By titling his debut album Going Home, renowned bass Morris D. Robinson shows that he is reflecting on the amazing personal journey that has brought him to stardom. Home for Robinson is Atlanta, where he was raised as the son of a Baptist preacher. One might expect to read that he sang in the church choir, but actually Robinson was the drummer from age 9 to 18. While Robinson has made his name in the opera world over recent years, Going Home reflects a return to his musical roots while showcasing his rich bass voice.

“This album is my way of giving back and thanking God for the many blessings that He has given me,” Robinson said. “Many albums can follow, but the first one is for Him. My music comes from the heart. I want to give glory to God through my music and thank Him for my many blessings.”

Among the most notable songs on Going Home are “Walk With Me” and “Go Down Moses,” both of which combine Robinson’s Gospel background with the love for opera that he has developed as an adult.

In describing “Go Down Moses,” Robinson says, “This Spiritual blends the two worlds I straddle the best and allows me to express my love for opera and gospel in one song.”

Perhaps the most poignant song on the album, however, is “His Eye Is on the Sparrow.” Robinson performed this song at his mother’s funeral.

“I do it on the album exactly the way that I did it for her that day in the church,” Robinson said.

Robinson is quickly gaining a reputation as one of the most interesting and sought after basses of his generation, but growing up, Robinson’s background did not point him toward the world of opera. The music played in his home was always Gospel. And though Robinson joined the Atlanta Boys Choir at age 7, Robinson said he would have preferred to be out with the “cool kids” playing football.

In high school, Robinson did a little bit of everything. He played in the band, he sang in the chorus, and he joined the “cool kids” on the football field. In fact, he was so good at football, he earned a scholarship to play for The Citadel, and there he was named as an All-American.

After graduating with an English degree, with various stints in marketing and even as a bouncer, Robinson took a sales job in Washington, D.C., where he auditioned for the Choral Arts Society in 1996. Robinson knew by the reaction of the choral director that maybe his mom had been right; maybe he did have a voice that needed to be heard. After moving to New England, Robinson started taking weekend classes at the New England Music Conservatory, and was soon encouraged to delve a little deeper and begin to explore the world of opera. It was a perfect match. Shortly after, a star was born.

Robinson auditioned for a local opera in Salem, Mass., and was cast in a leading role. As serendipity would have it, in the audience of opening night was the music director for Boston University who sought out Robinson back stage when the curtain fell. “She told me that I had some real talent. Talent I needed to be nurturing. She told me to hire a private vocal coach, learn five arias and then come and audition for her.”

In the spring of 1999, Robinson did just that and earned a full scholarship to Boston University’s graduate music program. That fall, he quit his sales job and began his new journey.

While at Boston U. Robinson auditioned for the Boston Lyric Opera and was cast as the king in “Aida,” a major role that he filled with ease.

The Boston Globe wrote, “Morris D. Robinson brought a splendid, first-class, natural voice . . . to the part of the king of Egypt.”

Continuing to gather accolades and praise, he placed third in the New England region at The Metropolitan Opera National Council Auditions competition. This award garnered Robinson a private audition at the Met in NYC. The hard work and good luck continued to follow him as he was soon after awarded a place at the Lindeman Young Artists Development program at the Met. Robinson studied there from 2001-04 and made his Met stage debut in 2002, in “Fidelio.”

“Morris DeRhon Robinson was the richly sonorous Pluto,” wrote the New York Times.

This fall, Robinson returned to Florida Grand Opera to open the season as Ramfis in "Aida," and to the Met as Sarastro in "Die Zauberflöte" (both in the original production and in a new children's English version). In his previous Florida Grand Opera performance, Robinson played Sparafucile in "Rigoletto." Also this season, Robinson will appear in recital at Spivey Hall in Atlanta, and at the Savannah Music Festival.

Robison made his debut at the Tanglewood Festival this past summer as Commendatore in a concert version of “Don Giovanni” with James Levine. He also debuted in the Cincinnati May Festival as Osmin in a concert performance of “Die Entführung aus dem Serail” with James Conlon, and at the Verbier Festival in a concert version of “Simon Boccanegra” with Levine.

Robinson hopes that Going Home, his debut with Decca Label Group, will accurately reveal his roots, while simultaneously taking the listener on the amazing vocal journey he has been on thus far.