Kansas City native and internationally recognized tenor Vinson Cole has performed in all the major opera houses, including The Metropolitan Opera, Opera National de Paris Bastille, Teatro alla Scala Milan, Theatre Royale de la Monnaie, Brussels, Deutsche Oper Berlin, San Francisco Opera, Opera Australia, Royal Opera House Covent Garden, Seattle Opera and many more. Equally celebrated for his concert appearances, Cole has been a frequent guest of the most prestigious orchestras throughout the world and has collaborated with great conductors.
Cole received his bachelor’s degree from UMKC before moving on to the Curtis Institute of Music to receive an artist diploma. He has been the recipient of numerous awards and grants including the Rockefeller Foundation and National Opera Institute, the Metropolitan Opera National Council Auditions, and a William Sullivan Foundation Grant. He is a longtime performer in the Harriman-Jewell Series and received an honorary doctorate from William Jewell College. Cole has received Mayoral arts awards from Seattle and Kansas City for outstanding individual achievement and commitment to the arts. Currently a faculty member at the Aspen Music Festival and School, Cole also teaches at the Curtis Institute of Music, and is the leader of the Lyric Opera’s Resident Artist Program 2019-2020.
How did a boy growing up in Kansas City get interested in opera?
I got interested because a woman at my grandmother’s church heard me sing and thought I was talented. She suggested I sing for her teacher who was chair of the voice department at the Conservatory. He accepted me and I said yes. It was fairly simple. I had no idea what I was getting into, but I loved it. When I was 9 or 10, I sang my first opera, Amahl and the Night Visitors. By the time I finished the performances I was hooked. I started to buy recordings of many singers, I started listening to the Metropolitan Opera broadcast on Saturday afternoons and fell in love with so many of the great voices. I knew there was no turning back.
What is it about opera as an art form that really grabs you?
Opera grabbed me instantly because everything involved in it, the singing first of all, the acting, playing someone else, it all appealed to me, performing with other singers and as I grew up, learning new languages, performing with orchestras and conductors. Whether it was a dramatic piece or comedic one, I loved the music and the possibility of bringing it to life. Of course, I wanted to do all the romantic tenor roles. I was lucky to do many of them.
I think anyone going to an opera is going for one of two reasons: they are either forced to go or they really love the art form. There are so many aspects of opera that intrigue people. I feel I was extremely lucky to hear all the singers on the Jewell series when I was in high school and all through college. I knew most of these people from listening to broadcasts or listening to their recordings. I think it helps to listen before you attend a specific opera.
Tell us about your new role at the Lyric Opera. What do you hope to achieve?
My role at the Lyric is two-fold. Since I’m no longer teaching at UMKC, I hope to be more involved with the resident artists. Not just being their voice teacher, but helping them select repertoire for auditions, preparing them for those auditions, and helping them with career guidance. As creative consultant I hope to give Deborah Sandler, who’s the general director, and the director of artistic administration, Brad Trexell, as much input as they wish regarding casting on all fronts. I do know voices and techniques—can this singer sustain singing this repertoire for the next three years or will they buckle under pressure?
How has Kansas City nurtured your creative spirit?
I was fortunate to start my training in Kansas City as a child. While in Kansas City I performed in recitals, oratorios, and opera, all which helped me to be comfortable on the stage and made me want to perform. The teachers also helped me—Hardin van Duersen, Paul Sommers, Richard Shoemaker. When I went to the university I started working with Richard Knoll. I also had personal influences—like Elwanda Smith, who went to school with me. She was a fine singer and encouraged me constantly and helped to make my life in Kansas City doable during days when I wanted to leave. I appreciated Ron and Joann Highley, who worked with me at Camelot Academy—just too many people to say thank you to for believing in my talent since I was 9.