School of Music > About > Alumni > larob-payton
Artistic Director and Bass-Baritone, LaRob K. Payton developed a love for singing at an early age and grew to understand the power and impact music had his communities. He found a spirit in the Gospel songs he sang, passion in the R&B he heard, and nuance in the Classical music he studied. At DePaul University where he received a Bachelor’s of Music in Vocal Performance, LaRob performed leading roles in DePaul Opera Theatre’s main-stage productions including Pistola (Falstaff), Superintendent Budd (Albert Herring), Colline (La Boheme), Giove (La Calisto), and Thoas (Iphigenie en Tauride). He has studied with world-renowned teachers, directors, and coaches, including Michael Sylvester, Marc Embree, Harry Silverstein, Steven Mosteller, and Loren E. Meeker and has had musical opportunities that include traveling to study language, culture, and music in Urbania, Italy (Musica Nelle Marche)and San Miguel de Allende, Mexico (Istituto de Bel Canto). He has performed with the DePaul Chamber Orchestra (Des Knaben Wunderhorn, Mahler), Chicago Summer Opera (Vater, Hansel und Gretel/Humperdinck) and been afforded many opportunities to advance his vocal training and studies. LaRob continues to sing around the Chicago-area (William Ferris Chorale/North Shore Baptist Church) and aims to use his voice to connect people from different communities. In 2017, with the help of Scapi Magazine, he founded the Hearing in Color organization which aims to highlight the music of underrepresented composers and artists. As Artistic Director he has curated concerts with music from Latinx, Filipino, and Black/African American communities. Now fiscally sponsored through Fractured Atlas, LaRob hopes to continue to highlight this music and change the predominantly white, European, male classical canon.
LaRob: There were several musical experiences that led to the founding of Hearing in Color but, one of them certainly was my Senior recital at DePaul. After nearly 4 years of training by some of the world’s most acclaimed teachers and coaches, I realized that I hadn’t ever been coached on or taught repertoire by people who look like me. My senior recital offered me an opportunity to become deeply acquainted - through research and performance – with Black Composers and their music. After school, I vowed to continue that research and discover other overlooked composers of color and invest in the true telling of their compositions through performances by artists of similar cultural experiences.
As an Artistic Director, I am constantly offered an opportunity to express something different and I get to choose to do something outside of the normal scope of what has been deemed a “standard” method performance. The ability to break away from tradition and cater to the needs of a larger community is most important to me.
As a performer, I am tasked with interpreting art based on my personal experiences. I can use these experiences to build a pathway for others to experience incalculable empathy thus, bridging dissimilar communities of people.
I don’t know if I have a favorite composer. Verdi’s Requiem stays on repeat because it’s a piece that I think is incredibly impactful over a century after its composition. Verdi, like H.T Burleigh, Zenobia Powell Perry, and Terrance Blanchard, all understand music as a catalyst for change and conversation.
Black is King performed by Beyoncé has made a lasting impression on me. All jokes aside, it was a production I felt had all the key components of an operatic performance: plot, costuming, sung throughout, and even incorporated aspects of poetry and dialogue. A brilliant retelling of themes presented in The Lion King but, more over an in-depth approach to a conversation surrounding Black Identity that we have not been able to see presented so beautifully. Opera would be wise to look at these types of performances and take notes.
Chicago Solisiti, D-Composed, Sphinx Organization, C.A.M.P.
All those organizations (mentioned above) are worthy of great recognition and support!