Since TNYON began publishing, we’ve been receiving reports of discrimination against African-Americans in opera. So six months ago [June 1995], we decided to conduct a survey about the status of African-Americans in opera today. The results of that survey are now in, and we’re ready to share them with you.
We would like to point out that, with a survey this small, results are pretty inconclusive and have a wide margin of error (we projected a response by at least 500 operatic professionals, but received a total of only 95 responses). In other words, while 64 percent of our respondents report that they have witnessed discrimination against African-Americans, it cannot be assumed that 64 percent of all Americans in the opera professions have seen the same. Still, the figures speak for themselves. So here we go.
How many respondents had seen discrimination?
Overall, 64 percent of respondents stated that they had personally witnessed discriminatory acts against African-Americans. Thirty-six percent reported that they had never witnessed discrimination. It’s interesting to note that results were somewhat split along racial lines. Ninety-six percent of African-American respondents reported having witnessed discrimination, as opposed to 55 percent of the non-African-Americans.
How many of the African-American respondents had been targets of discrimination themselves?
Thirty-five percent of all respondents stated that they had themselves been the targets of discriminatory acts or attitudes.
If they were not victims themselves, who were?
Other solo singers who happened to be African-Americans (33% of respondents), choristers (12%), directors and conductors (4%) and instrumentalists (5%). One respondent reported seeing discrimination directed at a coach, and one other reported seeing it directed at applicants for faculty positions.
What kind of discriminatory acts did they see?
Respondents reported racial epithets directed against African-Americans (18 % reporting), negative comments because of race (35%), limiting of opportunities (51%), casting decisions based on race (53%).
Where did they witness the comments or discriminatory acts?
In conversations with one other individual (34% of respondents), in conversations where no African-Americans were present (27%) and in conversations where African-Americans were present (25%). Curiously, this implies that not all discrimination occurs “behind closed doors.” Some of it is out in the open or involves face-to-face comments made to African-American artists.
Who was guilty of discrimination?
Fifty-two percent of reported discriminatory acts were committed by non-African-Americans. Astonishingly, 20 percent of all respondents stated that they had witnessed discriminatory statements or acts committed by African-Americans themselves. Administrators were also cited for discriminatory actions, including administrators for opera companies (reported by 44%), managements (20%) and colleges/conservatories (24%). Respondents also reported discrimination from coaches and accompanists (13% reporting), conductors (26%), directors (26%), theatrical/technical staff (16%), voice teachers (15%) and instrumentalists (9%).
Do men or women suffer the most?
The majority of respondents (56%) reported seeing discriminatory acts or attitudes directed against African-American men. Slightly fewer (47%) reported that they had seen African-American women targeted. When asked the simple question “Overall, do you believe that discrimination is directed more against African-American men or women?” the overwhelming majority (59%) stated that men were more the victims. Only 4 percent stated that women were targeted more than men.
Words from Respondents
“I auditioned for an upcoming production of Rigoletto and was told by the general manager that the role of the Duke was mine. Subsequently, she requested that I audition again before an audience and I was told that my contract would be in the mail the next business day. However, after three weeks of not receiving the contract, I contacted the general manager and she bluntly informed me that because she could not secure a Black Gilda, she could no longer offer me the role of the Duke.”
—An African-American tenor
“In 1978, being put in charge of hiring and training a chorus for La traviata, I was told by the conductor/impresario that he didn’t want Blacks in the chorus. His excuse: ‘There were none in Paris in those days.’ He didn’t seem to mind when a Chinese woman joined the chorus.”
—An American coach/conductor
“Directors have told me I could not be cast as Susannah because the Countess was White and the mistaken identity scene would not work. What are make-up and costumes for?”
—An African-American soprano
“I was not considered for Monostatos because I am white. I know the artists and administrators who were involved in the decision and they desired to not offend anyone by having someone who had to wear makeup do the role.”
—An American tenor
On the Situation Abroad
“I had arrived on the midnight train from Plauen to Bremen after an audition. As I missed the last streetcar, I started walking. Suddenly I was hit in the leg by a full can of beer and I heard a drunk man yell, ‘Ausgehen Schwartze Auslander!’
The next morning I was on a flight out of Germany.”
—An African-American bass-baritone
“While in Bremen, I heard that the opera house there was looking for a dramatic tenor for Jenufa. There was only one other tenor who auditioned for the role, and he was a lyric. After the audition the Administrator who speaks perfect English, chose to respond only in German. She stated that my audition was superb, but because I did not sing a German aria, they offered the other tenor the role. I informed her that there were two German arias listed on my audition sheet. Her response was ‘I know, but you did not choose one to sing.’ I found it very interesting that she conversed with the other tenor, who is a White American, in English.”
—An African-American tenor
On Porgy and Bess
“No discussion about African-American singers would be complete without touching the subject of Porgy and Bess. This great opera can simultaneously be a blessing and a curse for us. The advantages of doing ‘Porgy’ are many. Audiences love it, it’s a singing job, it pays more than temping, you get free travel all over the world, you get to meet and form lasting friendships with other Black singers, you are guaranteed great exposure and reviews. You’ll notice that I didn’t mention the numerous opportunities to get future jobs in anything besides Porgy and Bess. That’s because there usually aren’t any. Just ask anyone who has done a ‘Porgy,’ and he or she will probably tell you the same thing: host companies which produce ‘Porgy’ produce many other works, too, but will cast few, if any, Blacks in anything but ‘Porgy.’”
“One truly wonders, when of all the auditions I do (from apprenticeships to musical theater and opera productions) that my greatest response has been from ‘Black’ shows like Porgy and Bess or Show Boat. When there are no such productions, the response is a simple ‘Thank you’ and no callback.”
—An African-American baritone
On the Overall Climate
“The climate here is very conducive to anyone with talent and ability. I was told by another Black performer at the beginning of my life here: ‘As a Black performer, you have to be so good that conductors have to consider you above the other non-Black singers.’ I have found this to be great advice . . . I believe that charging discrimination is an easy out. It does exist, but in my experience is not as prevalent as most would lead me to believe.”
—An African-American tenor
living in Canada
“Racism and prejudice against the Afro-American artist is not an overt, quantifiable thing. No opera company would be so stupid as to lay themselves open to legal action or adverse publicity. The network of exclusion wears a smiling, dignified face.”
—An African-American bass-baritone
“I do not want to be known as a great Black artist. I want to be hired only if I am the best for the job. I do not want a job because I am Black, but I want to be the best qualified as a human being. I do not want to be shut off from a job because I am Black.”
—An African-American baritone
On Black Men in Opera
“Directors and management still seem to have a problem seeing Black men, especially dark Black men, as heroic or as the love interest.” —An American soprano
“I’m amazed at how little has changed, especially for Black men. They seem to be relegated to small or bit parts. It is incredible that there has been no one to take George Shirley’s place and there are wonderful Black tenors.”
—An African-American soprano
On Black Women in Opera
“It seems that Aida and some ‘maid’ roles are the only roles in which an African-American woman can be expected to fit the image that conductors and directors envision casting. I can only be grateful that Leontyne Price was seen in a lot of the roles I hope to sing one day.”
—An African-American soprano
“I have seen African-American women singers given preferential treatment in auditions, competitions, etc. This treatment has mainly come from administrators and teachers. I have heard on several occasions: ‘She is the next Kathleen Battle or Leontyne Price,’ whereas I have rarely heard, ‘She is the next Callas/Sutherland.’ I think there is actually a quest for phenomenal African-American sopranos which does not exist for African-American male singer.”
—An American soprano
A Manager Speaks
“I am particularly appalled by opera companies that want to use Black artists in their informance series, but then hesitate to use them in opera productions. Obviously they use Blacks to get the NEA grants and the challenge grants and the corporate grants for outreach services. Opera companies (and I have a few in mind!) have no problem using Black Americans to get the grant money. For other productions, I hear code words such as ‘That’s not what we had in mind…’ or ‘We have to give our audience someone with whom they can empathize.’”
—Artists’ representative with a leading management company
