BO SHIMMIN & NATALIE SHERER | Songs of Identity
For our 2022 songSLAM Festival, Sparks & Wiry Cries solicited short recital programs from voice and piano duos that would reflect the fullness of their identities. The following is a written interview conducted with one of these great duos, tenor Bo Shimmin and pianist Natalie Sherer, contemplating the experience of choosing repertoire that echoes their diverse identities. Their recital is available here.
S&WC: How did your approach to programming this recital differ from your usual approach? Were there unexpected challenges?
BS: Hailing from the Pueblo of Acoma in Western New Mexico, it was important that I program something that reflected my heritage in a way that got others to think about it. At the core of this recital is Langston Hughes’ “My People.” It’s a short and powerful poem about inclusivity and belonging, and I really tried to aim for a program that would send a message but would also be healing and comforting to listeners. I had many conversations about programming the Cadman in particular. The Moon Drops Low is by a white composer (George Wakefield Cadman) and the librettist wrote text that is not reflective of the original text used by the Omaha tribe. The music is based on the Indianist movement from the turn of the 20th century where composers used the music of Native Americans mixed with a classical technique in an attempt to find an original American sound. There was a lot of whitewashing of this music, and it was quite popular during its time. However, I decided to program the piece as a reminder that the Native American still exists, and often, we are forgotten about and neglected. To me, programming the Cadman was an attempt to bring light to the current reality of Native Americans. It’s a gorgeous and shocking song with a message that I hope can encourage listeners to think about the following questions: How does society treat this group of people? How can we proactively engage with these communities and their music? I encourage all listeners of this program to go out and do some research on Native/Indigenous melodies, music, composers, voices, and poets.
S&WC: What does it mean to you as performers to bring the fullness of yourself to a performance? How does repertoire play into this?
BS: Living with this music has been wonderful. It feels authentic and genuine to be able to deliver these stories and I think that is sometimes hard for singers, especially when the music is coming from ages ago or is in a foreign language. It’s rare that we get to indulge in moments like these, and I think the repertoire stretches into modern times and still feels fresh and vibrant. I feel that the program is indicative of both my and Natalie’s identities in the sense that we have included works that are diverse in nature. The program features African American spirituals, an Omaha melody, a female composer, and an LGBTQ+ identifying composer.
NS: A teacher named Ollie Watts Davis said, “You don’t have something to prove, you have something to give.” I’ve adopted that saying and sometimes share it with my partners before going on stage. This perspective can unlock a whole lot of peace and joy in a performance and help invite the audience into the experience. It’s important to me to be as present as possible, creating moods and distinct sound worlds. The primacy of the text, expressivity, and attention to detail are huge priorities. All of this is even more satisfying when I’m creating these colors along with my partners, and Bo has been a wonderful artist with whom to collaborate. Cultivating a meaningful relationship with him has been a joy. It’s such a gift to develop that partnership and show care for the other person as much as the excellence of the music. I think that can fuel performances that are incredibly compelling for all involved.
SW&C: How was your experience rehearsing and recording this program together?
BS: Natalie has been an absolute pleasure to work with. Funny story, I applied for this opportunity without telling her, not sure that I would even be considered, and lo and behold a few weeks later, we both get an email saying that our program was chosen. Not only was she excited about it, but she also mentioned that she had been following Sparks & Wiry Cries for quite some time and had wanted to work with this organization for a while. I felt lucky to not only get to collaborate but to share a duet with her. How often do we get to sing with our pianists? I just feel so lucky to have a friend and close confidant in Natalie and I couldn’t have asked for a better partner to approach this project with.
NS: I want to echo what Bo has said - I have thoroughly enjoyed working together at the University of Michigan and am so thankful for both the rehearsal process and the culminating performances we’ve shared. I have admired Bo’s creativity, drive, and entrepreneurial spirit, and he brings such honesty and conviction to every performance. Whether we’re presenting something bold and spicy or incredibly intimate, we’ve developed a beautiful musical partnership and friendship. I have appreciated the chance to learn such valuable repertoire that Bo has suggested along the way. It is an honor to be part of the Sparks & Wiry Cries Festival after having had a fantastic experience at Chicago’s inaugural songSLAM festival and after admiring the founders of this organization for quite a while. I’m thrilled to contribute to a thriving world of art song.
S&WC: Why is it important to perform works by artists from historically underrepresented groups?
BS: I ask the question: “Why do we perform works by composers who have died centuries ago?” This music, just like any other music deserves and NEEDS to be heard. As artists, we have the ability to make statements about society, politics, and our lives and this music is the perfect medium for that. I feel so passionately about singing works by underrepresented groups because I’ve felt what it’s like to be an outsider, and I feel like I can genuinely tell the stories because I have lived them.
NS: Great music should be performed, enjoyed, and valued. Period. A lot of great music has gone unnoticed or overlooked for many unjustifiable reasons, and I’m excited to play more repertoire that deserves to be in the spotlight. Audiences will be enriched when we program underrepresented voices.
S&WC: What considerations do you give to this performance that might differ from performing works from the Western canon? As artists from underrepresented populations yourselves, does your programming, preparation, and performance practice change when the music is by an artist with your shared heritage? What are our responsibilities as performers when presenting repertoire from a culture different from our own?
BS: I think we both had a responsibility to deliver this music respectfully. After taking the course “African American Art Song” at the University of Michigan with my current voice teacher, Dr. Louise Toppin, I felt a deeper connection to spirituals and repertoire and poetry coming from black voices. I have spent a lot of time learning about the history, evolution, and dialect of this realm of music and its repertoire that I want to share with as many people as I can.
NS: I appreciate the work that Dr. Toppin and others have done to encourage the singing of spirituals in a respectful way, and I feel that I have more tools to honor this music and perform it despite having a different heritage than the writers. As a faith-driven woman, I connect with the spiritual themes and truly believe what I’m singing about with Bo in “There is a Balm in Gilead.” My Christian identity deeply informs the way I pursue life as a musician, the way I cultivate relationships (musical and otherwise), and in the case of this song, the way we can minister and bring beauty and comfort to listeners through this healing message. I hope listeners feel welcomed into this comfort and hope. I hope it feels like an invitation or a breath of fresh air. I think we all need that, especially after the collective trials of the last couple of years. It was especially personal for Bo and me amidst the circumstances as he will share about below.
BS: A month before we had recorded in NYC, my mother passed away as a result of the pandemic, and this music really took on a whole new meaning. I felt like I had a deeper understanding of how healing music could be. Singing “Balm” with Natalie was therapy in its own way. As a Native voice in this field, I feel an urge to share stories that highlight voices that have often been turned away in this world. I know my mother would have been so proud of the work we’ve created with this program. She taught me to be kind and to listen to others with intent. She also told me never to waste my words. I think this program encapsulates my musical identity perfectly and I hope that it inspires you to go out there and think about what you can say using music.
Watch Bo and Natalie’s recital here.
January 13, 2022
