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�������ý��Ƶ this series: Lighting the Way With … is a periodic series in which we shine a light on �������ý��Ƶ alumni. Today we catch up with Evan Bravos ’10, an opera singer who is featured on an album nominated for a 2020 Grammy Award.

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Opera singer Evan Bravos ’10 has a new entry for his already impressive and growing resume — Grammy nominee.

The Greek-American baritone is prominently featured on a recording nominated for a 2020 Grammy Award for best choral performance. Sander: The Divine Liturgy of St. John Chrysostom, composed by Kurt Sander, is an original recording of Russian Orthodox choral music in English language. It’ll be in contention for a Grammy at the Jan. 26 awards show in Los Angeles.

The nomination is the latest win for Bravos as he builds an opera career from his home base in Chicago. In the past year, he has debuted with the Milwaukee Symphony in Mendelssohn’s Elijah, sang the role of Inman in the West Coast premiere of Jennifer Higdon’s Cold Mountain with Music Academy of the West, and made his debut with the Ravinia Festival in Leonard Bernstein’s Candide.����

Up next is a production of The Merry Widow (Jan. 24-26) with New Philharmonic in Glen Ellyn, Illinois — �������ý��Ƶ alumna Alisa Jordheim ’09 joins him in the cast — and then the Chicago premiere of Jake Heggie’s Two Remain with Chicago Fringe Opera in late March and early April before embarking on a series of performances of The Long View: A Portrait of Ruth Bader Ginsburg in 9 Songs.

Bravos came into �������ý��Ƶ with the Class of 2010. He stayed for five years, graduating in 2011 with a double major in vocal performance and music education. He would go on to earn a master of music degree from Northwestern University.

“�������ý��Ƶ prepared me for a life in music in more ways than I could have ever imagined,” Bravos said.

We caught up with Bravos in advance of the Grammys to talk about the Sander album, his blossoming opera career, and the work he put in at �������ý��Ƶ to prepare him for the stage.

On being involved with the landmark Sander album:

Peter Jerminhov, music director at St. Andrew’s Greek Orthodox Church in Chicago, asked me to join him in recording an album in the summer of 2017. Chicago has been my home base since graduating from �������ý��Ƶ, and I had come to know many of the churches and directors in town. Peter has quite the extensive resume, and I was very excited to join his project.

For the Kurt Sander album, we rehearsed and recorded at the New Gračanica Monastery in Lindenhurst, about an hour north of Chicago. The week of recording was monastic in and of itself. We arrived on the grounds every morning at 8 a.m. and rehearsed well into the late afternoon. For daily lunch in the humble church hall, a few of the monks and nuns prepared us very filling traditional Serbian cuisine. We were completely absorbed into the culture. The majority, if not all, of the singers recruited for this project were of Orthodox heritage — be it Greek, Russian, Serbian, Armenian or Romanian — so it was really a very exciting and collective collaboration. 

On why the project was so personally satisfying:

I grew up attending an Orthodox church in the suburbs of Chicago, though my heritage is Greek, not Russian. Growing up, I sang in the church choir, occasionally cantered for baptisms and weddings and played as organist. I had always had a fondness for Orthodox music: simple and down-to-earth, but also divine. Professionally, I had sung some of the featured works in various choirs, but this was the first project dedicated exclusively to the genre that I had been fortunate enough to work on. 

While at �������ý��Ƶ, I also served as choir director of St. Nicholas, the local Greek Orthodox parish in Appleton. The job served me twofold: it helped me maintain my cultural ties while allowing me to cultivate my musical tastes. By my fifth year, the choir had grown to be the focal point of that small church. Frankly, it was the glue holding the community together. This choir was made up of only six singers, but we always sang in four parts, a rarity in most Greek churches. I can honestly say that those five years were very important to my spiritual and musical growth.

On the excitement of the Grammy nomination:

There had been some earlier buzz about it potentially happening, but I was completely shocked the day that nomination was announced.

On how his �������ý��Ƶ experience prepared him for the opera stage, this recording and a myriad of other musical opportunities:

The academic and musical rigor of the college/conservatory combo was invaluable in every way. Being fully immersed in a culture of curiosity and of unending learning and surrounded by other deep thinkers who even during their college careers wanted to do more than just think was infectious in the best way possible. When I think of �������ý��Ƶ, I think of Midwestern work ethic meeting global perspective: Age-old, tried and true values intersecting with an ever-more-demanding modern world. My time at LU taught me how to organize words, thoughts, and time, not to mention my craft as a singer — thank you, Kenneth Bozeman — and how to help shape my own world as an artist and the world around me. 

See more Lighting the Way With … features on these �������ý��Ƶ alumni: Yexue Li��’10,��Rana Marks ’12, and Terry Moran ’82, and additional alumni features here.