An Interview with Nathan De'Shon Myers

This February, CES is honored to welcome Nathan De’Shon Myers as a featured guest artist for an intimate afternoon of music, conversation, and song. An internationally acclaimed baritone, conductor, and educator, Myers’ career spans opera houses in the U.S. and Europe, Grammy-winning recordings, film soundtracks, and a deep commitment to music education and community.

Ahead of this special event, we had the opportunity to sit down with Nathan to talk about his musical journey—one that moves seamlessly between opera, jazz, gospel, Broadway, and the classroom. In the conversation below, he reflects on the artists, traditions, and experiences that have shaped his voice and his work.

• You move fluidly among opera, jazz, and gospel, traditions with very different vocal demands and cultural lineages. How do you navigate those stylistic shifts while maintaining a unified artistic identity?

It is exciting to get the chance to sing all of the different styles that I enjoy. The unifying factor for me is a commitment to excellence and authenticity within each style that I present. To that end, my clearest intention is to stay true to the traditions of each musical paradigm while applying the basic principles of vocal freedom and employing the appropriate use of diction, rhythm, and other musical elements specific to each genre.

• Many artists specialize narrowly, but your career is intentionally hybrid. Was there a moment when you realized you didn’t want to be defined by a single genre?

My interest and formal training in multiple styles of music began quite early and simultaneously. I often equate the hybridity of my career to the pathways of a polyglot who learns two or three languages at the same time from an early age. I was introduced to classical choral, gospel, and pop music in elementary school. In middle school, I was introduced to various languages in choral music and solo classical songs. In high school, I was formally introduced to jazz and opera at 15 years old and interestingly enough, I knew then that I wanted to sing professionally.

• Your collaborations range from Kristin Chenoweth to Kirk Franklin and the musicians of Ghost-Note. What do you look for in an artistic partner?

Compassion, artistic and professional integrity, kindness, and a real love for the art we are presenting. It is important that a collaborator not only sincerely loves the work but also loves working harmoniously with others.

• You have contributed to multiple movie soundtracks. How does recording for film challenge you in ways the stage does not?

Recording for film presents a unique opportunity to polish the product ahead of public consumption in a way that live performing on stage doesn’t. However, with that opportunity to polish comes more pressure to present work that is perceived as blemish-free. I find that establishing an authentic connection with an audience that isn’t present at the moment of performance is a unique challenge of recording. 

• You’ve built opera programs, choral ensembles, and gospel choirs—each requiring a different approach to vocal development. How do you shape a learning environment that reaches students across these styles, and what do you hope for young singers to learn bridging across styles? 

I appreciate this questions as often music educators feel that they have to juggle so many things in order to foster an open environment where students can feel free to explore all of their interests without compromising musical integrity. I am guided by a basic principle that good singing is good singing. As I work with students at all levels, my first objective is to get them to sing efficiently with consistent connection to their breath support and freedom from vocal tension. This is a through-line for all good singing and is the primary building block for any singer no matter the style they choose to present. It is my experience that once singers are able to consistently achieve this efficiency, connection, and freedom, they are equipped with the basic tools to engage every style they enjoy. 

• Across your career, you’ve spoken about service: musically, educationally, and in community spaces. What role do you believe the artist plays in public life today?

Artists have a unique way of seeing the world and bridging the gaps between communities which ultimately encourage cross-cultural understanding. The artist has the ability to bring much-need levity to the heaviness of the world and inspire others to deep introspection and positive action. In short, artists make us laugh, cry, think, and grow. 

• How did you meet and get involved with Carolyn and the Carolyn Eynon Singers?

My first collaboration with the Carolyn Eynon Singers was a few years ago when we performed a concert together with the ASU Gospel Choir and ASU Philharmonia Orchestra at ASU Gammage. The preparation process was quite enjoyable and yielded a mutual musical respect that has led us to this current fundraising collaboration. 

Thank you for joining us for this engaging interview with Nathan De'Shon Myers. We hope to see you at our February fundraiser!

An Afternoon at Steinway: Music, Conversation, and Song

4pm Saturday, February 28

Tickets: $80 individual, $150 couple

Steinway & Sons Showroom

14418 N Scottsdale Rd, Scottsdale

Nathan De’Shon Myers website, Instagram, Facebook