He can sing the blues and riff a jazz tune, but Saturday night Kenneth Gayle is singing grand opera, and the tenor has chosen some of the biggest and most loved arias from the repertoire.
Puccini’s luminous “Nessun Dorma” from “Turandot” for one. Luciano Pavarotti made this his signature aria, bringing down the house whenever he sang it.
It’s one of four blockbuster arias that Gayle will sing with the Everett Symphony, along with arias from Verdi’s “Aida” and “Rigoletto” and “The Flower Song” from Carmen. This is the symphony’s final classical concert of the 2004-2005 season, and the program includes Verdi’s “Overture to I Vespri Siciliani” and Respighi’s “The Pines of Rome.”
Gayle, a Seattle native, is an in-demand tenor with leading opera companies and recital halls around the country with a voice that a Chicago Tribune critic called “a nearly flawless instrument.”
“Since performing with us 10 years ago, Kenneth Gayle has become internationally acclaimed, singing in many of the top opera houses,” said symphony conductor Paul-Elliott Cobbs.
“He is a much sought-after talent and we are fortunate to hear him during the upcoming concert.” Cobbs’ musical goals for the orchestra and the community include bringing more opera to town.
So what’s up with an opera singer who sings the jazz and blues?
We can thank Three Mo’ Tenors for that.
Gayle’s career got a big boost a few years back when he was selected to join the cast of this popular trio of singers, formed to capitalize on the popularity of the Three Tenors performances of opera legends Jose Carreras, Placido Domingo and Pavarotti.
The Three Mo’ Tenors have been a smash hit, singing opera in the grand tradition along with a wide range of popular music.
“It’s been a wonderful ride so far,” said Gayle, who was invited to audition as an understudy and was hired as a regular virtually on the spot.
“I am able to do styles of music, jazz to the blues to musical theater, as well as opera. I have performed the show about 15 times now. It’s unlike any other role you sing in opera,” he said.
It also brings opera to a wider audience, Gayle said in a telephone interview from Baltimore where he was starring in a production of an opera by Handel.
“It’s a good thing for opera, a good thing for art in general,” he said. Opera and classical arts in general and have an image of exclusivity that isn’t deserved, he said.
Great art, such as those soaring opera arias that can touch the soul, express universal emotions that are common to all people, Gayle said.
Singing in a tight ensemble such as Three Mo’ Tenors is good discipline for the voice and for the performance skills.
“You are forced to go on stage and relate to your colleagues,” he said.
That applies to opera or jazz, with each offering its own challenges to the singer: from the full-out singing of opera to jazz “where you can shade the voice more,” he said.
“I am thankful that I have a very flexible voice. My voice has a kind of dark color.”
Gayle studied piano, but performing with the Northwest Boy Choir launched him on his singing career. He attended the University of Washington, completed his degree at West Virginia University in Morgantown, then continued his studies in Seattle Opera’s Young Artist program and at Lyric Opera of Chicago.
Gayle, who lives in Houston, divides his time between opera performances, music festivals and concert recitals.
At 36, the singer has a long singing career before him; opera voices typically don’t fully mature until the 40s, and he’s careful to take care of it, exercising regularly and practicing yoga.
“Singing is a rather athletic endeavor,” said Gayle at the end of a wide-ranging telephone interview in which he never paused for breath.
“I do a fair amount of cardio and I’ve been peddling a bike while we were talking.”
Kenneth Gayle performs tonight with the Everett Symphony.
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