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Index
Note: Page numbers followed by “t” indicate tables or charts.
Abbate, Carolyn, 218n2
abolitionist movement, 33, 101
Adams, Joe, 133–34, 135, 143, 145, 228n32
Adams, John, 170, 172, 176, 177, 179, 180, 232n14
Adams, Leslie, 11
adaptation, 24, 196
Addison, Adele, 90
Ades, Thomas, 181
African American composers, 11–12, 99–100. See also specific composers
African American experience, 12, 178–79
African American music, 66, 93–95. See also
African American opera; jazz
African American musicians, 37–38
African American opera, 28–36, 180; composers, 11–12, 99–100; musicians, 37–38; singers, 35
African Americans, 9, 30–31
African American singers, 30–31, 35, 210n15. See also specific singers
African cultures, 38
African instrumentation, 172, 173
African languages, 172, 173. See also Xhosa language and culture
African musicians, 172
Ailey, Alvin, 141, 150
Alexander, Michelle, 209n7
Alexander, Roberta, 8
all-black Broadway shows, 132
all-black casts and settings, 150–51, 180, 196, 224n27
all-black Hollywood films, 132, 133–34
all-black opera companies, 32, 213n6, 234n25
Allen, G. Thomas, 236–37n21
Allen, Ray, 96
Alvin Theatre, 88–89, 223n9
American Folklore Society, 96
“American Folk Opera,” 23, 86–100, 177
American identity, narratives of in opera, 176–80
American music, 29; African American folk music as, 94; “American” musical voice, 88; defining, 93–95; double consciousness and, 99; first decades of twentieth century, 91–95; in the United States, 29. See also American opera
American Musicological Society, 197–98, 236n12
American Negro Leagues, 12
“Americanness,” 85, 91
American opera, 10, 23–24, 26–36, 33, 86, 168–72, 176–80, 196; African American composers, 11–12, 99–100; African American music and, 66, 93–95; African American musicians, 37–38; African American opera, 28–36, 180; African American singers, 30, 35; all-black opera companies in, 234n25; audiences in, 52; historical models in, 86; integration of, 180; new narrative of blackness presented through, 178–79; shadow culture in, 10, 11, 171–72, 177. See also specific operas
American Opera Company, 91
“American” voice, 23, 92, 93–95
Amici Forever, 45–46
Amistad, 11, 177–78
AMS blog, 197–98, 236n16
AMS Newsletter, 197
Andalusia, 128, 130
Anderson, Marian, 14–20, 27, 137; Carnegie Hall debut, 35; debut at Met, 35, 179; European debut at Paris Opera House, 35; invited to White House, 35; at Lincoln Memorial, 34; singing Ulrica at Met, 15–16, 35
André Naomi: Blackness in Opera, 107; “From Otello to Porgy,” 108; Voicing Gender, 194–95
Angelou, Maya, 90
Ansell, Gwen, 37–38
Antilles, 34
anti-Semitism, 87, 101
Antonenko, Aleksandrs, 3–4
Anzaldúa, Gloria, 169
apartheid, 2–6, 36–37, 39–40, 42, 52, 59, 167–68, 209n2, 210n18, 214n20, 217n57; categorizations under, 214n20, 219n13, 232n12; dismantling of, 5, 27; legacy of, 161; protests against, 4–5
Apollo Theater, 12, 229n42
arias, 32, 37–38, 47
Arroyo, Martina, 8
Art Sanctuary, 229n42
Artscape Theatre, 48, 53
art songs, 47, 94
Asawa, Brian, 200
assimiliationism, 151–52
Atlantic Coast Line Railroad, 103, 225n40
audiences, 1, 22, 156–58, 174, 193–98; bodies and, 195; heterogeneity of, 22; integrated, 52, 87, 88, 162; interpretation and, 21–22, 29, 208; mirroring, 166; in 1980s, 7; race and, 6, 52; South African, 52, 166; in the United States, 52
audio recordings, 7
Baartman, Saartijie (Sarah), 56–59, 218n4; as “Hottentot Venus,” 57; remains displayed in museums, 57, 58–59; repatriation of her remains, 58–59
Bailey, Pearl, 90, 97, 135, 145, 146, 150
Baiocchi, Regina Harris, 11
Baka Boyz, 147
Baker, Josephine, 66
Baldwin, James, 97, 144–47, 154, 224n23
Ball, Edward, 80–82, 83
Ball, Theodore Porter, 80
Ball family, 80–83
Bantu Education Act, 216n46
Barber, Karin, 22, 26, 170
Barber, Samuel, 16, 118, 226n51
Barnard College, 5
Barnum, P. T., 33
Barthes, Roland, 21–22, 195
baseball, 12
Basques, 130
Battles, Kathleen, 8
Baxter Theatre, 51, 53
Beecher, Henry, 32
“Beecher’s Negro Minstrels,” 32
Belafonte, Harry, 41, 121, 133–34, 135, 150
Bennett, Susan, 22
Bergeron, Katherine, 231n62
Beyoncé. See Knowles, Beyoncé
Bhabha, Homi, 169
Bhamra, D. J. Kuljit, 127
Bhose, Indra, 127
biracial ide
ntity, 65
Bizet, Georges: Djamileh, 122; estate of, 134–35. See also Carmen (Bizet)
black bodies, 6, 13–14, 21, 29, 34, 137–38
black characters, representation of, 31–32
black classical musicians, 33–34
black classical singers, 27, 179
black collaborators, nonblack composers and, 12
black college singers, 30–31
black composers, 6, 11–12, 32, 35, 42, 53, 99–100, 179–80. See also specific composers
black dialect, 135
“black English,” 135
black experience, 12, 27, 168, 178–79; American opera and, 178–79; “classical” music and, 29; in opera, 10–11; opera and, 29; representation of, 21; voicing of, 28. See also African American experience
blackface makeup, 2, 4–8, 10, 13–14, 31–32, 209n5, 213n7
black female singers, at the Met, 210n15
black identity, 42
black involvement, in opera, 10
black leading men, 107
black librettists, 6
black life, representation of, 97–98
Black Lives Matter movement, 5, 209n7, 233n21
black masculinity, 85, 112
black men, 34, 236–37n21
black middle class, 5
black music, 29, 66, 93–95
black music history, 27–54. See also African American music
black musicians, 37–38
blackness, 14, 56, 59, 87, 88, 96, 100, 101; audibility of, 14–20, 22–23, 29; audience interpretation of, 15; aural ideas of, 22–23; construction of, 61; hidden image internalized by black women in the United States, 118; modernism and, 21; new narrative presented through American opera, 178–79; opera and, 38–39, 168–69, 196–97; performance of, 31–32; staging of, 85, 90; in the United States, 118; visibility of, 14–20, 29
Blackness in Opera, 8
black opera, 6, 9, 27–54, 28–36, 43–49, 167–93; black composers, 11–12, 99–100; black experience, 12, 178–79; black music, 66, 93–95; black musicians, 37–38; black opera, 180; black opera composers, 11–12; black singers, 35
black opera composers, 36
black opera singers, 136–37, 179–80
black participation in opera, 15, 23, 31, 33, 34, 196–97. See also specific roles and functions
“Black Patti,” 222n61
“Black Patti Troubadours,” 32, 33, 213n6, 214n11
black singers, 4, 8, 27, 32, 35, 46–47, 51–52, 53, 171; called minstrels when performing classical music, 32; early, 30; gender and, 34; at major opera houses, 35; opera and, 196; in South Africa, 43–44, 43–49; training of, 32; in the United States, 30. See also specific operas and singers
black South African composers, 42
black South African experience, 168
black South African identity, 42
black South African opera, 9, 43–49, 171
black South African singers, 46–47, 51–52, 171
black subjects, of opera, 10–11
“Black Swan,” 222n61
“Black Swan Troupe,” 32
Black Tie Ensemble, 53, 182
black voices, downstaging, 9–13
Blackwell, Harolyn, 8
black-white race relations, 4, 5, 14–15, 156–57, 168, 220n31
black womanhood, 24, 87; “black woman’s standpoint” theory, 195; in Carmen: A Hip Hopera, 151–53; invisibility of black women, 34; in Porgy and Bess, 107, 108–17, 118–19; representation, 85; stereotypes and, 118–19
Blake, Eubie, 66
Blk Sonshine, 41
Block, Geoffrey, 102
blues, 95, 101
bodies: audiences and, 131–32, 195; ethnically/racially marked, 131–32; interpretation and, 29; interpretation of, 29; performing, 195. See also black bodies
Bohlman, Philip, 22
Bolcom, William, 23, 56, 60–61, 65–72, 78–79, 83–84, 86, 177–78, 221n32, 221–22n54
Borodin, Alexander, 175
Both, Pieter Willem, 5
Botha, Johan, 2, 3, 209n3, 216n47
Bourne, Matthew, 127
boxing, 143
Breathe Umphefumlo, 51, 234n24
Breen, Bongani Ndodana, 167, 179, 216n45
Britten, Benjamin, 98, 107
Brodkin, Karen, 101
Broomhill Opera, 50
Brown, Anne, 89, 179
Brown, Gwynne Kuhner, 89
Brown, Lawrence, 94
Brown, Michael, 233n21
Brown, Rae Linda, 28
“brown paper bag test,” 145–46, 228–29n37
Brown v. Board of Education of Topeka, 139
Bruskin, Rose, 101, 104
Bryant, Joy, 148
Bubbles, John W. (also known as John William Sublett), 89
Buffalo Soldiers, 11
Bumbry, Grace, 8
Burleigh, Harry T., 93
Burnham, Melanie, 28
Cabbage Row, 103
Cabin in the Sky, 141
Callender, James T., 68, 79, 221n47
Cambridge, Alyson, 69, 72, 84
Campbell, Mark, 12
Campbell, Mike, 179–80, 233–34n23
Cape Colony, 37
Cape Town, South Africa, 48, 49, 51, 156, 182, 183–84, 217n57
Cape Town Opera, 182, 233–34n23
Cape Town Opera House, 39
Carmen (Bizet), 11, 24, 50–51, 90, 120–24, 121t, 127–32, 134–35, 146, 152, 154, 158–61, 165, 197, 199–202, 231n56; Chanson bohèmien (“Gypsy Song”), 126, 140, 141, 142; femininity in, 123; flower as symbol in, 230n44; “Flower Song,” 230n44; gender in, 123–25; “La Habanera,” 125, 129; masculinity in, 124–25; Opera MODO’s production of, 237n23, 237n27; “Seguidilla,” 126; sexual violence in, 124–25; “Toreador Song,” 143; womanhood in, 123
Carmen (Mérimée). See Mérimée, Prosper
Carmen: A Hip Hopera, 11, 24, 121–22, 121t, 131, 147–56, 161; all-black cast in, 155, 162; black setting of, 166; black womanhood in, 151–53; death in, 163–64; DVD sales of, 230n50; Great Migration and, 156; May 2001 release of, 157; narration of, 148, 149–50; rose as symbol in, 230n44; womanhood in, 151–53
Carmen Jones, 11, 24, 90, 121, 131, 132–47, 156–57, 161, 162–63, 227n16, 234n24; all-black cast in, 132, 133–34, 146, 147, 150–51, 155, 162; awards nominated for and won, 228–29n34; Baldwin’s review of, 144–47, 154; “Beat out Dat Rhythm on a Drum,” 140, 142, 143; black place and space in, 138–47; black setting of, 166; “Dat’s Love,” 152; death in, 162; dubbing in, 134–37; Great Migration and, 156; Hammerstein musical, 121; integrationism and, 150–51; 1954 film adaptation, 121, 121t, 148, 150, 151, 223n8; politics of skin color and, 145–47; reception of, 144–47; rose as symbol in, 229n44; setting for, 227–28n28; “Stan’ Up an’ Fight,” 143–44; success of, 134; tom-toms in, 142; “Whizzin’ Away Along de Track,” 139; who speaks and interprets the story, 137–38
Carmen persona, 24, 156; color red and, 161, 164; evolution of, 154–55; as “exotic outsider,” 165–66; as a “gypsy,” 120; voice of, 125–26. See also specific versions
Carmen story, 11, 120; adaptations of, 127, 227n4; audiences and, 131–32, 156–58, 162, 165–66; black settings of, 165, 166; Bollywood version, 127; death and, 161–66; ethnicity and, 121; exoticism in, 123, 127–32; Flamenco versions, 127; gender and, 121, 123–25; Habanera scenes, 161; identity markers in performances of, 131–32; narration of, 129, 131–32, 134–35; narrators and, 156–58; overview of, 121t; race and, 121; rubrics for approaching, 126–32; in Senegal, 122, 230n51 (see also Karmen Geï); sexuality and, 120, 121; in South Africa, 121, 122, 132, 156–66, 230n51 (see also U-Carmen eKhayelitsha); transatlantic, 24; transgendered version of, 200–203; voice of Carmen, 125–27; who speaks and interprets the story, 137–38. See also specific versions
Carr Center, 203, 237n23, 237n27
Carroll, Diahann, 90, 97, 135
castrati, 201
Catfish Row, 96, 97, 102, 103, 104, 107�
��8, 113, 114
Cebekhulu, Katiza, 184
center, margin and, 5, 169
Charleston, South Carolina, 103, 104, 225–26n41
Cheatham, Wallace, 210n15
Cheng, William, 199
Chicago, Illinois, 138–39, 166, 228n28
choral concerts, 30–31
choral networks, 43–44, 49. See also choral societies
choral singing, 30–31, 37
choral societies, 36, 43–44, 49
Christian, King, 35
churches, 30, 36, 37, 43
Civil Rights Act, 19
civil rights movement, 2, 5, 156, 179. See also Black Lives Matter movement
classical music, 29, 30–31, 32, 47, 52, 92, 93–94, 99, 168
Coalition for a Free South Africa, 5
Cohen, Julie, 48–49
Colbert, Burwell, 220n24
colleges, historically black, 30–31
College Walk, shantytown at, 5
Collins, Patricia Hill, 5, 169, 195
colonialism, 5–6, 7, 36–37, 42, 59, 167, 210n18, 219n13
Colonial Theatre, 88, 223n9
“color barriers,” 15–16, 27, 29, 136–37
“colorblind” casting, falsity of, 14–15
colorism, 145–46, 228–29n37
Columbia University, 5, 30, 35
Commentary magazine, 144–45
community organizations, 43
Cone, Edward, 195
Constance Magogo Sibilile Mantithi Ngangezinye ka Dinuzulu, 44, 179. See also Magogo kaDinuzulu
Constitution Hall, 15, 34
Cook, James, 33
Cook, Will Marion, 89
Cornell University, 5
counterracism, 171
countertenors, 200–201, 236–37n21
Cox, Peter, 86
Crawford, Richard, 95–96
cross-racial dubbing, 134–38
Crow, Jim, 105, 106
Cruse, Harold, 97, 224n23
cultural theory, 22
Da Brat, 148–50, 159, 163, 230n44
Dalla, Lucio, 41
Dandridge, Dorothy, 90, 97, 121, 133–36, 145, 150, 152–54, 227n16, 228–29n34, 230n46
Danielpour, Richard, 12, 177–78
Daniels, David, 200
Da Ponte, Lorenzo, 30
Dartmouth College, 5
Dash, Julie, 137–38
Daughters of the American Revolution, 15, 34
Davids, Virginia, 47, 49, 217n50
Davis, Anthony, 11, 12, 97, 157–58, 177–78