In honor of Ludwig van Beethoven’s 250th birthday, the South Florida Symphony Orchestra is putting on a musical performance that must not be missed. Audiences are invited to celebrate one of classical music’s greatest creative geniuses February 7 & 9, 2019, with a special presentation of his epic Symphony No. 9 and the famous “Ode to Joy.” This concert will feature bass-baritone Neil Nelson, tenor Derreck Stark, and soprano Robyn Lamp, who I had the pleasure of chatting with. Lamp’s performances have earned her recognition and roles from rare gems to well-known classics. Her robust and golden voice has led her to perform with symphonies across the country, and she made her Carnegie Hall debut earlier this year. She is thrilled to return to the SFSO and celebrate the life and work of Beethoven.

Denny Patterson: Hi, Robyn! Tell us what audiences can expect from your upcoming performance with the SFSO for its Beethoven 250th anniversary celebration.

Robyn Lamp: They can expect glorious singing from the soloists and the chorus. We sing a very popular tune called “Ode to Joy,” a tune that everyone should recognize. So, you know, loud noises. The voices are only on the Fourth Movement, the last movement, so it is kind of nice because you sit through three movements of instrumental music, which is lovely, then you get something completely different in the movement. Different colors and a totally different experience.

DP: What are you looking forward to the most about this performance?

RL: I am looking forward to being in the Broward Center, which is just a wonderful theatre to sing in. It’s a beautiful theatre to look out and see a huge audience. I am also looking forward to singing this glorious music. It’s a piece you feel like you can let the horse out of the cage. You have the symphony behind you and the chorus, and you can just dig in and sing your heart out.

DP: Is Beethoven one of your musical influences?

RL: Oh, yes, for sure. We studied him a lot in school. He never wrote any operas and I am primarily an opera singer so I work a lot with Verdi and Wagner and all these opera composers, but Beethoven is a composer that you must know in order to perform his music. There’s no dancing around the fact. You must have a solid technique in order to sing his music because it is hard to sing and the way he writes and sets everything to music. He is a giant in the classical music field.

DP: What do you think the music world would be like if we never had Beethoven?

RL: Pretty boring [laughs]. Beethoven allowed other composers to step out of the box and not be so structured in what they were doing and writing. He kind of set the precedence for composers being allowed to be artists and express themselves and not adhere to all the rules that were placed before him.

DP: Have you always had a passion for singing and performing?

RL: For the most part, yes. When I was in high school, I joined the chorus and was always involved in drama club and things like that. I never wanted to do anything else. I kind of eased into college and then eased into a master’s degree and always just followed my passion. Music and performing is my one true love. I cannot think of anything else that would make me happy.

DP: And I read that you made your Carnegie Hall debut earlier this year. How was that?

RL: It was wonderful! I did it with a company called MidAmerica Productions, and it was an all chorus concert, so they had a big chorus in the background with the orchestra on stage and then I was the soloist in front. It was amazing to sing in that Hall. That’s what you dream for as a young musician, so I finally got to do it and it was a wonderful acoustic experience.

DP: What do you do to prepare yourself before every performance?

RL: I always eat a good meal, usually like chicken and vegetables, and in the morning, I always go on a walk and stretch so my body is warm and my air is flowing and everything is loose and ready to go. Then, in the dressing room, I sit with my score in silence for about 5-10 minutes looking over any difficult spots and just absorbing the music one last time before I step out on stage.

DP: What do you hope audiences take away from this Beethoven performance?

RL: I hope they love it and that they come back for something that is maybe less well-known. Hopefully they can fit a symphony, opera, or musical theatre performance into their monthly lives and continue to support live performances.

DP: What’s next for you? What upcoming projects should we be on the lookout for?

RL: I am currently learning Norma from Bellini’s opera “Norma,” and it is one of the toughest and longest soprano roles in the repertoire. I am learning it right now, but I am covering it at Boston Lyric Opera in March. So, after Beethoven, I will be heading to Boston to do that.