Kristina Lindgren knows that she may owe some of her stage roles to her looks.
“It isn’t that I was not able to perform the part, or that I didn’t deserve it, but several people including me were quite capable, and I think they chose me because I am petite and slim, and I don’t look 42,” said the mezzo-soprano singer, who performs with the Opera Lyra Ottawa.
She has also seen some of her talented colleagues struggle, or not even try out for roles because they didn’t feel they would “fit.”
“This large-sized black girl in our chorus has a tremendous voice,” she said, “yet she didn’t even bother to try for a role in the young artist production of ‘Cinderella’. She simply stated to me that the audience just wouldn’t be able to see her as Cinderella and she wouldn’t feel right.”
Unfortunately, countless classical singers share the thoughts of Lindgren’s colleague. Discrimination is alive and well in the world of classical music, and singers whose skin color, weight, height or other physical attributes don’t match the “mainstream” find themselves trying to break the barriers of discrimination. Yet as many successful singers have proven, with persistence and hard work those barriers can be torn down.
In a culture that reveres Hollywood glamour and supermodel beauty and where the media glorify stardom and wealth, consumers’ taste buds crave physical perfection. While it may be true that in the past talent and beautiful voice were the two main requirements for singers, today opera houses and producers often send the message that those who are non-white or have less physical charm need not apply. “The world is diverse,” said Darryl Taylor, a tenor and the founder of the African American Art Song Alliance. “Classical music has worked hard to be elitist and exclusionary of all people, and the world doesn’t work that way.”
Taylor believes race is the biggest discrimination issue in classical music, and it applies not only to singers but to composers as well. When he began his singing career, he wasn’t willing to compromise his consciousness in order to be in the mainstream opera. Instead, he focused on music by black composers and has distinguished himself. Creating your own opportunities, he said, is one way to become successful.
“Specialize and set yourself apart from the pack, especially when you know there are a couple of strikes against you,” he said. “Create your own opportunities and distinguish yourself by singing a specific repertoire that suits your voice.”
Vincent Dion Stringer, a bass baritone, has also created his own opportunity. When things weren’t going in the direction he wanted, he switched gears and formed his own group, the New England Spiritual Ensemble. The group performs American Negro spirituals, solos and accapella. “You’ve got to be willing to go where the opportunities are or create opportunities for yourself, where a lot of people are looking for opportunities to be created for them,” said Stringer, who once was told by ZBF Berlin it would be more appropriate for him to sing Porgy than any other major roles on his list.
In his book How to Succeed in Business Without Being White, the successful entrepreneur and founder/publisher of Black Enterprise magazine says that “racism and racial ignorance are a nuisance, but they are not an excuse for failing or giving up.” It is important, he writes, to establish a presence and make sure your talents stand out.
“You just know it’s there and if you’re able and skilled enough, anything is possible—just know you can overcome anything,” Graves said in a telephone interview. “I understand it’s difficult in terms of opportunity and, opera, the field they are trying to break into is the most difficult in the world. Someone starting out has hurdles to overcome just like anyone else in the field, but they (African Americans) have an extra one.”
It’s a competitive ballgame out there, and it’s a tough place for the meek. “Years of social conditioning have made it difficult for African Americans and other minorities to be assertive, particularly in an environment dominated by whites,” Graves writes in the book. But you can—and must—overcome it. He suggests the following steps:
Have attainable and specific goals.
Speak up your mind.
Do not become emotional.
Don’t ignore the small problems.
Be persistent—”sometimes you have to deliver the message several times before people understand that you consider it important.”
Be willing to compromise—you can’t always win.
So where do you start when conquering biased attitudes is easier said than done? Start with confidence in yourself and your talent. “You’re in an audition to convince them and be flawless, so they can’t see anybody else but you in the role,” advises Stringer
But first you must convince yourself—then you can work on the rest of the world. If you walk into an audition with any doubt that you are the right person for the job, you might as well stay home. If you are confident that you must sing because there’s nothing else in the world that would bring you as much joy, then gear up, polish your materials, and start with a little pep talk.
“Understand that you have a tremendous gift for the world, whatever that is—in this case, musical talent,” said Dr. Barbara Becker Holstein, a psychologist, life coach and author of The Enchanted Self, A Positive Therapy. “The world is waiting for what you have to offer.”
Instead of focusing on your weaknesses and failures, she said, focus on your strengths. Meet with a mentor and brainstorm your opportunities—should you continue what you are doing or should you reinvent yourself? And be prepared to take a blow now and then, but “understand you are receiving a blow because of the culture that’s misperceiving you,” not because of your personality or skills.
It is difficult to pinpoint the exact reason why height, weight or skin color take prevalence over voice in casting for opera, but it often comes back to the argument about how far the suspension of disbelief can go. Some say the public will never accept a black man and a white woman tied in a romantic relationship—although for some reason a black woman and a white man will do. Others say large singers are simply not believable as heroes or lovers, beautiful voices notwithstanding. It is not surprising then that many of the talented artists give up without ever trying.
“Any of the big stars will tell you they have had obstacles in their way all through the early years,” Lindgren said. “Only a strong commitment and unwavering belief in oneself will get past it.”
Some singers have confessed that the way they get their roles is by getting themselves ready to look the part at an audition, not just with make-up or color choice for their wardrobe but also by taking on the character’s attributes—the type of walk, attitude and body language. Vincent Stringer agrees that tactic may be a plus.
“If you want to sing Rigoletto, you have to walk in the door as Rigoletto, and they have to see Rigoletto,” he said. “To get the job, you go in there and you have five or ten minutes to dazzle.”
If you feel your struggles are fruitless, turn for inspiration to some of the distinguished artists who had to break barriers during their careers. For example, Marian Anderson, a black contralto, became the first black person to sing on the stage of the Metropolitan Opera, at the age of nearly 58, although she had previously been denied access to opera halls. Through her quiet yet determined pursuit, Anderson has not only shown that black singers can be as successful as the white, but also became a symbol of triumph over racism.
“She sent a message that blacks could accomplish as much as whites could, anything they believe in, and they need to persevere and have faith,” said Allan Keiller, music professor at Brandeis University and the author of Anderson’s biography, Marian Anderson: A Singer’s Journey. “She was an example to people: She was grounded in faith, belief and tolerance, and she didn’t give up.”
You must also keep in mind that your career is not only about performing. Today more than ever, money talks. Singers often approach their careers as an artistic pursuit, but for opera houses, it’s often about business. Think of yourself not only as an artist, but also as a businessperson. If you approach your endeavor that way, you have already succeeded.
“Race is an underscore, but it’s also about marketing—agents, directors and presenters want to book something that will bring in money,” Stringer said.
If you are still not convinced that you can overcome adversity, think of the reasons you became a singer in the first place. You did it because deep down you are an artist and have the gift of a beautiful voice, because music inspires you and because your singing inspires your fans. And fans often don’t care how you look, they come to hear you because they are mesmerized by your voice.
“I always want to hear the music (and the singing),” Dr. Holstein said, “and I could [not] care less about weight or size.” As long as your voice can make the audience laugh or cry, you already have a great tool for taking down the walls of adversity.
