Open Daily: 10am - 10pm | Alley door pickup 10am - 7pm 3038 Hennepin Ave Minneapolis, MN
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  • Open Daily: 10am - 10pm
    Alley-side Pickup: 10am - 7pm

    3038 Hennepin Ave Minneapolis, MN
    612-822-4611

Open Daily: 10am - 10pm | Alley-side Pickup: 10am - 7pm
3038 Hennepin Ave Minneapolis, MN
612-822-4611
Dreaming in Ensemble: How Black Artists Transformed American Opera

Dreaming in Ensemble: How Black Artists Transformed American Opera

Caplan, Lucy

Hardcover

Black American StudiesOperaMusic Reference

ISBN10: 0674268512
ISBN13: 9780674268517
Publisher: Harvard University Press
Published: Feb 4 2025
Pages: 336
Weight: 1.40
Height: 1.30 Width: 6.40 Depth: 9.60
Language: English

A revelatory new account of Black innovation in American opera, showing how composers, performers, and critics redefined the genre both aesthetically and politically in the early twentieth century.

The inauguration of a golden age in Black opera is often dated to 1955, when Marian Anderson became the first Black singer to perform in a leading role at New York's Metropolitan Opera. Yet Anderson's debut was actually preceded by a rich Black operatic tradition that developed in the first half of the twentieth century. Lucy Caplan tells the stories of the Black composers, performers, critics, teachers, and students who created this vibrant opera culture, even as they were excluded from the genre's most prominent institutions. Their movement, which flourished alongside the Harlem Renaissance, redefined opera as a wellspring of aesthetic innovation, sociality, and antiracist activism.

Caplan argues that Black opera in the early twentieth century had decidedly countercultural ambitions. In opera's sonic grandeur and dramatic maximalism, artists found creative resources for expressing the complexity of Black life. The protagonists of this story include composers Harry Lawrence Freeman and Shirley Graham, whose operas boldly interpreted Black diasporic history; performers Caterina Jarboro and Florence Cole-Talbert, who both starred in the racially fraught role of Aida; and critics Sylvester Russell and Nora Holt, who wrote imaginatively about the genre in the Black press. Yet Caplan also focuses on the many Black students, amateurs, opera house staff, and listeners who contributed indelibly to opera's meanings.

With the creation of new companies, choruses, and audiences, opera not only circulated in the Black public sphere but itself became a public sphere with radical potential.

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