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Lawrence Brownlee, Tenor & Justina Lee, Piano Photo
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Lawrence Brownlee, Tenor & Justina Lee, Piano

Thursday, April 12, 2018, 8:00 PM Pre-concert Talk by Professor Emeritus Scott Burnham at 7pm, free to ticketholders Richardson Auditorium in Alexander Hall


SCHUMANN Dichterliebe, Op. 48

Traditional Spirituals

Every Time I Feel the Spirit
Sinner Please Don’t Let This Harvest Pass
Soon I Will Be Done
Here’s One
There Is a Balm in Gilead
Deep River
Come by Here Good Lord

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About the Artist

Richardson Auditorium will transform into the Metropolitan Opera stage for an evening as the superstar tenor Lawrence Brownlee visits for a wonderfully imaginative program of songs. Brownlee has been called “one of the world’s leading bel canto tenors” (Associated Press) and his voice “an instrument of great beauty and expression” (NPR), and over the last five years he has taken the opera world by storm, performing at nearly every major opera house and alongside dozens of world-class orchestras. Recently, he has turned his attention to the urgent and painfully relevant topic of race relations in America, releasing a CD of spirituals and other songs that engage with his African-American roots, in tribute to Trayvon Martin, Michael Brown, and the Black Lives Matter movement. His program here at Princeton will be half spirituals and half art song, delivered in his one-of-a-kind, glistening belt.

Take your love of music, and this artist, even further with our Beyond the Music Programming.  Tenor Lawrence Brownlee will be participating in a special event beyond the concert.

Performers As Teachers - Friday, April 13, 2018 at 11:00AM, Lee Rehearsal Room in the Lewis Arts complex. Lawrence Brownlee coaches Princeton student vocalists. Free and Open to the Public. MORE INFO ON ALL PERFORMERS AS TEACHERS EVENTS>

Artist Website

Lawrence Brownlee »

Lawrence Brownlee Sings There's A Balm in Gilead

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Lawrence Brownlee Everytime I feel the Spirit

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“With his sweet tone, fastidious pitch, and poetic phrasing, Brownlee made familiar fare sound intriguingly fresh, banishing, for a moment, the ghosts of Caruso and Pavarotti.”

- Alex Ross, The New Yorker