Contemplating that he’s one of many classical music world’s most achieved younger artists, the Bay Space hasn’t heard practically sufficient of Davóne Tines.
The 31-year-old bass-baritone made an enormous impression right here a 12 months in the past, when he took on the position of Ned Peters within the San Francisco Opera’s world premiere manufacturing of John Adams’ “Ladies of the Golden West.” His efficiency of the aria “What to the Slave Is the Fourth of July?” — a setting of a speech by Frederick Douglass — was the riveting excessive level of Adams’ Gold Rush opera.
Now Tines is returning. In live shows Nov. 23-25 at Davies Corridor, he’ll seem with the San Francisco Symphony in Beethoven’s Symphony No. 9. With Michael Tilson Thomas conducting the orchestra and San Francisco Symphony Refrain, Tines joins soprano Susanna Phillips, mezzo-soprano Kelley O’Connor and tenor Nicholas Phan in Beethoven’s quartet of vocal soloists. Berg’s “Seven Early Songs” completes this system, which, like final week’s performances of Thomas’ “From the Diary of Anne Frank,” honors the 70th anniversary of the United Nations’ Common Declaration of Human Rights.
That is Tines’ official S.F. Symphony debut, though he made a 2017 look within the Symphony’s SoundBox collection, singing works by Shostakovich and Caroline Shaw.
In a name from New York, the place he was about to look within the U.S. premiere of Kaija Saariaho’s opera, “Solely the Sound Stays,” at Lincoln Middle’s White Lights Competition, Tines stated he’s wanting ahead to returning.
“I discover it personally vital to sing issues that one connects to and which can be an additional growth of 1’s personal expertise,” he stated. “A number of items I’ve been concerned with need to do with the human situation.”
A 2009 graduate of Harvard College who earned his grasp’s on the Juilliard Faculty of Music in 2013, Tines stated that “Ladies of the Golden West” was simply such an expertise – “an ideal alchemy, in a approach, uniting the facility of Douglass’ phrases with the context of the story. Particularly in our present second, politically and socially, that specific concept was an exhilarating context wherein to place forth such power.”
Beethoven’s Ninth, he stated, additionally expresses deep human truths. “It type of units the context for this mould of the need for human connection – the enjoyment that comes solely from the connection from one human to a different.”
He cites one in every of his favourite passages from the Ninth: ‘Deine Zauber binden wieder was die Mode streng geteilt” (Your magic binds collectively all that human customized has torn aside.) For Tines, these phrases are “an excessive proclamation exalting the connection that brings us all collectively.”
Born in Virginia, the place he nonetheless resides, Tines heard the decision of music early on. He studied piano and violin and fell in love with jazz and symphonic works. In highschool, he sang musical theater roles and realized that singing was his future. Immediately, his highly effective, eloquent bass-baritone is what Musical America has known as “a Rolls Royce instrument.”
Tines, a latest recipient of Lincoln Middle’s 2018 Rising Artists Award, has a specific affinity for works by residing composers. Adams and Shaw are favorites; so is Matthew Aucoin, whose “Crossing,” concerning the horrors of warfare, has featured Tines in repeat performances. “I actually take pleasure in new music, particularly once I get to construct a relationship with the composer,” he stated. “When you’ll be able to discover the impetus for why it’s taking place, there’s a transparent and sustaining power to have interaction in.”
Within the coming months, Tines will return to Europe for Berlin performances of Adams’ Nativity oratorio, “El Nino,” and an Amsterdam revival of “Ladies of the Golden West.” Each function soprano Julia Bullock, who sang the position of Dame Shirley within the San Francisco premiere of “Ladies.” Again in New York, he and Bullock will collaborate in a chamber model of “El Nino” and a music cycle primarily based on poems by Langston Hughes.
On the day we spoke, he was immersed in Saariaho’s “Solely the Sound Stays.” Having sung the Finnish composer’s opera in Helsinki, Amsterdam, Madrid and Paris, he says the rating is in contrast to some other. “It’s very sparse,” he stated. “There are solely seven folks within the pit, however there are such a lot of layers to her sound world. You hear it as a type of cloud, a sure density and environment.”
Coming to Beethoven’s Ninth from Saariaho’s opera is an effective transition, he added. “Her piece may be very inside and really private. In a approach, going to Beethoven’s Ninth proper after that could be a form of cathartic opening up. As a substitute of it being so internally uncooked, it’s a letting out of that feeling. It’s saying ‘let’s take a look at one another and take a look at what may very well be higher.’”
Particulars: eight p.m. Nov. 23-24, 2 p.m. Nov. 25; Davies Corridor, S.F.; $89-$200; 415-864-6000; www.sfsymphony.org.
Contact Georgia Rowe at [email protected]