Newsletter No. 17 – The Multicultural Music Group

THE TREBLECLEF

Black Women in Opera

By Leilah Ramos Arroyo

The rich history of opera is interwoven with the stories of countless artists who have graced the stage with their talent and passion. Among them, the contributions of Black women opera singers stand out as a testament to resilience, artistic excellence, and the enduring power of music to transcend boundaries and ignite change even through their fading and forgotten history.

The journey of Black women in opera can be traced back to 1781, in the heart of Saint-Domingue. It was here that a 14-year-old girl made her debut as an opera soloist, becoming the first person of African descent to star in a French opera. Despite her groundbreaking achievement, she was only ever referred to as the "young person" in newspaper announcements. It was when her ailing employer's will stipulated payment of her back wages that her name, Minette Ferrand, appeared in a written document. Ferrand's story highlights the challenges faced by Black women in opera, often relegated to anonymity despite their significant contributions. Ferrand’s story represents the future lineage and histories of other black opera singers and the collective challenges they faced due to racism, elitism and discrimination in opera culture and in the US.

Throughout history, Black women have played important roles in shaping the operatic landscape, yet their stories remain untold. Givonna Joseph, a Black opera singer based in New Orleans and founder of OperaCréole, notes the difficulty in uncovering their contributions due to the way their names were typically listed in historical documents. Oftentimes, they were referred to as "Mademoiselle" followed by only a first name or initial and last name, obscuring their identities and accomplishments. Joseph and her daughter founded OperaCréole in 2011, aiming to unearth and highlight the hidden musical legacies of Black classical musicians and composers. Their efforts are part of a broader movement to preserve, recognize, and perform the forgotten works of Black artists, spanning operas, symphonies, and choral compositions.

The history of Black women in opera intersects with social and political movements, reflecting the struggles and triumphs of marginalized communities. In the late 18th century, New Orleans emerged as a hub for opera in the United States. A scene enriched by a diverse network of classical musicians and composers. However, racism and violence during the Reconstruction era and the implementation of Jim Crow laws marginalized Black artists, leading their works to be hidden. Despite these challenges, trailblazers like Camille Nickerson and Sister Marie Seraphine contributed to Louisiana's musical landscape. Nickerson, an Afro-Creole woman, taught at Howard University and elevated Creole folk songs into the classical lexicon. Sister Marie Seraphine, known as the "Convent Maestro," directed orchestras, taught music, and established bands, leaving a legacy despite most of her compositions being lost to history.

The struggle for recognition and acceptance persisted into the 20th century, as evidenced by the career of Marian Anderson, one of the best American contraltos of her time. Despite captivating audiences across Europe, Anderson faced discrimination in her own country, with many concert venues closed to her due to segregation. Her iconic performance at the Lincoln Memorial in 1939, after being denied the right to sing at Constitution Hall by the Daughters of the American Revolution, served as a powerful comment to racial injustice and inspired generations of artists of color.

Shirley Graham Du Bois, the first Black woman to write and produce an opera with an all-Black cast, broke barriers with her opera "T T An Epic of Music and The Negro." De initial success, the opera faded from memory due to the Great Depression shifting political tides. Du Bois' story symbolic of the challenges faced by B women in opera, as their contribution unrecognized and their legacies are f

As we reflect on the journey of Black opera, it is essential to recognize the impact of their artistry and activism. stories challenge preconceived notion as an elitist art form, connecting to its human essence. By amplifying these voices, we expand the narrative of opera, inviting a diverse array of stories and experiences to the forefront along with the representation of opera as a cultural art. The journey of Black women in opera is a testament to the transformative power of music and perseverance of women of color. As we continue to unearth hidden legacies, let us celebrate their contributions, honor their resilience, and ensure that their voices resonate.

At a Glance

28+years of service to the community

MMGOrchestra

has been active for almost three decades with members from all over the world. AllNYCBoroughs have been impacted by our work through education and cultural programming AboutMMG

The MMG is a nonprofit organization devoted to creating and presenting new symphonic music, promoting research of hidden aspects of history, and providing direct student instruction in multicultural instrumental music Our initiatives aim to promote global understanding, social justice awareness, and diversity in the symphonic repertoire. We strive to broaden our musical repertoire to reflect the rich diversity of our communities. Our vision includes fair historical portraits of underrepresented communities in educational and artistic fields. We fulfill this through new music commissions by composers of color and providing professional, economically accessible programming to the public. We supplement our presentations with scholarly research and open dialogue to deepen our listening, learning, and cross-cultural experiences