Conversation with Duane Moody

Duane Moody is an Associate Professor of Voice at Berklee College of Music, Boston MA, is a principal artist with the "Three Mo' Tenors", is a professional vocal musician, among other accomplishments. Below is my conversation with him.

Great to have this conversation with you. There’s so much I want to cover, so let’s just dive into it. Have you always wanted to be an opera singer? Would you call yourself an opera singer?

No, I have not always wanted to be an opera singer, but when I started to take voice lessons at the age of 13, I understood what opera was all about and grew to realize that I had the chops to try and obtain success in that genre of music. I would call myself a professional vocalist who specializes in many different genres of music.

"You understood what opera is all about". For us newbies, what is opera about?

Opera is life. The difference, is that opera is delivered through the art form of music and lyrics combined in a way that takes you on a journey. All of that depends on whether or not the production is any good as well. You can have an elaborate Zeffirelli production or a minimalist approach to the same opera and have the same effect, because the message truly is in the music of the art form of opera. Opera is fantasy. You can take yourself on a journey through whimsical lands that you've possibly only read in books. Opera is history. There are several operas that are written based on an historical context. If one allows themselves to open up to the inclusion of the European style of classical music, combined with other genres of music that have yet to be infused into the operatic realm, opera in itself, can take on a new life of it's own. But, of course, for anything to be sold to the masses, they must be educated on the basics, and with music being on the bottom of the totem pole in our public education, I fear that art forms like opera will soon die out.

How did you become an opera singer?

I became an opera singer through my training and eventually through me getting hired by different companies to perform that style. I just happened to step into this style. I was raised on Motown, Funk, House Music, Gospel and R&B, so for me to think that I could become an opera singer was truly a dream because there was nothing in my upbringing that inspired me to become an opera singer.

As a kid, I was so impressed with watching Handel’s Messiah being done by some choir on tv, and was amazed the human voice could sound so other worldly! What do you find amazing about being an opera singer?

The strength. The beauty. The agility. The costumes. The orchestra. The chorus. The stagehands. The Production Crew. I mean what is there that is not amazing when one speaks of opera? {smile} But in all honesty if I had to narrow this question down to one answer, I would have to say the music. The music is what gives the voice the life. Without the music, I would be obsolete. Without the music the term opera would be null, along with many other varieties of music that we enjoy today. So yeah, the music. And the ability of the music to tell the story and with me being the vessel that carries the words, I had to learn how to become a part of that musical style that was not really a part of my spirit. That, for me, a kid from the ‘hood, was a bit difficult to grasp, but I figured that out {laughs}.

Speaking of music, are you a musician? What instruments do you play?


As a vocalist I'm a musician. Never understood this discussion that vocalists aren't musicians and that musicians are only instrumentalists. But hey, an educational moment. I do play other instruments though, as a musician. I play the piano. I used to play the trombone, the french horn and the baritone horn. Those instruments were played in middle school. Singing took over when I went to high school. Mainly b/c I felt more of a  passion from the vocal music educators than the band educator

Other singers of other genre of music feel just as passionate about their genre. Out of all the genre of music, why does opera connect with you so much?

Why not opera? I get that from the Black community all the time, especially in my family. “Why opera? Why not an R&B album or Gospel album?” (yes, album) {laughing}. Now, I understand why that question would pop up which can be stemmed from the latter part of my answer above. Opera is not a part of who I am as a Black American/Descendant of a slave, in my experience growing up. But see, my Mother always wanted a vast educational/life experience for me and my sister’s lives. My Father was just along for the ride {snickers}, but he learned too. But anyway, opera was something I stumbled on because I took voice lessons. I just wanted to learn how to sing better, because I knew I could sing, but I also knew that I wanted to learn the fundamentals. Getting the fundamentals meant learning the “proper” way to sing. Well, as I learned how to produce that European Classical traditional sound, I fell in love with how I was producing that sound. Little did I know what kind of competition I was going to be up against in this genre not dominated by Black American influence. Looking back, I should have gone the route of my culture. But hey, I’ve had a great career as a classical singer.

Hahaha! Yeah, you are in a field that doesn't really have a lot of African Americans in it. Tough choice! LOL!!
As a trained singer, do you do other genres? I remember seeing a video of you killing a Bob Marley song. You were amazing!

Thanks. I appreciate that. And yes, I sing so many different genres it’ll make your head spin. That’s the fortunate instance in learning how to sing well. Even though I had to learn how to produce that European Traditional Classical sound, I learned how to take that technique and apply that technique to the many other styles of singing that I grew up with and was always around in high school, i.e., R&B, Gospel, Soul, Funk & House Music. Little did I know that me applying that technique would be a benefit to my career when I was asked to be a part of the ‘Three Mo’ Tenors’. We sang at least 8 to 10 different genres of music every time we sang. We were ferocious.

I know! You guys were awesome! How long were you with them?

I'm still with them. Albeit we haven't had a solid performance for almost 2 years, I'm still, technically, a member of Three Mo' Tenors. So It's been 10 years now.

I listened to your CD on iTunes, and I believe that’s what drew me to reach out to you. What can you tell us about that CD?

Check out his CD on iTunes

Well, ‘Sur Mon Voyage’ is definitely a labor of love. Self-produced and self-marketed, this is just one of the many projects that I intend on releasing. I just wish I had more resources to get the word out in regard to getting people to purchase the project. And with that I thank you for giving me this outlet to promote my project. This particular project is done in collaboration with Dr. R. Timothy McReynolds, who is one of the pre-eminent pianists here in the Baltimore/Washington, DC Metropolitan area. The pieces that we are doing span many centuries in regard to different styles of classical music (yes we actually have different styles of music in classical, similar to different styles of gospel). We start with Mozart then go on down the line to Franz Liszt then turn into the period of Verdi then into early 20^th century with Richard Strauss (late romantic/Modern era) and ending with an homage to the Negro Spiritual (The Black American Art Song) entitled The Carter Cantata (late 20^th century). Now that piece (The Carter Cantata) has never been recorded with full orchestra, from what I understand. I hope to submit that opportunity to an orchestra and hope they bite.

What gravitated you to these particular songs for your labor of love project?

The beauty of Strauss. The difficulty of Mozart. The familiarity of The Carter Cantata. Personal choice. Uuum, most of those songs have been in my repertoire for over 20 years, but as I grow as a vocal musician I begin to interpret the music differently as I mature. Even now, those songs that I have on that CD are sung much better almost 2 years later. 

I noticed that you have several collaborations on iTunes. What helps you decide which artist to collab with?

Normally whomever is paying the bills is the one who decides who collaborates with whom (laughing). The only project that I've had sole control over is my classical recording 'Sur Mon Voyage...' and in choosing the collaborator for that, Dr. Reynolds and I have worked together on many different concerts together, as well as many recitals in the past, so he was one of my first choices. I do plan on doing future productions with other musicians that I've worked with in the past. Usually I collaborate with people that I've worked with in the past and have enjoyed working with. Let's just say I haven't worked with most people that I've worked with in the past (laughing)... Hell, they don't wanna work with me anyway...I've tried to get into their productions to no avail. The trials of someone who has always been honest with the people I confront... I've created a lot of silent/smiling frenemies.

Rofl! That's a trip! Opera drama of making frenemies. Hahaha!
So although I don’t consider myself eloquent in classical and opera music genre, Luciano Pavarotti was someone I was into. He was a beast with his singing. And the incomparable Jessye Norman is one I have even purchased her music. Who helped inspire, shape and define your musical identity as a singer?

I would have to say that my teachers, the good and the one bad, who helped to shape the identity of my sound. From Mr. Samuel Lee Bonds, who taught me how to breathe, to Ms. Beatrice Krebs, who taught me what not to do (may she rest in peace), to Mr. Wayne Conner who taught me how to get that tenor squeal in my sound and to the great Phyllis Curtin (may she rest in peace) who taught me the mental aspect of singing that I didn’t realize until 10 years after I stopped studying with her. I’ve had many coaches that I’ve worked with who have been instrumental with developing my sound, but especially Dr. Mark Markham who really helped me to bring everything together with the voice you hear today at 46. I’m still working on my sound as we give this interview today. I never stop learning. Now as far as inspirations, I would have to say, for me, Leontyne Price. I saw her on television doing a commercial for The United Negro College Fund in the 80’s and that helped me to realize that perhaps I could do this for a living. Of course I have sung with many greats on many great stages around the world, and many of them, some of whom have passed on, are truly inspirations to me, especially Samuel Clark Stevenson and Jerris Cates.

Speaking of singing with greats, lets get superficial for a minute. Are there any celebrity opera singers or musicians you would love to work with?

Unfortunately, no. The art form has become such a joke. Everything just seems to be so affected and put on. No one takes risks. All they rely on is gimmickry. Even the singers who actually have voices. Just because one is able to take their shirt off doesn’t mean they can sing the art form of opera well. Unfortunately, we live in a very visual society and the appreciation of the art form is fleeting and all too many care about is celebrity. Celebrity helps marketability which helps capitalism (people buying things they don’t need). {smile} Honestly, I would love to work with Tina Turner, Patti LaBelle, Chaka Khan, Anne Nesby (who opened for me when I was singing with 3 Mo’ Tenors), Maureen McGovern, etc….  And if I had to choose an opera singer who is “famous”…..the more I think about that, I know all I need to do is call on my colleagues. They are some of the best non-famous singers in the business of opera.

As with almost other genre of music - some of the best singers are the non-famous ones.
As a black man singing opera, where do you see yourself?

Working. Thankfully, I am employed at Berklee College of Music as an Associate Professor of Voice. I’ve been there for 10 years. Me working there has not infringed on my performing schedule, thankfully, but this opportunity does allow me the flexibility to come back to DC and look after my Mom, who is a stroke survivor. I plan on releasing some more projects in the future. A jazz project with a trio, and hopefully a project with full orchestra. Again, these projects cost and are not inexpensive. And no, I’m not a GoFundMe kind of person {laughs}.

That's a very noble thing you are doing, looking after your mom. My regards to her, and here's hoping the best for her.
Hold up! No GoFundMe for you? Not even if a bunch of us are ready to give towards your project? Lol

If that were the case I'd have project after project released by now. Look...I know a few millionaires, and I've been introduced to people who supposedly have the ability to make me a star. I'm not sure what the deal is, maybe my mouth is just too damn big, but no one is  knocking down my door to promote me or any of my projects. I'm in this thing on my own. I've sent former producers, Facebook friends and the like (all millionaires or people who know them) my screenplays and my ideas for shows and...nothing. Not even after my debut with The Boston Pops would anyone touch me. I even had a well-established talent agency tell me that things looked pretty good in regard to my career...(blank stare) I had one instance where a producer in the UK asked me what type of singing "gives me joy". When I wrote back and said that singing gives me joy, give me a song from any genre and I'll sing that song...I never heard from the man again.  BS I tell you...  Pure bull#@*t. When you realize that you're really on your own, financially, unless you support a certain ideology of capitalism or play this simple a#* game, you begin to look at life and how you market yourself differently. I know I don't have the wealth to market myself to make myself famous. I'm comfortable with that. I understand my lineage as a descendant of a slave as a Black American. Unfortunately, as I used to, too many spend too much time striving for something that one in a million only get (and that number is probably generous). And usually that one 'lucky' person does everything not to teach Black America (the ones that are left behind still struggling, surviving, hoping and praying) about how this system really works or doing anything to build community wealth.

You have said a mouthful right there, Professor. And you may be right, as you said in your own words, you may have a "big mouth". But that's what makes you your authentic self.

What do you love most about being a Professor of Voice at one of the world's premier college for music?

The time that I have with my students. I learn so much from them. I learn so much about our broken society. And in learning these things and all these people from different walks of life throughout the world, I become a better person in how I pass on my knowledge to future musicians. I love the fact that I am surrounded by an enormous amount of talent in our students. This pushes me to become a better educator. To give to my students that something more that I didn't have in my education. And baby, that's a lot, because I received a fierce education from my humble beginnings in SE, Washington, DC through the public school system (Simon Elementary, Hart Middle School and F. W. Ballou SHS), to my three degrees from The Peabody Conservatory of The Johns Hopkins University and The Boston University. I got some of the best tutelage. All I can do now is educate people to know that just because you get educated doesn't mean you have to forget who you are. You just have to learn how to work your show in adapting to all types of cultures and environments throughout this world while staying true to ones ideology. That's what's missing in our educational system today. Access to know that there is a whole world outside of ones neighborhood, environment and culture.

That reminds me. I’m supposed to have at least a session with you to get some professional pointers in singing. What made you become a voice teacher?

I was asked. I was working on Broadway doing Three Mo’ Tenors and I was called by the great Elisabeth Withers-Mendes (Tony Award Nominated actress for the original ‘The Color Purple: The Musical”) who asked me if I would be interested in teaching at Berklee. I was like, ‘why not?’ And the rest is history. Thanks to Jan Shapiro (now retired professor) who hired me and for Berklee for keeping me employed. I am having a ball, especially when I have students who WORK!!!

How do you usually go about with your voice lessons?

I always ask my students how they are doing. What’s going on in their lives. Make sure there isn’t any drama that I’m going to have to contend with during the lesson. If there is, then the lesson immediately turns into a talking lesson {laughing}. But if things go well, I always start with a review of the last lesson and then we go down the line. Breathing exercises, vocal warm-ups and then going over music. As the lesson goes on, the student can ask as many questions as he/she wants. That’s really how you learn. Asking questions.

What makes you a good teacher?

The best teachers are those who have experience as well as academic knowledge. The problem we have now with teachers is that many are just great performers or great technicians, but you don’t have many, like myself, who are great performers and great technicians. That’s what’s missing in our educational institutions. Professors who are technically proficient but know how to apply that technique to every day performance life.  

For readers who would like some development and guidance in singing, how do they go about getting help from you?

Getting help from me? Well, you can reach out to me through Facebook  or Twitter, or go to my website, www.duaneamoody.com and send me an email, or reach out to me through Berklee College of Music (See his profile page on the college website)

I follow you on social media, and I thought I was opinionated, but you sometimes really lay down the hammer. Lol. What would you like readers to know about you beyond what is perceived via social media?

I am all about putting money back into the hands of Black Americans/Descendants of Slaves. Unfortunately, because I have decided to take this on, my career will suffer. I believe in going against the status quo of capitalism (buying things that we don’t need). Many of our Black celebrities have become over the top wealthy by exploiting our poverty and not teaching us about Black Politics. Black Americans only own 2.6% of the richest country in the world’s wealth. A country mind you, that was built off of the backs of our ancestors who gave their lives with no compensation. This has nothing to do with our spending habits, but with the FACT that we own NOTHING. Income is not wealth. Please check out www.breakingbrown.com on YouTube every Monday and Wednesday from 9pm to 11pm. Very informative and full of DATA. Not just opinion, but opinion based off of DATA. Be informed and try to support Black business when and if you can.

Any last sage words to share to readers?

I am the song struggling to be heard. Now, I may be struggling, but I’m not tired. Work on trying to start from the bottom to get to the top. OWN EVERYTHING!!!

Thank you for your time, Duane.

Thank you Kenneth and you’re quite welcome.