. 9; as Serena in Porgy and Bess with the Baltimore Symphony Orchestra; and in A Space Odyssey with The Philadelphia Orchestra. In the 2017-18 season she appeared with The Apollo Orchestra in Strauss’ Vier letzte Lieder; the Indianapolis Symphony Orchestra in A Celebration of Black History where she performed Knoxville: Summer of 1915; the Mid-Atlantic Symphony Orchestra in Holiday Joy; the National Symphony Orchestra in Songfest by Leonard Bernstein; at the Bolshoi Theatre in Moscow in a concert of vocal works by Beethoven; as a guest artist in concert in Accra, Ghana; and at The White House, singing for the President of France.
Leah’s summer festival credits include The Martina Arroyo Foundation: Prelude to Performance Program, Houston Grand Opera’s Young Artist Vocal Academy (YAVA), Central City Opera, The Chautauqua Opera Company and The Glimmerglass Festival. She is a 2018 Sullivan Foundation Award Winner, and the 2018 recipient of The Richard F. Gold Career Grant (The Shoshana Foundation) from Washington National Opera. She has received awards from The Young Patronesses of the Opera/Florida Grand Opera Vocal Competition, The Chautauqua Opera Guild, Yale School of Music, George London Foundation, Marcello Giordani Foundation, Opera Ebony, NANBPWC, Inc., and the Metropolitan Opera National Council Auditions. Leah received her Master of Music in Voice from Yale University and Bachelor of Arts in Music from Morgan State University
I first met Leah when I was a Standby in Porgy and Bess in which she portrayed The Strawberry Woman. Some of my favorite memories were of the first rehearsals and Leah singing her song. There wasn't a person in the room not cheering and smiling by the time she was done. Her voice is truly that moving. I am not suggesting, I am telling you that there are things you should do before you die if you are passionate about the arts and seeing Leah perform is one of them. Her voice should always and forever be celebrated in this industry! Honored is truly an understatement for how I feel to have the chance to feature this amazing artist!
How old were you when you knew you wanted to be a singer and performer?
I’ve always known that I wanted to sing for a living. There is a home video of me singing with a karaoke machine at 2 years old, snatching the mic out of the hand of anyone else who wanted a shot (smile). It was clear even then that I’d be a performer.
Are there any teachers or mentors in your life who truly helped you become the amazing artist you are today?
I’ve been blessed with earth angels along this path. This is in no way an exhaustive list but: Karen Niederman, a teacher at my elementary/middle school who believed that my gift was special and insisted that my parents fully invest in my ability; Leigh Munro, my very first voice teacher who introduced me to the world of opera and the art song; Devonna Rowe, the first and only black voice teacher I’ve ever had who pushed me to work hard and not rest on my natural talent. She wouldn’t accept anything less than my absolute best; Michael Heaston, a brilliant musician, and administrator and my opera “Fairy Godfather” who hired me at both of my young artist programs; Matthew Epstein, a consultant and former artist manager who continues to offer me guidance and support; and My current voice teacher, Trish McCaffrey, who has helped me to reclaim my confidence.
We are living in some unprecedented times in the world but are very fortunate right now to see a light at the end of the tunnel. For all artists (especially performers) it has definitely been a time of uncertainty. What has your everyday routine been like during Quarantine and what are some things you do to keep your spirits up?
My daily routine varies depending on my mood and what’s on the to-do list. I do/have done quite a few panels, interviews, and chats. Those always give me a boost. I spend a lot of time on the phone, connecting and reconnecting with friends and family. I read and listen to podcasts, audiobooks, and virtual shows. I’ve been living and working in Munich for the last 6 months, so I’ve also been taking German classes and exploring the city a bit. I’ve been lucky enough to coach in person and even audition a bit through this time. Of course, things are slower than I’d like, but there’s always something to do, and when I don’t want to do anything, there’s plenty of space for that too. I’ve learned to appreciate those moments of nothingness rather than feel guilty about them.
Are there any operas, concerts, or performances that you have done in your career that will always be near and dear to your heart?
In 2017, I covered Aida at Washington National Opera. It was a last-minute assignment, but I jumped into it whole-heartedly. One of my duties was to sing a performance of Act 2 with orchestra (and no rehearsal!) for 2000 school children. I didn’t sing particularly well, and normally, I would’ve been upset, but I didn’t have time to care. Those babies loved that experience! I’ll never forget how they cheered. One 3rd grade boy came up to me at the end and said, “I loved the show! I cried the entire time. I was so emotional.” Those are the moments that remain with me. Compliments are nice, but fleeting. I particularly love when someone, especially a child, is deeply moved or touched by a performance.
What advice would you give any young aspiring artists during these times?
Remember to be kind! Be kind to yourself and to others. Don’t waste time or energy being negative. The good that you put out into the world will come back to you, and the reverse is true as well. Also, beware of the comparison game. It’s easy to fall into, but it sucks the joy out of the present. Enjoy your journey, even if it looks different than you imagined. What’s yours will not pass you by.
Check out Leah discuss Porgy and Bess at The Metropolitan Opera