Dec. 13, 2024

The Tall Tenors

Three current Butler Studio artists share some interesting traits.
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Shawn Roth with Butler Studio artist Ani Kushyan. Photo credit: Lynn Lane

The Butler Studio has built its reputation on gathering and nurturing some of the most extraordinary young voices, and among these, tenors hold a particularly rarefied status. Think of Don José’s tragic intensity (Carmen), Tony’s youthful optimism (West Side Story), or Rodolfo’s ardent passion (La bohème)—the last of which, as it happens, is now being performed by current Butler Studio artist Michael McDermott! Yet, for as central as tenors are to opera, they’re not a common voice type. Most male voices naturally fall into the baritone range, making tenors a unique find in any operatic company. 

 

Tenors are often stereotyped as emotionally expressive, with a touch of diva flair, and despite the altitude of their high notes, they’re not always clocked as “towering” in height. This year, however, the program is training three tenors who break every mold: Demetrious Sampson, Jr. and Michael McDermott are now in their second year as Butler Studio artists, while Shawn Roth joins us for his first year. Not only are all three over six feet tall, but each brings a distinctly different sound and repertoire specialty. It’s no exaggeration to say we’ve hit the tenor jackpot! 

 

 

How tall are you? 


Michael McDermott: I’m 6’1”—but 6’2” for the stage! 


 
Shawn Roth: I believe I’m the runt of the tenors at 6’1”. 


 
Demetrious Sampson, Jr.: I am six feet and 2.75 inches, so I say I’m 6’3”.  

 

 

How did you get into opera, and were you always a tenor? 


McDermott: My high school choir director suggested that I start taking lessons, which I did. It took a few years to figure out if I was a baritone or tenor, but I fell in love with the tenor repertory. The more I sang it and trained my voice higher, the more of a tenor I became.

 

Roth: I was exposed to opera through singing classical music in my school’s choir. I started as a baritone, switched to tenor in high school, went back to baritone in college, and finally settled at tenor just before graduating. 

 

Sampson: I always sang high in my school choirs, and in high school, I started to think, “Maybe I need to do something with this…” I started taking lessons as a countertenor! But panels at competitions would say, “Your tenor voice could be special, and you’d make a lot of money.” After hearing “special” and “money,” I thought, “Let’s see if I like it,” and now I’m here. 

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Michael McDermott and Ani Kushyan. Photo credit: Lynn Lane

How would you describe the tenor voice to someone new to opera?  


Sampson: I’d say the tenor voice is the most primal yet unnatural of all voice types. It’s the hardest to train but can be the most special to hear. We’re best known for our upper register—what some call the “voice of God” or the “cash register”—where tenors sing in a way that captures the primal essence of humanity. 

 

McDermott: There’s a lot of risk in the tenor’s highest extremes, and the audience feels that—that’s what makes the voice type so exciting. It’s also what gives so many of us anxiety! 

 

Roth: Out of all the voice types, we carry our chest voices the highest up the scale. We’re also the voice type you’re most likely to hear warming up backstage. 

 

 

What are some stereotypes about tenors, and how do you fit or negate these stereotypes? 


McDermott: There are too many stereotypes to count, but one of the biggest is that we’re all divas. Honestly, this can be true.  

 

Roth: People think we’re full of ourselves. Misleading! We’re actually full of air. A stereotype I fit is that I make funny faces on high notes. No horned helmet yet, but it’s on the bucket list! 

 

Sampson: People often think of tenors as divas with fragile egos. Not me! I check my ego at the door. While there are tenors who fit that stereotype, I find that most have a healthy sense of self and are genuinely kind, supportive people. 

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Demetrious Sampson, Jr. with Butler Studio alumna Meryl Dominguez. Photo credit: Lynn Lane

What’s your ultimate dream role, and if there were no limits, what’s a fantasy role you’d love to sing? 


McDermott: In about 10 years, I hope to sing roles on the fuller side of the lyric repertoire, like Cavaradossi and Don José. But my ultimate dream role is Rodolfo. If there were no limits? I’d try Escamillo in Carmen. I’d love to see how a tenor might handle that baritone swagger! 

 

Roth: My dream role is Siegmund in Die Walküre. His music is raw, powerful, and lyrical. The Vickers recording with Karajan never fails to give me goosebumps! But if I could pick any role ever, I’d go for Don Basilio from The Barber of Seville. I get jealous every time I see a bass sing "La calunnia"—it looks like so much fun! 

 

Sampson: My ultimate dream role is Der Kaiser from Die Frau ohne Schatten. But my fantasy? Tosca! Every time I think about that role, I think, “Yes, that’s me. Let’s do it!”  

about the author
Colin Michael Brush
Colin Michael Brush is the director of the Sarah and Ernest Butler Houston Grand Opera Studio.