Morris Robinson: You can take the classical musician out of Atlanta, but you can't take Atlanta out of the man

Morris Robinson
         Photo Courtesy of Atlanta Symphony Orchestra            

Hailing from the Ben Hill neighborhood on Atlanta's Southwest side, Morris Robert, the new Atlanta Symphony Orchestra artists-in-residence, keeps it one hundred. A fan of 2 Chainz and Future the renowned Basso cantante with an expertise in Italian and German works wants the world to know classical musicians are also born and bred in the A. His rich soulful voice has taken him  around the world from Vancouver to The Aix en Provence Festival, Australia and back stateside  to perform with The National Symphony Orchestra. A former All-American offensive lineman for The Citadel, he was inspired to turn in his helmet for sheet music. His rise in the classical music world is remarkable and made possible with risk and preparation. Robinson recently released his album titled Going Home, a testament to his raw talent that combined with his charisma makes him one of the most interesting musicians of his time.

 PW: As an Atlanta native what was your introduction to classical music? 

MR: My first introduction to music was Israel Baptist Church on the Kirkwood side of Decatur. I was also in the Atlanta Boys Choir. My introduction to classical music happened my senior year. I could always sing and could keep and hold notes, but I could not sing like my family members. They could roll the notes and I couldn’t do that, so classical music was perfect for me.

PW: There’s a lot of improvisation in gospel music how did you transition to the precision of classical? 

MR: There's a lot of improvisation in gospel, but the first thing I was taught when playing the drums is 'Look at me. I’m the conductor.' There’s a lot of precision in playing the drums and that’s what I did at church.

PW: There’s a lot of talk about you and your affinity for Negro Spirituals.  What is your connection to Negro Spirituals?

MR: As an opera singer I get to sing a lot of music written by European composers who don’t have a lot in common with me. When I sing a Negro Spiritual  I’m more connected emotionally and spiritually. it represents things about my heritage and culture.

 PW: Did you ever feel like you had to cast aside your connection and  influence of the Black community to fit into the classical world?

MR: Obviously when you sing classical music you have to rid yourself of things stylistically, but my voice, no. I am very fortunate enough to have gone to to school North Atlanta High School, formerly Northside, and attend The Citadel. We have to be chameleons and I was groomed for the type of environment that allowed me to adapt mentally and emotionally. Anytime you have to fake it, you’re not that. I try to be real….I keep it one hundred.

 PW: What made you quite your corporate job to join the opera?

MR: I really had no idea what i was getting into. I was a regional sales manager at Exxon in New England and I started out loading boxes at Best Buy to put myself through college.  I decided to quite my job and turn in the key to my company car and a year and a half later I was performing at the Boston Lyric Opera . What people don’t understand is I knew I had to work hard. I had the aptitude, I could learn languages, focus and read music at a high level. To whom much is given much is required. Imagine going from a sales manager to debuting at the Met Opera in two years. When I first came into the business I spent time trying to prove myself. People would hear the story and think that’s unbelievable who is this guy, so when I would show up I felt like I had something to prove.

 PW: Did you get any backlash from friends or family?

MR: The biggest kick back I got was from myself. My friends, my wife at the time and dad were very supportive. I’m from Atlanta, Ga and got a degree, got a good job and was making good money. My dad have never had a job like that, so there was that guilty feeling.

 PW: What do you love about the opera?

MR: I tell people the opera is like going to the movies, but the soundtrack is better and it’s live. People pay $300.00 to $400.00 to hear us perform. Few are chosen to be blessed with the gift to deliver the music they want to hear.

 PW: What has been your most challenging piece to perform? 

MR: I’m learning my first Porgy and Bess piece. I tried to stay way from it and concentrate on Italian and German pieces. It’s a lot to sing and the character is complex. I’m usually in the position of authority and he’s the underdog. Musically I’m a bass and it’s written for a bass baritone. I’ve been running from it because as an African- American bass you’re supposed to sing “Old Man River” and Porgy and Bess.

 PW: How has your voice and career evolved?

MR: I’m 15 years older and my voice has bloomed on top and is more secure on the bottom. Bass singers hit their stride in their 40’s and 50’s, and I’m 46 so I’m hitting my sweet spot. My confidence is better and I’ve grown.

 PW: Why did you decide to become a part of the ASO artist-in-residence program? 

MR: It’s something they asked me to do and it was an honor. ASO is a world class orchestra, I think it’s great that I look like the demographic that Atlanta is known for and I’m doing music they’re not familiar with. They know 2 Chainz , Future and Young Thug, but it’s good to showcase classical music as a viable option. They should know about people like me and Russell Thomas.

 PW: Do you think classical music can be a vehicle for change? 

MR: I think familiarity breeds interest. We won’t know what we can do unless we hear it. Part of the perception of classical music is that it’s music for the aristocracy. Having someone you can touch, feel and see makes it accessible to those it wasn’t accessible to before. There are other ways than rap to express yourself musically. It’s a wonderful opportunity to showcase what anyone can do personally.