Joseph Parrish: Shared Voices
Bass-baritone Joseph Parrish sat at the piano in pensive thought, his hand gracefully hovering above the keys. Andrew Ousley, General & Artistic Director at Death of Classical, had just delivered his brief, heartfelt remarks after several dozen audience members descended to the ethereal depths of the Church of the Intercession in Harlem, New York City, with their phones sealed away in pouches. Parrish played the first note with the effortless precision of a raindrop falling into a still pond, and the hitherto tranquil Crypt Chapel erupted into wistful, resounding music.
In an exclusive conversation with this Cincinnati and Juilliard alum and winner of the 2022 YCA Susan Wadsworth International Auditions on a meteoric rise, 360° of Opera delves into his journey and inspiration for the recital, Songs & Spirituals, exploring the rich tapestry of this extraordinary performance.
Parrish’s partnership with Death of Classical, the avant-garde music organization known for its daring programming and clandestine yet intimate venues—such as crypts, catacombs, and caves—began in 2021. His collaboration with conductor Mark Shapiro at Brooklyn’s Green-Wood Cemetery for a season-closing rendition of Fauré’s Requiem marked a poignant moment in his career. This large-scale, outdoor, candlelit performance was a tribute to those who were lost to COVID-19, and a prayer for a better world to come. Returning to work with Ousley, Parrish shared his excitement about crafting a more personal program that showcases his artistic versatility. “I am at The Crypt to expand the idea of what a voice recital should be,” he shared.
It is said that “music and architecture almost meld” at The Crypt Sessions, and Parrish attests to this sentiment. The live and responsive acoustics of The Crypt, characterized by a lingering reverb, make it a unique canvas. In this secluded setting, Parrish and pianist Francesco Barfoed had an expansive dynamic range and palette of colors to create a profound connection with the audience. Seated in the front row, no expression or gesture of his escaped me. In his impassioned delivery of “You Ask Me if I Love You,” Parrish progressed from innocent adoration and sweet longing to solemn vows, adding depth and meaning to arguably the most simple yet profound three words in the English language. This was an artist with clear, expressive diction, incredible range, and seemingly infinite breath support as his allies. His decision to return to the piano again during the encore gave him full command over the repertoire, and the few crisp high notes soared like caged birds breaking through the clouds.
Curating a program that seamlessly blends German Lieder and Negro Spirituals might seem like a daunting task, but for Parrish, it was a labor of love. His relationship with some of these songs dates back to his high school days, and he saw this show as an opportunity to explore the shared themes between the German and Afro-American experiences through music and text. The juxtaposition of Lieder exploring faith and the afterlife with Negro Spirituals, rich in spirituality and religion, formed the core of his program. Parrish’s vision extended to celebrating lesser-known gems by African-American composers. In his own introduction, Parrish mentioned that German Lieder and Negro Spirituals shared an earthy quality, as well as a hope and love beyond the inner turmoil. They reminded him of a belief in “something bigger than us.”
Approaching this eclectic repertoire with a classical vocal technique was central to Parrish’s artistry. He believed that this approach allowed him to unlock the full potential of his voice across various genres. He described it as a “classically informed” vocal technique, emphasizing that it embraced the essence of RnB, Pop, Jazz, and more. Parrish’s choice to present the work of civil rights activist James Weldon Johnson alongside Baptist hymns in Harlem was an homage to the latter’s legacy during the Harlem Renaissance, as well as his own roots.
Parrish’s recital aligned seamlessly with the mission of Shared Voices, a flagship program of The Denyce Graves Foundation, where he’s a proud member. Shared Voices provides cohort members with unprecedented access to industry professionals, musicologists, and pedagogues, fostering connections among artists dedicated to illuminating underrepresented composers and performers.
In the befittingly dark atmosphere of The Crypt, we lost some of the awareness of being seen at concerts. There was so much to take in and process: rich sentiments Parrish conveyed with his voice, light-hearted moments where he broke the fourth wall, and the fascinating cultures underlying the performance. For Parrish, the essence of this program lay in its ability to touch the hearts and minds of the audience. He emphasized that the most crucial element is what the audience takes away—a new song, a rousing idea, or the rekindling of deep emotions. As he eagerly anticipates the forthcoming season, he unveiled his exciting lineup: on December 20, 2023, he will be taking center stage at Carnegie Hall as a soloist in Messiah under the baton of Kent Tritle. Then, on February 25, 2024, audiences can look forward to a captivating recital at a Carnegie Hall Citywide concert, where he’ll be joined by the internationally acclaimed pianist and composer Shawn Chang. This performance promises to be a delightful journey spanning art songs, the American Songbook, and featuring a brand-new composition by Chang. Lastly, Parrish will assume the role of Salieri in a semi-staged concert production of Rimsky-Korsakov’s Mozart and Salieri by the Parlando Chamber Orchestra, alongside fellow YCA artist Daniel McGrew.
- written by Chloe Yutong Yang | Photography by Steve Pisano.