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However, early in 2020, Sutton came out from under “cover” when the Met extended its celebrated revival of Porgy and Bess. Meanwhile, Sutton’s impeccable work landed her a featured role in a Met production scheduled for the 2020/21 season, as Franquita in Bizet’s Carmen the COVID-19 pandemic later led the Met to cancel the season. Along the way, Sutton has deepened her repertoire and expanded her audiences, also performing folk, jazz, pop, and classical material from established and contemporary composers. She has been blessed to perform with the National Symphony Orchestra, Royal Danish Symphony Orchestra, the Radio Orpheus Symphony Orchestra in Moscow and the Krasnoyarsk Philharmonic Symphony Orchestra, and has appeared on opera stages such as Semperoper Dresden, Palacio de Bellas Artes, Hamburgische Staatsoper, Grand Théâtre de Genève and Alter Oper Frankfurt. While a cover at the Met, she was also able to pursue other performance opportunities. Having the world-renowned Metropolitan Opera come calling was a definite coup for the rising vocal star, whose contract was for a vital role in the company as “cover” for some of the world’s best-known sopranos. And my first Metropolitan Opera contract came shortly thereafter.” “That’s how I got my agent and my manager. “It was a difficult role, so a lot of people were impressed,” Sutton explains.
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It was the first production of the magical work since 1929 and earned positive reviews. Sutton then made her operatic debut as the lead in the New York City Opera’s 2017 production of Respighi’s La Campana Sommersa, portraying the elf princess Rautendelein.
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The program proved to be an important training ground for the fledgling performer, fine-tuning not only vocal but acting skills. She was soon accepted into the Martina Arroyo Foundation’s six-week intensive program for young artists, called Prelude to Performance. appeared at Merkin Concert Hall in Lincoln Center and made her concert debut at Carnegie Hall.Īfter graduation, the young soprano headed to the arts center of New York City to pursue her career. Kennedy Center for the Performing Arts in Washington, D.C. She made her solo recital debut at the John F. During this time, Sutton sang in internationally renowned competitions and was also engaged for stage productions in the U.S. “So, I dropped biology and studied music.” Sutton then completed a Master of Arts in Vocal Performance from Catholic University of America in Washington, D.C. “I started taking voice lessons because the choir director was also a voice teacher who eventually convinced me to pursue music because she heard ‘the gift,’” Sutton recalls. While pursuing a pre-med program at Huntsville’s Oakwood University, an instructor happened to hear her perform with the college choir. Sutton’s is one of the classical world’s most impressive new stars.īorn and raised in Huntsville, Alabama, Sutton did not begin formal training as a vocalist until she was in college. Hailed by Opera News for her “sumptuous, mid-weight soprano,” and by The New York Times for her “warm, ample voice,” “ravishing performance” and “distinctive earthy coloring,” Ms. Versatile, dynamic, and mesmerizing, soprano Brandie Sutton has garnered accolades and devoted fans around the globe, thanks to an impressive array of recitals, operatic roles, and concert performances with acclaimed orchestras. Justin Austin, Brandie Sutton, drums, bass Read More Hold On – Arranged By Ramon Bryant Braxton Lift Every Voice and Sing - By James Weldon Johnson & John Rosamund Johnsonīattle Hymn of the Republic - By Julia Ward Howe / Arranged By Damien Sneed I Want Jesus To Walk With Me – Arranged by Justin AustinĬome Sunday – By Duke Ellington / Arranged by Damien SneedĬoalhouse’s Soliloquy from Ragtime – By Stephen Flaherty Lord, How Come Me Here - Arranged by Brandie Sutton I’m A Poor Li’l Orphan In This Worl’ - By Julia Perry Poor Wayfaring Stranger – Arranged by Roberto L.
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I Wish I Knew How It Would Feel To Be Free – By Billy Taylor & Dick Dallas / Arranged by Damien Sneed