Edwin Jhamal Davis

Edwin Jhamal Davis

Praised by opera critic Voce di Meche for his “juicy, booming and room-filling bass” accompanied by “mesmerizing, fully-immersed acting,” basso profondo Edwin Jhamal Davis is quickly establishing himself as an artist on the rise to watch.

This past summer, Edwin joined San Francisco Opera’s prestigious Merola Opera Program where he performed Sarastro in Die Zauberflöte as well as excerpts as Banquo in Macbeth.  In the current season, he reprises the role of Bass 2 in X: The Life & Times of Malcolm X for Opera Omaha, Masetto in Don Giovanni for Atlanta Opera, joins Opera Grand Rapids as the King in Aida, will perform as the bass soloist in Handel’s Messiah for Danbury Symphony and make his Carnegie Hall debut in Verdi’s Requiem.

 

 

Calendar

Event Date
Nov 4
to
Nov 6
X: The Life & Times of Malcolm X
Bass 2
Opera Omaha
Omaha, NB
Event Date
Dec 3
Handel's Messiah
Soloist
Danbury Symphony
Danbury, CT
Event Date
Jan 21
to
Jan 29
Don Giovanni
Masetto
The Atlanta Opera
Atlanta, GA
Event Date
May 5
to
May 7
Aida
King
Opera Grand Rapids
Grand Rapids, MI

Artist Bio

Praised by opera critic Voce di Meche for his “juicy, booming and room-filling bass” accompanied by “mesmerizing, fully-immersed acting,” basso profondo Edwin Jhamal Davis is quickly establishing himself as an artist on the rise to watch.

This past summer, Edwin joined San Francisco Opera’s prestigious Merola Opera Program where he performed Sarastro in Die Zauberflöte as well as excerpts as Banquo in Macbeth.  In the current season, he reprises the role of Bass 2 in X: The Life & Times of Malcolm X for Opera Omaha, Masetto in Don Giovanni for Atlanta Opera, joins Opera Grand Rapids as the King in Aida, will perform as the bass soloist in Handel’s Messiah for Danbury Symphony and make his Carnegie Hall debut in Verdi’s Requiem.

Previous engagements include Bass 2 in X: The Life & Times of Malcolm X for Detroit Opera, Sparafucile in Rigoletto for the Florentine Opera, the bass soloist in What Lies Beneath for On Site Opera, and Uncle Wesley in Night Trip for Portland Opera.  He toured with the American Spiritual Ensemble, sang the world premiere of Brother Nat: Rise, Revolt, Redemption in the role of Will at the Boston Paramount theater, and was a featured soloist in the symphonic premiere of Without Regard to Sex, Race or Color, a musical work inspired by the photographic artistry of Andrew Feiler and composed by Doug Hooker, for the National Civil Rights Museum. Edwin also joined Portland Opera as a Resident Artist for the 2020-2021 Season.

He has appeared as guest soloist at various national venues such as Pompano Beach Orchestra’s presentation of Handel’s Messiah, Bronx Concert Singers’ Winter and Spring presentations, and St. Mark’s presentation of Messiah.

Edwin made his professional debut with the Mississippi Opera Company in the role of Simone in Puccini’s Gianni Schicchi. He is an alumnus of Jackson State University where he earned a Bachelor of Science in Biology Pre-Medicine with dual minors in Chemistry and Music. He received his master’s degree from the prestigious Manhattan School of Music where he studied with well-acclaimed baritone Mark Oswald and performed Wurm in Verdi’s Luisa Miller, Osmin in Mozart’s Die Entführung aus dem Serail, Masetto in Mozart’s Don Giovanni, and covered Reverend Olin Blitch in Susannah by Carlisle Floyd. 

He was crowned the national title for the Marian Anderson Vocal Arts Competition hosted by the National Association of Negro Musicians in its centennial celebration, is a Metropolitan Opera Eastern Region award winner, and become one of the first African Americans to claim one of the top two prizes in Opera Columbus’s Cooper-Bing International voice competition.

Edwin is a proud native of Utica, MS.

Updated October 25, 2022

Press

"His booming room-filling voice..."" – Voce di Meche

Osmin in Die Entführung aus dem Serail – "Bass Edwin Davis impressed us with his portrayal of the comically nasty Osmin, servant to the Pasha. He so immersed himself in the role that it never seemed like acting. It would have been a mesmerizing performance if he had never sung a note; but his booming room-filling voice was marvelously employed to serve the role. The difficult third aria "Ha, wie will ich triumphieren" contains some of the lowest notes in the bass repertory and he nailed them."

"a focused, resonant, deliciously dark sound..." – Elaine Schmidt, Journal Sentinel

Sparafucile in Rigoletto – "Bass Edwin Davis brought a focused, resonant, deliciously dark sound to the role of Sparafucile ... using that sound as the core of a dark-hearted character."

"chilling basso notes" – Urban Milwaukee

Sparafucile in Rigoletto – "In a large cast of capable singers, there were some standouts: The chilling basso notes of Edwin Davis as the assassin Sparafucile..."