Opera Programming: When is Representation At Odds With Cultural Sensitivity?

Do you remember the first time you went to go see a live production of an opera? Maybe it was during a school field trip, or for a date that you wanted to impress. I’ve met people whose first experience in an opera house was born out of a pure curiosity that led to the purchase of a ticket.

Everyone has a different story about their introduction to this art form, but what isn’t engaged as much is the residual emotional impact of said introduction. For me, the introduction came by way of performing on the stage, but I wasn’t able to measure the emotional impact opera had on me until I engaged opera as an audience member.

Eastman School of Music Dedicates New George Walker Center for Equity and Inclusion in Music

The George Walker Center for Equity and Inclusion in Music opened April 16 at the Eastman School campus at the University of Rochester campus.

The dedication included remarks by University of Rochester President Sarah Mangelsdorf; Jamal J. Rossi, Joan and Martin Messinger Dean at Eastman; Ian and Gregory Walker, sons of George Walker, and others, as well as performances of Walker’s chamber music works.

Bent Not Broken Choral Conference Showcases Black Composers

The four day “Bent Not Broken” choral conference highlighting the works of Black choral composers will take place April 27 to 30 at Grace United Methodist Church in Wilmington, DE.

Organized by The Choir School of Delaware, the event will feature the American Spiritual Ensemble, led by conductor Everett McCorvey; EXIGENCE, led by conductor Eugene Rogers; Westminster Choir College Jubilee Singers, led by conductor Vinroy J. Brown, Jr.; the St. Thomas Gospel Choir; and the Choir School of Delaware, with conductor Jason Max Ferdinand.

The event will include a variety of workshops and seminars led by distinguished guest lecturers, and an Honor Choir of choristers age 12+ from youth community choirs, conducted by Alysia Lee and Maria Ellis.

The Dessoff Choirs to Perform NY Premiere of Margaret Bonds Cantatas

The Dessoff Choirs celebrates the late African American composer Margaret Bonds, at the Church of the Heavenly Rest, in New York City, on April 28 at 7:30 p.m., a pre-concert talk begins at 6:45 p.m.

Born in Chicago, Margaret Bonds (1913-1972) was a pianist, a composer, an arranger, and a music teacher. She was one of the first Black composers and performers to gain popular recognition in the U.S., being the first Black soloist to perform with the Chicago Symphony Orchestra. She was also a strong fighter for civil rights, and is remembered for her arrangements of African American spirituals.

The Dessoff Choirs concert features the New York premieres of the orchestral versions of two neglected Bonds cantatas: Credo inspired by a W.E.B. Du Bois essay, and Simon Bore the Cross (edition by Malcolm J. Merriweather), a collaboration with Langston Hughes.

The Grammys and The Challenge of Equitable Diversity

Chart-topping artists like Lil Nas X walked away empty handed, but people like Jazmine Sullivan and Doja Cat reaffirmed their footing with fans, and the Recording Academy, by taking home the highly coveted trophy in their respective categories. Even the biggest award, the Grammy for “Album of the Year”, went to Jon Batiste, who himself seemed to be surprised when his name was called, making him the 11th Black artist to win this award in Grammy history.

With these, and several other Black artists taking home awards, it would seem that the Recording Academy is paying close attention to the continued push for more Black representation in the way these awards are distributed, but a closer look shows there is still a high level of marginalization toward Black artists that many people ignore in light of the success of a select few.

Opinion: “Another Opera for White People”

Diversity, equity, and inclusion, as engaged by arts institutions across the country, have centered performers, but what about audience members? With a few exceptions (including the diverse audience turnout for the Metropolitan Opera’s “Fire Shut Up In My Bones”), opera audiences remain predominantly white.

The creation of a fictional, white character in “Emmett Till” for the sake of affirming the feelings of these predominantly white audiences is not only a perpetuation of a status quo that countless arts administrators, advocates, and activists work to dismantle, but a celebration of it.

WORLD PREMIERE: National Phil Performs Hailstork and Martin’s Requiem for George Floyd

The National Philharmonic Orchestra and Chorale, in partnership with The Washington Chorus, will present the world premiere of composer Adolphus Hailstork and librettist Herbert Martin’s Requiem Cantata in memory of George Floyd: “America’s Requiem – A Knee on The Neck” on March 26 and March 28 in Bethesda, MD.

NEW RELEASE: Catalyst Quartet ft. Michelle Cann "UNCOVERED Volume 2: Florence B. Price"

Catalyst Quartet today releases UNCOVERED Volume 2: Florence B. Price on Azica Records. The 2-CD length digital album is the second in a series of a multi-volume anthology highlighting the GRAMMY award-winning string quartet’s works by important Black composers.

Volume 2 is entirely devoted to the six known string quartet and piano quintet works of composer Florence B. Price – including four world premiere recordings – performed with pianist Michelle Cann, recipient of the 2021 Price Award.

“Cool Story”: Jonathan Bingham's Plan to Record and Publish Unheard Howard Composers

As a student at Howard University in 2010, composer Jonathan Bingham attended a small chamber music concert by “The President’s Own” United States Marine String Quartet with about 40 other audience members. On the program was the 1st movement of a string quartet by the late composer Mark Fax (1911-1974). A private recording of the concert was made by Howard and shared with Bingham and other composition students and faculty.

NEW RELEASE: Tyshawn Sorey ft. Alarm Will Sound-“For George Lewis”

Composer Tyshawn Sorey’s double-album, featuring the chamber orchestra Alarm Will Sound, releases on Cantaloupe Music on August 27.

Recently profiled in the New York Times Magazine, Sorey has been called a denizen of the “in-between zone” by the New Yorker. The two works on the album, commissioned by Alarm Will Sound, tap into a central theme that Sorey calls “the decorating of time.”

New UK Based “Black Lives in Music” to Use Data, Advocacy to Advance Equity

The UK-based organization Black Lives in Music (BLiM) is using data and advocacy to amplify and empower Black musicians and music creators, in response to the widespread calls for equity for Black musicians.

FRIDAY: Sound Off-Live from Broadway Presbyterian Church

Sound Off: Music for Bail presents a livestreamed concert beamed live from Broadway Presbyterian Church, featuring four of New York City's finest chamber musicians in a program of music by historical and contemporary Black American composers.

Composition for Abolition: How Sound Off is Changing the Nation One Note at a Time

Saturday, February 27 at 7 p.m. EST, Sound Off: Music for Bail will present a live-streamed concert featuring string quartets by Florence Price, Yaz Lancaster, and George Walker with the support of the Groupmuse Foundation’s Planetary Music Movement (PMM).

The abolitionist musical collective Sound Off: Music for Bail celebrates Black composers and raises money for national bail funds in a live-streamed concert on Groupmuse, an online concert platform.

Series Debut: "Conversations": D-Composed on Intentionality and Honoring Black Creativity through a New Chamber Music Experience

Represent Classical talks with Chicago based ensemble D-Composed: Yelley Taylor – Artistic Director, Violist, Arranger Caitlin Edwards – Violinist Kyle Dickson – Violinist Tahirah Whittington – Cellist & Composer Kori Coleman – Founder/Executive Director

Sound Off x Bass Players for Black Composers: New Works for the New Year

Sound Off: Music for Bail presents a recorded concert in collaboration with Bass Players for Black Composers, a performing and commissioning organization that "encourages the expansion of solo repertoire for bass and the normalization of works by Black composers through commissioning diverse artists in all stages of their careers, disseminating works, facilitating performances, and producing educational programs."