When Will Liverman performs in the Kennedy Center Concert Call for The Washington Chorus’ “Elijah Reimagined,” on June 8, audiences will not only be in store for a classical music treat from the baritone, but also witness a full circle moment for the artist.
“I grew up in the Pentecostal church and… as a kid [I would watch], biblical animation series, and then each week they’ll have different stories like Jonah, Adam and Eve, whoever. One of them was Elijah and actually in this story, this animation story, they use clips from [Felix] Mendelssohn’s ‘Elijah,’” Liverman told The Informer. “Of course I was a little kid at the time so I didn’t really I didn’t know what it was from. So I’ve had Elijah in my ear since I was little. It was probably my very first introduction into classical singing.”
Since his early childhood introduction to Mndelssohn’s work, Liverman has had a successful and groundbreaking career in classical music, starring in the Metropolitan Opera’s “Fire Shut Up in My Bones,” in 2021 and “X: The Life and Times of Malcolm X” in 2023.
Taking on the role of Elijah, Liverman said, was a dream.
“Elijah’s story is so operatic and dramatic and, you know, we have the fight against the prophets and you know, all of his whole journey is very fascinating. He’s one of my favorite biblical characters, and musically, what Mendelssohn does is quite extraordinary. The way he’s able to tell a story, and his writing, the melody and the chorus– I mean the chorus music is so grand and great– and the and the arias are so passionate and beautiful, and just every part of it,” he explained. “I’m just really thrilled to sing and I think people are going to be really in for a great night of music making, and I’m really honored to be at the helm to sing the role.”
In addition to all the excitement that comes with the story of Elijah, The Washington Chorus production on June 8 is no ordinary telling of the tale. Under direction of Eugene Rogers and with projection design by Camilla Tassi, this production of “Elijah Reimagined” will feature a vibrant visual experience to accompany the sensational sounds.
“One of my goals since joining The Washington Chorus has been to present older works in a new light,” said Rogers, who serves as artistic director. “In this instance, we are adding this visual element to enhance Elijah’s story, so that an audience today can not only be brought in by the fantastic text and the music, but also be captivated through gorgeous visuals. It will be a new and different concert experience for many of our audiences.”
Like the animated series did for the baritone years ago, Liverman is excited for audiences to see “Elijah Reimagined,” as it offers a new perspective to a classic tale.
“I’m looking forward to seeing how this comes together and enhances the storytelling. It’s an example of how we can continue to push where the art form can go and how we can take old stories and music that’s been written all this time ago, and find new ways to breathe life into them.”
He encouraged audiences to go into the performance with an open mind,
“It’s important to be open to the collaboration, and what other people may have in mind and the vision, and how they’re bringing it all together,” Liverman said.
More Diversity in Classical Music
In consideration of Black Music Month, which kicked off June 1, Liverman also emphasized to The Informer the need for promoting more diversity in classical music.
“We have to continue… to tell stories that are representative of the communities where these opera companies are, and also to find ways to be more representative on the other side of the table. That’s so important. And it’s just still very much lacking in the industry,” Liverman told The Informer. “There’s so many excellent black artists out there and I feel like now more than ever, we’re seeing way more representation on the stage than there has been in previous years, which is a positive thing and a sign that change is happening, but it’s the consistency [that’s key].”
He said including more work that incorporates artists of color, from the creative team to the stage, will help diversify opera from audiences to the artistic managers.
Liverman also emphasized the need to engage with communities of color to let them know about upcoming productions.
“I think a big key is community engagement– spending more resources on how we engage in our communities in a meaningful way. And leaders have to keep their ear to the ground and understand how the communities feel, because a lot of times, people might have the pedigree and everything on paper to run a company, but I think it’s more than that,” he said. “The team surrounding and helping the leaders have to step up in those ways and find ways to be on the ground and raise awareness.”
