As June unfolds, marking Pride Month, it offers a unique opportunity to celebrate the remarkable contributions of LGBT individuals within the vibrant performing arts scene of the Bay Area.
Among those making a notable impact is pianist and coach John Churchwell, whose name may not resonate widely with audiences due to his primarily offstage contributions.
A native of Tennessee, Churchwell currently resides in Berkeley with his husband of 21 years, Stan Michael.
He is instrumental in shaping the future of the Merola Opera Program 2025 Summer Festival, providing invaluable mentorship to emerging artists.
These young singers, under Churchwell’s guidance, are equipped to realize their potential and embark on significant international careers in the world of opera.
Churchwell’s insights are especially poignant given his own journey as a Merola alum.
This year, the Merola Summer Festival promises a diverse array of performances, kicking off on June 26th with the vocal/piano recital titled “A Grand Night for Singing: An American Songfest.”
This program features selections spanning from Broadway classics and contemporary musicals to spirituals, jazz, and classical pieces, ensuring there’s something for every attendee.
In addition to his work with Merola, Churchwell also serves as the Head of Music Staff at San Francisco Opera and maintains a successful career as a recital pianist collaborating with top opera talent.
I recently had a chance to connect with Churchwell via phone to delve deeper into his journey, the significance of opera and musical theater to queer audiences, and what Pride Month signifies for him.
Our conversation revealed a wonderfully articulate individual, balanced in intellect and approachability, especially as he reflects on his life surrounded by the joy of music and friendship.
First and foremost, I wished him a Happy Pride!
“Considering my work schedule, I seldom have the chance to enjoy many Pride events in San Francisco. However, this year, we’re organizing a special concert to celebrate, which I find really exciting,” he shared.
Describing his role at the Merola Summer Festival, Churchwell explained, “Each year, we welcome about 22 to 24 singers alongside 5 pianists and a director, creating a summerlong audition process. As we identify standout talents, I collaborate with Carrie-Ann Matheson and Markus Beam to support these artists one-on-one.”
As a Merola alumnus himself, Churchwell reflects on his transformative experience.
“When I joined Merola, it was my first time west of the Mississippi. Coming from the South, California was a whole new world for me, filled with diverse musical inspiration and community,” he recounted.
Churchwell noted that a unique circumstance during his summer at Merola—in which they were short on pianists—encouraged him to dive deeper than ever into the experience.
“This moment revealed to me that my success at Merola was directly proportional to the effort I invested. I pushed my boundaries and fully committed to working hard, yielding a summer that instigated numerous personal and professional growth opportunities.”
Reflecting on his time in California, Churchwell acknowledged that many pivotal relationships and connections stemmed from that summer.
“Merola broke down limitations and distractions, allowing me to discover the potential of what I could achieve if I dedicated myself fully to music and learning.”
He emphasized that Merola provided a unique platform to focus entirely on the art form without the worries of financial strain, empowering participants to curate their experiences fully.
Originally from Knoxville, Tennessee, Churchwell grew up in a family culture that did not prioritize classical music.
“My community revolved around church—my initial love for music was nurtured through singing and playing instruments in a Southern Baptist church setting, guided by an inspiring organist who introduced me to classical music,” he explained.
In many ways, his journey mirrors that of others, especially those from similar backgrounds.
“I understand that experience well, as I also grew up with music tied to church,” he shared.
He continued, reflecting on his move to San Francisco and how the accessibility of opera felt like a newfound birthright for him as a gay man.
“I believe both opera and musical theater resonate deeply with queer audiences for the sheer opportunity they provide to reinvent oneself,” he stated, emphasizing the beauty of storytelling through the arts.
“Opera allows individuals to escape their realities, providing not only an avenue for emotional expression but also a chance to live and explore diverse narratives,” he elaborated.
Churchwell articulated that opera’s grandiose and intricate nature, alongside the combined artistry of singing, dancing, and acting, celebrates self-expression.
He remarked that modern opera presents relatable stories that resonate with audiences.
“Our upcoming remount of Dead Man Walking, premiering this fall, exemplifies that—delivering an accessible and immediate connection to the audience from the very first note,” he shared with enthusiasm.
Having participated in the production’s premiere, Churchwell recalls the intense energy surrounding that landmark creation.
“I joined San Francisco Opera’s music staff just before that production. Under the guidance of maestro Patrick Summers, I worked closely with artists to bring this exciting new work to life,” he recounted, reflecting on the collective passion that fueled the project’s evolution.
“During our early workshops, we had the privilege of assembling an array of talented performers as we pieced together the opera, witnessing it blossom into something extraordinary,” he said.
When asked if he sensed the magnitude of being a part of such a groundbreaking moment in opera history, Churchwell admits he didn’t fully grasp its significance but felt the unparalleled excitement in the air.
“It was indeed a unique blend of talent—from the composer Jake Heggie and librettist Terrence McNally to the director Joe Mantello, all stepping into unchartered territory led by remarkable, larger-than-life performers,” he recalled.
Churchwell noted that he has been involved in other premieres that did not achieve similar acclaim, further highlighting the unpredictability of artistic success.
“Despite the outcome, every experience of nurturing a new work remains gratifying, knowing that you’re contributing to bringing something uncharted to life,” he affirmed, suggesting that there’s inherent value in every artistic endeavor.
As a recital pianist collaborating with renowned vocalists, I asked Churchwell about the moments of anticipation before stepping on stage with luminaries like Renee Fleming or Joyce DiDonato.
His frank response was laced with humor: “Primarily, my thought is, ‘Don’t mess up!’ But overwhelmingly, I’m filled with gratitude at the privilege of sharing music with incredible talents.”
Many of his performance partners are not only colleagues but also dear friends.
“The time spent with these artists outside the rehearsal space fosters authentic relationships that translate into our collaborative work,” he explained.
By nurturing these bonds, Churchwell believes both on-stage chemistry and communication improve, creating an environment where performances feel less daunting.
“Stepping on stage is a shared journey, both focused on the same artistic goals,” he noted, reflecting on the collaborative spirit that accompanies music-making.
As the conversation circled back to the meaning of Pride Month, Churchwell asserted that every month feels like pride for him.
“I don’t limit my celebration to one month. To me, every day is an opportunity to pridefully pursue excellence in what I do, both in music and in life,” he emphasized, explaining that Pride Month provides a moment for broader acknowledgment and celebration of LGBT achievement.
“Yet, my commitment to producing impactful music and fostering meaningful connections is unwavering throughout the year,” he affirmed, ultimately highlighting that Pride isn’t confined to a single month for him but is a continuous commitment to authenticity and excellence.
image source from：broadwayworld
