PROGRAM
CHRISTIAN SIMMONS IN RECITAL
February 3, 2026
7:30 PM
Encore Theater
with pianist, Joy Schreier
“Votre Toast” from Carmen
Georges Bizet (1838-1875)
Escamillo, the famous toreador, entertains a tavern full of adoring fans as he toasts the thrill of the bullring and the bravery it demands.
Don Quichotte À Dulcinée
I. Chanson romanesque
II. Chanson épique
III. Chanson à boire
Maurice Ravel (1875-1937)
In this cycle, Ravel captures three expressions of Don Quichotte’s love for Dulcinée: a passionate vow of devotion, a prayer for worthiness, and a drunken rebuke of all who doubt their union.
Tr. My Genius, My Angel, My Friend with
Мой гений, мой ангел, мой друг
Pytor Tchaikovsky (1840-1893)
Widely considered to be Tchaikovsky’s earliest song, it simply describes the presence of a beloved companion.
Tr. None but the Lonely Heart with Нет,
только тот, кто знал
Pytor Tchaikovsky (1840-1893)
The piece dwells in the deep despair of heartbreak, insisting that only one who has experienced such pain can truly understand.
Aleko’s Cavatina from Aleko
Sergei Rachmaninoff (1873-1943)
Aleko laments the fading love and suspected infidelity of Zemfira, the woman for whom he abandoned civilization.
PAUSE
Lift Every Voice and Sing
I. A Conceit
Arr. Jasmine Barnes (b. 1991)
Affectionately known as the Black National Anthem, Lift Every Voice and Sing is a declamatory hymn of resilience, honoring the faith earned from triumph over struggle while looking forward with hope for the future.
I, Too Sing America
Margaret Bonds (1913-1972)
A setting of Langston Hughes’s powerful poem I, Too, it gives voice to “the darker brother,” ordered out of sight today while asserting a future of rightful belonging and welcome.
A Sable Jubilee
I. Inspiration
II. Luxury
III. Elevation
Jasmine Barnes
A setting of three poems by Tesia Kwarteng, this work celebrates the enduring and absolute beauty, pride, and joy of Black people and culture.
Gonna Lay Down My Burden
Colin Lett (b. 1983)
Contemporary arrangements of traditional spirituals that speak of using faith in God to lighten burdens and drawing strength to persevere.
Soon Ah Will Be Done
Jasmine Barnes (1932-2024)
Contemporary arrangements of traditional spirituals that speak of using faith in God to lighten burdens and drawing strength to persevere.
Give Me Jesus - Over My Head
Arr. Damien Geter
Contemporary arrangements of traditional spirituals that speak of using faith in God to lighten burdens and drawing strength to persevere.
Stand The Storm
Tim Amukele
Contemporary arrangements of traditional spirituals that speak of using faith in God to lighten burdens and drawing strength to persevere.
Trust Me
Richard Smallwood (1948-2025)
A staple of the contemporary Black church, written by the late, great Richard Smallwood.
MEET THE ARTISTS
CHRISTIAN SIMMONS, BASS-BARITONE
Described as having a “deep, resonant bass,” Christian Simmons is rapidly gaining attention for his vocal richness, commanding presence, and expressive musicianship. A Washington, D.C. native, Mr. Simmons was a 2023 winner of the Metropolitan Opera Eric and Dominique Laffont Competition and continues to build momentum across major American and European stages.
In the current season, Mr. Simmons makes several notable debuts, including with the San Diego Symphony Orchestra in a concert performance of Ravel’s L’enfant et les sortilèges as Le fauteuil and L’arbre, Lyric Opera of Kansas City as the Bonze in Madama Butterfly, and Dayton Opera, where he reprises Zuniga in Carmen. He also appears in the world premiere of Damien Geter’s The Delta King Blues with IN Series.
In the 2024/25 season, Mr. Simmons debuted in the title role of Le nozze di Figaro with Wolf Trap Opera. He returned to Colline in La bohème with Opera Baltimore and Opera Carolina, made his role debut as Escamillo in Carmen with Opera Memphis, and reprised Zuniga with the Florentine Opera and Maryland Opera. In concert, he appeared with the National Symphony Orchestra under Gianandrea Noseda as Lodovico in Verdi’s Otello.
Mr. Simmons made his European debut with Deutsche Oper Berlin, appearing in Carmen, Anna Bolena, Gianni Schicchi, and Nabucco, and debuted with The Atlanta Opera as Colline. A former Cafritz Young Artist with Washington National Opera, he covered Ferrando in Il trovatore and Colline in La bohème.
JOY SCHREIER, PIANO
GRAMMY®-nominated pianist Joy Schreier is a sought-after collaborative pianist and vocal coach. She serves on the music staff of the Washington National Opera and as Assistant Conductor and pianist of the Cathedral Choral Society. Schreier has been presented in recital at Carnegie Hall, Lincoln Center, Merkin Hall, the White House, and the Kennedy Center. Recent performances include recitals with soprano Renée Fleming, Denyce Graves, and violinist Pinchas Zukerman.
A highly sought-after vocal coach, Schreier prepared Ms. Fleming for the world premiere of Kevin Puts’ The Hours at The Metropolitan Opera, as well as Nixon in China at Opéra National de Paris. She is a former faculty coach in the opera department at the Peabody Conservatory and regularly coaches for the Denyce Graves Foundation as part of its Shared Voices Program.
Schreier received wide-spread critical acclaim for Confessions, her GRAMMY®-nominated 2020 CD release with soprano Laura Strickling. For that release, Opera News describes Schreier as a “superbly emotive pianist that wrings every nuance out,” while Schmopera calls her “an indispensable accompanist... either preternaturally intuitive or possessing perfect communication—perhaps a bit of both.”
An avid art song recitalist, Schreier serves as official pianist of the Washington International Voice Competition at the Kennedy Center. She received her Doctorate in Collaborative Piano from the Eastman School of Music under Dr. Jean Barr, where she was the recipient of the Barbara Koeng Award for Excellence in Vocal Accompanying and the piano prize in the Jessie Kneisel German Lieder competition.
WHY DGF MATTERS
The programs of the Denyce Graves Foundation (DGF) promote access and inclusion in American classical vocal arts by championing the hidden musical figures of the past while uplifting young artists of world-class talent from all backgrounds and preparing them for a successful future.
Hidden Voices uncovers and celebrates the contributions of our nation’s outstanding musicians of color whose achievements are not widely known but have an important place in our evolving American cultural identity.
Generational Voices addresses the often missed vulnerability in the careers of emerging artists; offering mentorships, advocacy, and access to top industry professionals, preparing these singers to take ownership of their career trajectories.
Shared Voices, DGF’s initiative to promote belonging, access, and inclusion, invites elite historically black colleges and universities (HBCUs) and conservatories to participate in a relationship that strives to create and encourage meaningful connections between consortium members – students, faculty, and administrators – that result in a greater awareness of the diversity within the classical vocal arts and culminate in a meaningful collaboration.
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