Sigma Alpha Iota

11 sai-national.org | Fall 2026 my song cycle for a July 5, 2026 performance, as part of a concert to celebrate our country's 250th anniversary at All Saints Episcopal Church in Frederick, Maryland. She agreed. Phillis Wheatley overcame incredible challenges to write and publish her poetry, and Jouelle Roberson has also overcome some incredible challenges as a young singer. Now the same age as Phillis Wheatley when she died, Roberson pursued her career as an opera singer. I thought it would be of interest to the readers of this journal to hear from one of their own about her musical journey. HOLLIS: I first heard you sing in the premiere of Oshun in a Maryland Opera program in Baltimore. You had the leading role as Oshun and sang lyrically and powerfully as the goddess in the African fable. You seemed to thoroughly enjoy that role, and the music fit your voice beautifully. How was that experience for you as an aspiring opera singer? JOUELLE: It was first and foremost a beautiful experience. The libretto and composition fit so perfectly together. You could feel the passion of Jarrod [Lee]'s words, and B.E. Boykin's belief in the story came through effortlessly in the music. It made creating and portraying Oshun very easy. As not only an aspiring opera singer but an artist, we all look for opportunities to stretch ourselves. Oshun gave me an opportunity to not only portray Goddess, but become her. Jarrod's careful direction helped to guide me into a space of divine authority, and tap into a beauty I did not know I could possess. It was an experience I will carry with me for a very long time, and I believe Oshun will live within me for a lifetime. HOLLIS: You are an emerging star in the world of opera and began your musical career at the Duke Ellington School for the Arts. How did your early exposure to music determine your career choice to become an opera singer? JOUELLE: From the young age of seven I knew I would sing for the rest of my life, and having the opportunity to begin my studies at Duke Ellington was a blessing. That is where I was introduced to classical singing, and my first voice teacher, Mary Jane Ayer, encouraged me to pursue it. But it wasn't until I began studying with my current voice teacher, Marquita Lister, that I truly began to believe that I was capable of becoming an opera singer. Before this time I wanted to be an R&B singer and producer, but I continued my classical training because I knew it was the basis of all singing. Deep down, I enjoyed singing classical and opera music. I never would have decided to commit to being an opera singer had I never gone to Duke Ellington or met my voice teacher. HOLLIS: How did Morgan State University and studying with Marquita Lister advance your career and inspire you to be an opera singer? JOUELLE: As a young singer we often need someone to believe in us more than we believe in ourselves, and Ms. Lister was that person for me. She pushed me and saw a star hidden behind shyness, a fitted hat, and low self-esteem. During my undergraduate degree, she introduced me to pianists and coaches like James Harps, Mark Markham, and Louis Salemno. They are three very knowledgeable and amazing pianists, coaches, and directors in the opera world. From those connections I was able to perform with the Baltimore Symphony Orchestra in July. I also had opportunities to sing with Kevin Short and Lester Lynch. HOLLIS: You have participated in many operatic studies programs and competitions. How have they advanced your career and inspired you to pursue a career as an opera singer? JOUELLE: Being a part of some amazing programs, such as Opera Theater of St. Louis (OTSL) and Saratoga Opera, has given me the opportunity to cover and study roles in a safe and encouraging environment. There, I get an up- close view of what it takes to do what I aspire to do. Traveling to Italy to perform Suor Angelica in the hometown of Puccini was amazing. In each program the coaches have been wonderfully meticulous in how they worked with the artists on their repertoire, and the masterclasses were always a place to watch and learn as my colleagues learned. I really enjoyed the masterclass at OTSL where I sang "Un bel di vedremo" from Madama Butterfly for Ana Maria Martinez, who is critically acclaimed for her portrayal of Cio- Cio San. Receiving guidance on an aria that has lived and breathed with another artist is invaluable. Every time I get an opportunity to step out on stage, I fall in love with the art form more and more. I find new ways to tell the same story, or even new feelings for the character I am playing. There aren't many art forms that allow us to do that. COMPOSERS Phillis Wheatley, poet

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