The role of Figaro from Rossini’s “The Barber of Seville” just might be the most famous character within the canon of opera. And when Opera Theatre of Saint Louis opens their festival season this weekend with the comedic masterpiece that has been a favorite within the art form for more than 200 years, Figaro will be played by a Black man.
“It’s probably one of the most iconic moments in opera,” said Justin Austin, an emerging opera star and OTSL veteran who will portray the character for his first time ever. “We’ve all seen it – in the cartoons and the commercials. We are all familiar with that moment when he is singing his name – and I am just so excited and grateful to have the opportunity to take on the role.”
The production, directed by Eric Sean Fogel and conducted by Jonathan Brandani, opens their 2024 festival season and will play May 25-June 29 at the Loretto-Hilton on the campus of Webster University. In addition to Austin, the OTSL staging also stars Hongni Wu, Andrew Morstein, Nathan Stark, Patrick Carfizzi, Chase Sanders, David Wolfe and Jared Werlein.
“I’m full of joy because of the cast that I’m working with,” Austin said. “And I couldn’t have asked for a better creative team. It feels like a perfect role for me – and it feels like a perfect time for me to premiere this role.”
Austin’s name is abuzz within the field. His recent performance in the Lyric Opera of Chicago’s production of Terence Blanchard’s “Champion” – which made its world premiere at OTSL – was featured in last month’s “Opera Magazine.” In a wonderful twist of irony, St. Louis native and OTSL alum Julia Bullock’s beautiful face graces the cover of the same edition.
Last year, Austin starred in OTSL’s staging of composer Damien Sneed and librettist Karen Chilton’s critically acclaimed reimagination of Scott Joplin’s “Treemonisha.”
Austin is a generational benefactor of Opera Theatre of Saint Louis and its willingness to embrace gifted artists from different backgrounds and ethnicities. Not only did the company give Austin his first professional opportunity as a singer – but the same can be said for his mother, Alteouise DeVaughn. Austin will be taking the same stage that his mother stood on exactly forty years ago when she wowed audiences as a title character in OSTL’s famed production of “Orfeo ed Euridice.” The staging garnered international attention because legendary sculptor Louise Nevelson served as the production’s scenic designer for her first and only foray into opera.
As the son of two opera singers, Austin wanted to be in the family business as long as he can remember. But a childhood experience made it hit home that singing was something he could do as a profession. His parents, Alteouise DeVaughn and Michael Austin, took him to a dinner party that included their peers within the opera world. As the night went on, the guests took turns singing.
“I got up and sang purely because I felt inspired to do so, because everyone else was singing,” Austin said. He was 8 or 9 years old at the time. He stood before them and performed his best version of “Bésame Mucho.” “I didn’t sing any of the right words, but it is a song that I grew up hearing, and I just loved the melody,” Austin said. “I didn’t know what it meant – that it was inappropriate for me to do – but I loved how I felt singing the song.”
His performance so moved the captive audience of professional singers that they bombarded him with $10 and $20 bills. The moment set the idea of him becoming a professional opera singer in stone.
“Even though my parents did it, I didn’t think of it as a career until that moment,” Austin said.
His parents provided for him through their work, he didn’t connect the dots that he could earn a living as an opera singer until he saw it happen to him by way of the love offerings he received from his impromptu performance.
“I thought, ‘I can earn a living – and make a life – doing something that I love,’” Austin said.
He went on to join the legendary Boys Choir of Harlem and study at the famed Manhattan School of Music. And has enjoyed stellar reviews as a leading man of several contemporary opera productions.
When he takes the stage as Figaro in “The Barber of Seville,” it will be new creative territory for him beyond his first time embodying the role of Figaro.
“I’ve never done a comedy, which has been a small crime in my opinion because that is a huge part of my personality,” Austin said. “I’m a very silly person. I’m always joking around. It has been so much fun preparing for this. I hope audiences see this production and are inspired to have a little bit more play and a little more joy in whatever they do with their lives.”
He also hopes that his performance strikes a chord among young people who, unlike him, may not have had the privilege of growing up immersed in opera.
“I hope that young Black kids – and even young kids that aren’t Black – can come and be inspired,” Austin said. “Not just by me, but by all of us on stage and know that they are welcome.
“Even if they don’t choose to have a career in the opera world, I want everyone to know that they are more than welcome to patronize this type of art,” Austin continued. “Because being a part of the classical arts – whether its ballet, opera or the symphony – is a sharing in the celebration of humanity.”
Opera Theatre of Saint Louis’ presentation of Rossini’s “The Barber of Seville” will run May 25 – June 29th at the Loretto-Hilton Center for the Performing Arts, 130 Edgar Road in Webster Groves, 63119. For tickets, showtimes and additional information, visit www.experienceopera.org.
