Lester Lynch’s rich baritone voice seemed to effortlessly glide throughout the Virginia Browning Theatre of the Loretto Hilton last weekend in Opera Theatre St. Louis’ production of Madame Butterfly.
It would be almost impossible to tell from the seamless notes and assured performance he offered to the audience that he is involved in a constant struggle as an artist.
Lynch is the first to admit that it’s daunting for an African-American man to forge a career in opera.
“Not saying that it is not difficult for everyone,” Lynch said, “but for African-American men in particular it has been very challenging. No one has really taken up our plight and said, ‘Let’s showcase African-American men in opera.’”
He points out the success stories of Leontyne Price, Jessye Norman and Grace Brumby (with whom he had a chance encounter during his most recent stay in St. Louis) – all women of color who broke down barriers in opera. But Lynch said the industry is slow to embrace their male counterparts.
“We as African-American men can stand up and say, ‘Hey, I am going to make something of myself in this business,’” Lynch said. “But we are hitting walls that are made of titanium. Isn’t that the strongest type of steel?”
Lynch looks to an unlikely inspiration as he presses forward: the success of Barack Obama.
“Maybe once we have Mr. Obama as president, maybe things will change for African-American men in opera,” Lynch said.
His most recent effort to add a new face to opera is his role as Sharpless in the Opera Theatre St. Louis’ production of Madame Butterfly.
As the conscience of an American military officer who woos then disregards his young geisha bride, Sharpless is a critical element of the story. Lynch is powerful and convincing in giving sympathy and substance to the emotional turmoil faced by the title character (brilliantly played by powerhouse soprano Kelly Kaduce).
Lynch is grateful to Opera Theatre St. Louis for the opportunity, but he said the role is a safe one – meaning that it would not offend patrons to see an African American perform the character. He remembered a performance in Shreveport, La., in which he shared a kiss with a white co-star that appeared to revolt certain members of the audience.
“I have friends who say, “Oh Lester, you can play the role of Deluna, that’s a safe role for an African American,’” Lynch said. “Even my own Caucasian friends are judging which roles I am allowed to sing.”
With nearly 20 years of experience in opera now, it’s hard to believe that the Elyria, Ohio native stumbled upon the craft.
“I was studying piano and my piano teacher and I didn’t get along, but I wanted to keep my scholarship,” said Lynch. “The only way to keep the scholarship was to stay in the conservatory. I knew I could sing, so I said, ‘Maybe I’ll try out for the voice department.’”
Lynch still remembers the advice of Kevin Schwartz, one of his early teachers.
“He said, ‘Unless this is the thing that drives you to live on this Earth – unless you love music so much and love performing so much – you’ll never make it,’” Lynch said. “He told me that unless you live and breath music and love to sing and perform, get out now.”
As he reflected on his years of struggle, Lynch understood why Schwartz gave him such candid advice.
“This is the challenge that I have gone through for the last 15 years,” Lynch said. “It has been a humongous challenge to get a voice in this business.”
Opera Theatre St. Louis’ production of Madame Butterfly continues through June 28 at the Loretto-Hilton, 130 Edgar Rd. in Webster Groves. Call (314) or visit www.opera-stl.org or call 314. 961.0171.Opera Theatre St. Louis’ production of Madame Butterfly continues through June
