Artaserse: A Reflection

Although my debut with Haymarket Opera took place this year, my first introduction to the company came in 2020. At that time, the world was in the height of the COVID-19 pandemic, and my career—as well as those of many other artists—was put on hold for the foreseeable future. Even before the pandemic, opportunities for countertenors in Baroque opera were already limited. With the addition of a full lockdown, it seemed increasingly unlikely that opera companies and symphonies would program countertenors at all, whether virtually or in person.

While scrolling through social media during that uncertain time, I came across a moment of light. I saw a video of countertenor Kangmin Justin Kim and soprano Erica Schuller, joined by theorbist Brandon Acker and cellist Craig Trompeter, performing “Pur ti miro” from Monteverdi’s L’incoronazione di Poppea.

Haymarket had originally planned to present a full production of L’incoronazione di Poppea in July 2020, but it was unfortunately canceled due to the pandemic. In response, and to help offset both the artistic loss and the financial impact of canceled ticket sales, the company shared a virtual performance of the opera’s famous duet, with the soloists singing from their homes.

This video deeply encouraged me and gave me hope that Baroque music—and our community—would endure. Inspired, I reached out to Craig Trompeter in hopes of receiving guidance and coaching. From that small seed of hope grew the opportunity that would eventually lead to my dream debut as Arbace in Vinci’s Artaserse last season with Haymarket Opera.

My first knowledge of Vinci’s Artaserse was from Franco Fagioli singing Arbace’s aria, “Vo solcando un mar crudele" on YouTube. His fabulous singing and colorful production inspired me so much that I learned this aria behind my voice teacher's back, at the time not having a full understanding how extremely, technically difficult this aria is.

That early curiosity eventually transformed into a deeply personal artistic journey. The role of Arbace demands not only agility and stamina, but also a deep emotional commitment, and stepping into this role felt like a full-circle moment in my artistic development. In arias such as “Vo solcando un mar crudele,” I was able to fully embrace both the virtuosic and vulnerable aspects of Arbace’s character. I found that what once felt vocally impossible had become both accessible and something I could make my own.

Rehearsing at Jarvis Hall at DePaul University was another meaningful part of this journey. What struck me most about Haymarket was the care behind every decision. Under Craig’s Trompeter, every musical decision was grounded in both scholarship and expressive intention. Ornamentation was never arbitrary; it served the drama and illuminated the emotional landscape of each aria. Working closely with greatly experienced continuo players changed how I listened and responded. I developed a heightened sensitivity to timing, phrasing, and delivery. It required me to stay present in a different way to react, to adjust, and to trust the moment. 

The recording process introduced yet another new dimension and another full-circle moment. While making my debut at Seattle Opera as Orpheo in Gluck’s Orpheo et Euridice in 2021, my costar and I spoke often about our dreams for our lives and careers. One of mine was to professionally record an opera. At the time, neither of us knew how that might happen, but she suggested connecting me with a singer she deeply respected: Kangmin Justin Kim. When we were introduced, he shared that he, too, had yet to record professionally. It feels almost poetic that Artaserse would become the project through which we both realized that goal.

Unlike live performance, where energy flows continuously between stage and audience, recording demands an intense level of focus and precision. Every detail is magnified, requiring a careful balance between technical accuracy and expressive spontaneity. The recording process took us three days to complete this large work. James Ginsburg, president of Cedille Records and producer of Artaserse, guiding us masterfully through it, pushed us toward our best work while ensuring that each take retained immediacy, clarity, and emotional truth.

Beyond the music itself, this experience reaffirmed the importance of community in artistic creation. From the instrumentalists to the production team, every individual contributed to an environment of mutual respect and shared purpose. After the uncertainty and isolation of the pandemic years, being able to collaborate so closely with others was both grounding and inspiring. It served as a powerful reminder of why I am drawn to this art form: the ability to connect, to communicate, and to create something meaningful with others.

Ultimately, my debut with Haymarket Opera represents more than a performance; it marks a significant milestone in my artistic journey. It is the culmination of years of study, perseverance, and belief in a path that often felt uncertain. This experience has not only strengthened my confidence as a performer but has also deepened my commitment to Baroque repertoire and to the continued exploration of what it means to be a countertenor today.

About the author

Countertenor Key’mon Murrah, heralded by Opera News for the “resplendent, voluptuous tone throughout his enormous range and phrasing with the feel of fine silk,” continues to garner international acclaim for his “vocal acrobatics'' and “mature artistry.” Already performing on major stages around the world, Murrah has quickly become one of the leading and versatile artists of this generation.

In the current season, Murrah debuted with the Los Angeles Philharmonic at the Hollywood Bowl in performances of Bernstein’s Chichester Psalms, led by Music Director Gustavo Dudamel. Further performances in the season include the world premiere of Jake Heggie’s Earth 2.0 with the Fort Worth Symphony (and later performances with Grand Rapids Symphony) and a recital at the Kennedy Center as the 2024 recipient of the Marian Anderson Award. He also makes important debuts in France as Sesto in Giulio Cesare with Opéra National Capitole in Toulouse and as Sifare in Mozart’s Mitridate for Opéra Montpelier led by Philippe Jaroussky. Murrah finishes his season with performances as Arbace in Artaserse with Haymarket Opera and a world premiere by Christopher Theofanidis, Siddhartha, at the Aspen Music Festival.

About The Haymarket Review: This digital publication including thoughts about the work produced by Haymarket is designed to deepen our connection to audiences, nurture and feed audience curiosity about historical performance, offer critical opinions and thoughtful reflections on our performances, and provide a forum for Haymarket and its audience to connect through sharing insights, opinions, learning, and expertise.