As the recipient of the 2024 Marian Anderson Award, Key’mon Murrah was presented in recital in The Terrace Theater.
by Patrick D. McCoy
PHOTO: Scott Suchman
The immense talent and courage of legendary contralto Marian Anderson opened the doors of concert halls and stages for numerous singers of color. Countertenor Key’mon Murrah joined the historic roster of singers as the 2024 recipient of the Marian Anderson Vocal Award given by The Kennedy Center and Washington National Opera. For this occasion, past Marian Anderson Award recipient Denyce Graves and her foundation partnered with The Kennedy Center and Washington National Opera to provide this extraordinary opportunity for students of Historically Black Colleges and Universities (HBCUs) to witness this history in the making.
For his recital, countertenor Key’mon Murrah was joined by pianist Brian Zeger in what proved to be the perfect vehicle for the evening of music themed ‘Joy.’ Opening with the aria “Riedi al soglio” from the opera “Zelmira” by Gioachino Rossini, Murrah set the stage immediately with the extraordinary range and agility of his voice. The quick passagework, coupled with the beauty of the voice was accorded with rapturous applause from the audience. That feeling of excitement and enthusiasm for the immense talent of the singer was felt throughout the entire program. Music of the Baroque followed with music by George Frideric Handel. The timeless “Ombra mai fu” from ‘Xerxes’ was sung with a well-sustained legato line that allowed the voice to spin and bloom beautifully. Here, pianist Brian Zeger played with great sensitivity, moving with the voice from one phrase to the next. In this group, Murrah was joined by his twin brother, tenor Kay’mon Murrah for the duet “Fermati!- Nò crudel!” from Handel’s ‘Rinaldo.’ Embodying the tragic nobility of Armida and Rinaldo, the clarion delivery of tenor Kay’mon Murrah and the buoyancy of countertenor Key’mon Murrah was perfect for the duo. After hearty applause from the audience, countertenor Key’mon Murrah returned to sing the aria “Dopo notte” from ‘Ariodante.’ This was one of several showstopping moments. The coloratura and florid singing seemed to really pour out here, especially in the da capo section of the aria in which the line was elegantly ornamented. Rounding out the first half of the recital were the “Allerseelen,” “Morgen!,” and “Cäcilie” by Richard Strauss. In these gems, the listener had the opportunity to experience an even greater depth of sound to the voice that went far beyond what would be classified as a countertenor. There was a richer, darker hue to the voice that took flight in these songs.
After the intermission, the program lent itself to more contemporary settings. “Will There Really Be a Morning?” and “Joy” from Genius Child by Ricky Ian Gordon were movingly sung, particularly “Joy” which was the theme of the evening’s recital. “Prayer” by H. Leslie Adams was passionately conveyed, with a beautiful probing quality accentuated in the sensitive piano accompaniment of Brian Zeger. Langston Hughes’ iconic poem “Mother to Son” was featured in an evocative setting by Kazakhstan-born, Hong Kong-American composer Meilina Tsui. Offered with a sense of probing urgency, the moving text was brought life with the warmth of Murrah’s countertenor. As a special note, Murrah sang the world-premiere of this work three years ago at the Wheeler Opera House.
The recital ended with two spirituals: “Don’t Feel No Ways Tired” by Jacqueline Hairston and “My Soul’s Been Anchored in the Lord” which Murrah in his closing remarks noted it as an homage to Marian Anderson, who often performed it. For an encore, he sang a movingly acapella rendition of the Charles Gabriel hymn “I Trust in God.”
A native of Petersburg, VA, Patrick holds a BM in Vocal Performance from Virginia State University and a MM in Church Music from Shenandoah Conservatory. Formerly the Performing Arts Columnist for Washington Life Magazine, he currently is a freelance writer, publishing articles for several noted publications and organizations, including The Washington Post, Early Music America, Classical Music Voice North America, The Afro-American Newspaper, Prince George’s Suite Magazine, CBS Washington, Examiner.com and Washington Classical Review. He holds membership in the Music Critics Association of North America, National Association of Negro Musicians, Inc., American Choral Directors’ Association, Association of Anglican Musicians, a former member of the Shenandoah University Alumni Board of Directors, a member of the Shenandoah University Black Alumni Network, Board Member of Early Music America, a Life Member of Alpha Phi Alpha Fraternity, Inc. and a member of the Sigma Zeta Chapter of Phi Mu Alpha Sinfonia Fraternity of America. As an alumnus of Shenandoah, he was named to the Dean’s Circle of the Shenandoah Conservatory Advisory Board. He enters his 7th year as Organist/Choirmaster at Saint John’s Episcopal Church, Zion Parish in Beltsville, MD. Patrick is the host of “Across the Arts” both a live and virtual media platform covering the performing arts. Visit http://patrickdmccoy.com and follow him on Facebook and Twitter @PatrickDMcCoy, IG: PDM06. and subscribe to “Across the Arts” on YouTube.