Sigma Alpha Iota

Winter 2021 10 10 P A N P I P E S OPERA "No matter how big a nation is, it is no stronger than its weakest people, and as long as you keep a person down, some part of you has to be down there to hold him down, so it means you cannot soar as you might otherwise." — Marian Anderson W hile the history of segregation and subsequent oppression is no secret, what is lesser known is the extraordinary and delib- erate actions taken by classical and operatic singers that have now progressively opened doors for budding singers looking to continue this illustrious legacy. Erica Simmons, a classical and opera singer, doctoral candidate, and Kappa Pi initiate at Middle Tennessee State University (Fall 2008), knows full well the boldness and courage that these women showed in the face of sharing their talents with the world as rebukes to discrimina- tion, prejudice, and segregation in the classical and opera industries. As Erica is embarking on huge aspirations in the operatic world—such as singing lead roles for notable opera houses do- mestically and abroad, challenging beauty stan- dards and redefining femininity within the opera world, and fostering more cultural diversity in classical settings by promoting Black composers and artists—she knows that her ability to accom- plish everything she aspires to in this industry is directly tied to the accomplishments of the Black opera singers who broke down doors before her. "ey say you cannot be what you cannot see, and indeed, it is very emotional for me to discuss the influence that these Black queens had on my development as an opera singer. Marian Anderson was the first opera singer that I ever heard about. When I was a little girl, in the days before everything was digitized, people still had encyclopedias. I remember thumbing through my grandmother's encyclopedia and reading about Marian Anderson being the first African American to perform at the Metropolitan Opera. She looked so regal and elegant, and I found my- self completely enthralled by the sultry, smooth tones of her voice in recordings. at was the first time I realized that classical music could be for Black people, too," Erica shared. e unbelievable sacrifices made by Marian Anderson in order to be a trained singer and her struggle against racial prejudice as a professional performer is well-known for many musicians of color. When she graduated from high school in Philadelphia, she applied to the Philadelphia Music Academy, but was turned away from admission simply because she was Black. is caused her to continue her training privately through local musicians. She entered competi- tions, received fellowships for further study, and performed consistently, craing her signature persona. By 1939, she was touring across the country and internationally. While touring in America, though, Jim Crow laws exercised by private companies still prohibited her lodging and other accommodations, causing power- ful leaders such as Albert Einstein to invite her to stay at their residences or speak out openly against Anderson's mistreatment. A bold statement against this unfair treat- ment was taken when Marian Anderson was invited to sing in Washington, DC by Howard University as part of its concert series. Because of Anderson's international reputation, the univer- sity needed to find a place with space to accom- modate the expected crowds. While Constitution Hall was ideal for a concert of this magnitude, the owners of the hall, the Daughters of the American Revolution (DAR), had a white artist only clause in performance contracts. In addi- tion, Washington DC was a segregated city at the time, and Constitution Hall did have segregated seating but no segregated bathrooms. Other requests for use of public auditoriums were also denied by the District of Columbia Board of Ed- ucation. ese events caused Black organizations such as the NAACP and many others to organize in an effort to denounce the prohibitions limiting Anderson from performing. In the aermath, thousands of members of the DAR resigned; Eleanor Roosevelt, the first lady of the United States and a member of the DAR, was outraged by the decision: "ey have taken an action which has been widely criticized [...] to remain as a member implies approval of that action, and therefore I am resigning." Roo- sevelt then sprung into action by securing the Lincoln Memorial as the venue with the help of the NAACP and ultimately her husband, Presi- dent Franklin D. Roosevelt. e concert was held on Easter Sunday, April 9, 1939 to a crowd of 75,000 with millions hearing the concert broadcast on radio. She opened the concert with "My Country Tis of ee" which has become an iconic musical statement against the deplorable conditions of segregation. Writing on the event later, Anderson said, "I could not run away from this situation. If I had anything to offer, I would have to do so now." In 1955, she became the first Black woman The Legacy of Black Pioneers in Opera At top, Marian Anderson was initiated as an Honorary At top, Marian Anderson was initiated as an Honorary Member in 1956 by the Lambda Chapter at the New Member in 1956 by the Lambda Chapter at the New England Conservatory of Music. Above, Delta Nu charter England Conservatory of Music. Above, Delta Nu charter member Jessye Norman performed a musicale at the member Jessye Norman performed a musicale at the 1965 National Convention in Minneapolis. 1965 National Convention in Minneapolis.

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