Davis, Sammy Jr., 90
Davis, Thulani, 12, 177–78
Dawson, Mary Caldwell, 35
Dawson, William, 99
Dayton Opera Company, 11
Deaville, James, 218n2
De Lavallade, Carmen, 141, 150
De Leuven, Adolphe, 122
Deller, Alfred, 200
desegregation, 5, 171. See also integration
Detroit, Michigan, 200–203
Detroit Soup, 203, 237n27
Dickens, Charles, 51
Dimpho di Kopane, 49–51, 234n24, 234n26. See also Isango Ensemble
District Six, Cape Town, South Africa, 36–37, 40, 217n57
District Six Museum Homecoming Centre, 50, 52
Donizetti, Gaetano, 181
Dornford-May, Mark, 49–50, 51, 52, 121t, 122
Dorson, Richard, 95–96
double consciousness, American music and, 99
Dovey, Lindiwe, 157–58
downstage, 9–10
Drury, Theodore, 33
dubbing, 134–38
Du Bois, W. E. B., 28, 96, 99, 142
Du Locle, Camille, 122
Duncan, Todd, 89, 134, 179
Dunham, Katherine, 141
Dupri, Jermaine, 148
Durban, South Africa, 37, 44, 182
Dvořák, Antonín, 91–92, 93, 94, 175
Dyson, Michael, 145
Eastern European immigration, 88, 104–5
education, 14
educational institutions, 36
Effinger-Crichlow, Marta J., 214n11
Elliott, Missy, 230n49
Emancipation, 23, 30
encoding, 22
engaged musicology, 1, 14, 19, 26, 193–208
“entanglement,” 171
envoice, 218n2
envoicing, 218n2
Eoan Group, 36–37, 40, 217n50
Epps, Martha, 63t, 64
Epps, Susannah, 59, 63t, 64, 71, 219n14
Erasmus, Paul, 184
Ethiopia, 41
Ethiopian Operas, 32
ethnicity, 20, 121, 131–32
Europe: African American singers in, 35; European art music, 30–31; minstrelsy in, 32; opera and national identity in, 174–75; opera in, 168–70. See also specific countries and traditions
Ewing, Maria, 14
exoticism, 16, 123, 127, 131, 150–51, 156, 158, 161, 165–66, 170, 204–5
Fabian, Johannes, 212n36
Federal Music Project, 96
female singers, 43–44
femininity, 24, 123. See also womanhood
feminism, 151–52, 153, 230n45
feminist intersectional analysis, 5
feminist theory, 194
Finney, Shirley Jo, 182
Fisk Jubilee Singers, 30–34
Fisk University, 30–31, 32
Fleming, Renée, 3
Flint, Michigan, contaminated water supply in, 14
Floyd, Samuel, 28
“folk,” 85, 87, 95–96
folklore, 95–96
folk music, 95–96
Fossett, Joe, 220n24
Four Saints and Three Acts, 21, 89, 99, 118, 224n27
Frazier, E. Franklin, 38, 215n28
Freeman, Harry Lawrence, 11, 35, 99, 211n20, 225n28
Freire, Paulo, 5, 195–96
Freni, Mirella, 47
Friedan, Betty, 151–52
From the Diary of Sally Hemings, 11, 23, 55–84, 177–78; aural markers in, 74–75; exploring verbal text of, 67–71; genre and, 69–71, 72–73; as interracial collaboration, 65–67; legacies of the past in, 76–83; listening to the music, 73–75; as “monodrama,” 70, 72; musical score, 69–71, 70; “Program Notes,” 78–79; recording of, 69, 84; as “solo opera,” 72; as song cycle, 71; verbal text of, 67–71; writing and composition of, 65–67
Fugard, Athol, 217n57
Fugard Theatre, 50, 52, 217n57
Galli-Marié, Célestine, 122
García, Manuel, 29–30
Garden, Mary, 132
Garner, Eric, 233n21
Gates, Henry Louis Jr., 145
Gaunt, Kyra, 28
Gauteng Choristers, 188
Gauteng Opera, 53, 182
Gaye, Marvin, 153
gender, 9, 20, 23, 24, 87, 178, 195–96, 208; in Bizet’s Carmen, 123–25; black singers and, 34; Carmen story and, 121; opera and, 26, 211n27; race and, 56; visibility of, 14–15; genre, 171–72, 182–83; construction of, 26; From the Diary of Sally Hemings and, 69–71, 72–73; of musical, 234n29; of opera, 196, 234n29; of operetta, 234n29; text and, 170–71; Winnie: The Opera and, 168. See also femininity; masculinity; trans community
Gershovitz, Moshe (Morris), 101, 104
Gershwin, George, 23–24, 89, 102, 179, 225n38; An American in Paris, 89; biographical background, 87, 100; Concerto in F, 89; as first-generation Jewish immigrant, 96, 100–101, 104–5; on “folk,” 95–96; “Heav’nly Land,” 104; “It Ain’t Necessarily So,” 102, 111; “My Man’s Gone Now,” 110; “Oh Hev’nly Father,” 102; “Oh Lawd, I’m on My Way to a Heav’nly Land.,” 108; Porgy and Bess, 11, 21, 23–24, 85–119, 177–78, 180, 223n4, 223n6, 224n23, 224n27, 233n18; Rhapsody in Blue, 89; “Rhapsody in Catfish Row: Mr. Gershwin Tells the Origin and Scheme for His Music in That New Folk Opera Called Porgy and Bess,” 91, 95–96; “Summertime,” 109; as Tin Pan Alley songwriter, 89, 95; travels to Folly Island, 104, 225n41; trip to Charleston, South Carolina, 104, 225–26n41
The Gershwins’ Porgy and Bess, 88, 177, 223n4, 231–32n2, 233n18
Gerzmava, Hibla, 3–4
ghosts, metaphor of, 76–83
Glass, Philip, 170, 172, 176, 177, 179, 180, 232n14
Glenn, Roy, 135, 146
Global North, 206
Global South, 170, 206
Globe Theatre, 51, 52
Glover, Savion, 221n33
Gobbato, Angelo, 27, 28, 39–40, 47, 49, 215n31
Goethe, Johann Wolfgang von, 222n54
Gomez-Preston, Reagan, 148
Gordon-Reed, Annette, 64–65, 80, 218n1, 218n9, 219–20n21, 220n24
Graham, Shirley, 142
Grant, Israel, 79
Great Depression, 85, 177
Great Migration, 11, 85, 87–88, 100–105, 114, 139, 150, 156
Greenfield, Elizabeth Taylor, 30, 32, 33, 78, 222n61
Grier, David Alan, 88
Guadeloupe, 34
Guiraud, Ernest, 122
Gullah culture, 104
Gustav, King, 35
Hackney Empire, 12, 229n42
Hailstork, Adolphus, 11, 211n21
Halévy, Ludovic, 122, 129
Hall, Stuart, 22
Hamilton, 53–54, 229n42
Hammerstein, Oscar I, 132–33
Hammerstein, Oscar II, 132–33, 135; Carmen Jones, 121; Flower Drum Song, 132, 133; The King and I, 132, 133; Show Boat, 133; South Pacific, 132, 133
Hammerstein, William, 132–33
Hansberry, Lorraine, 97, 224n23
Harlem Opera Theater, 234n25
Harlem Renaissance, 11, 23, 85, 93, 96, 177
Harris, Hilda, 8
Harvey Christy Minstrels, 37
Hayes, Eillen, 28
Hayes, Marvin, 134, 135
Hazlewood, Charles, 49–50
Hemings, Beverly, 65, 77, 219–20n23, 220n24
Hemings, Elizabeth, 59, 64, 71, 77, 219n14
Hemings, Eston, 65, 77, 219–20n23, 220n24
Hemings, Harriet, 65, 77, 220n23, 220n24
Hemings, John, 59, 63t, 220n24
Hemings, Madison, 56, 65, 77, 218n1, 220n23, 220n24
Hemings, Sarah “Sally,” 23, 59–65, 63t, 219n20, 219–20n21, 220n24; descendants of, 56, 57–58, 80, 83, 218n1, 218n9, 220n23, 219n20, 220n24 (see also specific children); From the Diary of Sally Hemings and, 55–84; in France, 58, 63t, 73, 76, 77, 218–19n12; giving voice to, 56–59; restoration of her room, 83
Henderson, J. W., 92, 93, 94
Herskovits, Melville, 38, 215n28
Herwitz, Daniel, 86
Heyward, Dorothy, 108
Heyward, DuBose, 23–24, 87, 96, 100, 103, 105–6, 108
hip hop, 53, 167
Hip H’opera, 229n42
hip hopera, 147–56, 229n41, 229n42
“Hip Hopera” album, 147 history: American opera and, 86; black music
history, 27–54; colonial music history, 27; narrative of, 5–6; opera and, 27–54, 86, 173–80, 232n15; of singers, 35–36; South African, 27, 173–74, 179–80, 183
Holiday, Anthony, 185–86
Holiday, Billie, 97
Holiday, John, 200, 236–37n21
hooks, bell, 5, 169, 194
Horne, Marilyn, 133, 135, 136
Horsley, Paul, 72
“Hottentot Venus,” 57
Houston Grand Opera, 35, 85, 90
Howard University, 34
Hubbell, Helene Johnson, 142
Hughes, Langston, 58, 95, 142
Hurok, Sol, 34
Hurricane Katrina, 14
Hutcherson, Le Vern, 134, 135
“hybridized African,” 41–42
Ibali Ioo Tsoti: The Beggar’s Opera, 50
identity, 20, 26, 131–32, 168, 176–80. See also specific identities
IKumkanikazi yeKhephu: The Snow Queen, 50
ilobolo ceremony, 191
imagination, 22
immigrants, 100–101, 104
immigration, 85, 88, 100–105
Impempe Yomlingo, 51
imperialism, 7
incarceration rates, 4, 209n7
integrative mode, 196
instrumentalists, 30
integration, 46, 87, 88, 180, 196
integrationism, 133, 150–51
integrative mode, 196
interdisciplinary opera studies, 6
interpretation(s), 23, 194–95; audiences and, 21–22, 29, 208; of bodies, 29; diversity of, 22; opera and, 194–95
interracial collaboration, 23, 53, 65–67, 168, 171, 182, 196–97
interracial identity. See mixed-race identity
interracial performance contexts, 8
interracial relationships, 23, 57–65, 63t, 68–69, 78–83, 137, 220n31. See also specific people
intertextuality, 183
I Pagliacci, 89
Isango Ensemble, 28, 43, 49–53, 180, 182, 233–34n24, 234n26
isicathamiya, 167
isiXhosa language, 173
isiZulu language, 173
Islamophobia, 207
Italian opera, 29–30, 174–75
Ives, Charles, 94
James, Olga, 135, 145
Jam Handy building, 203, 237n23, 237n27
Janáček, Leoš, 175
Janissary music, 204–5
Jaroussky, Philippe, 200
jazz, 35, 66, 93, 95, 101, 167
Jefferson, Maria, 76, 77
Jefferson, Martha (daughter of Thomas and Martha Jefferson), 76, 77
Jefferson, Martha Wayles Skelton, 59, 63t, 64, 71, 76, 77
Jefferson, Patsy, 63t
Jefferson, Polly, 63t
Jefferson, Randolph, 57
Jefferson, Thomas, 23, 55–65, 63t, 68–69, 71, 73, 76–83, 84, 219–20n23, 219n21; death of, 73, 79; descendants of, 80, 83, 218n1, 218n9, 219n20, 220n23, 220n24; freeing of his slaves, 220n24; quotations from writings of, 222n59
Jessye, Eva, 89
Jewish immigration, 85, 104
Jewish liturgical and secular music, 102
Jewishness, 85, 88, 101, 105
Jews, blacks and, 101
Jezebel, 107, 113, 117, 212n33
Jim Crow segregation, 5–6, 23, 52, 64, 97, 102–3, 105, 108, 119, 139, 141, 156, 177
Joe Brown’s Band of Brothers, 37
Johannesburg, South Africa, 25, 53
Johnson, Francis “Frank” B., 30
Johnson, Hall, 66, 97, 224n23
Johnson, James Weldon, 28, 93, 94
Johnson, John Arthur “Jack,” 143
Johnson, J. Rosamond, 94
Jones, Bill T., 12
Jones, Mathilda Sissieretta Joyner, 30, 32, 33, 222n61
Joplin, Scott, 11, 99, 226n46
Joseph, Marc Bamuthi, 12
Jubilee choirs, 37, 38
“Jumping Jim Crow,” 31
“Kafir Christy Minstrels,” 37
Kahn, Kamal, 24, 39, 48–49
“kaleidoscopes,” 33
Karmen Geï, 8, 122, 127, 210n17
Kemane, Thesele, 48
Kendall, Yvonne, 28
Kennedy, Randall, 218n1
Kennedy Center, 35
Kentridge, William, 234n30
Kernodle, Tammy, 28
Khayelitsha, South Africa, 51, 121t, 156–58, 159, 165, 231n56, 234n24
Khumalo, Mzilikazi, 25, 42, 44, 172, 173, 179, 216n45
Khumalo, Sibongile, 41, 44, 47, 49, 216n45
Kinney, Alison, 4, 210n15
Kleiner, Harry, 135
klezmer, 101, 102
Knight Foundation, 201
Knowles, Beyoncé, 121–22, 147–48, 150, 152, 153, 157, 162, 230n49
KwaZulu-Natal Philharmonic Orchestra, 188
La Bohème, 180
La Bohème: Abanxaxhi, 51, 234n24
Lacks, Henrietta, 110, 226n47
language, 53. See also specific languages
Laredo, Ruth, 14
La Revue de Paris, 128
La Revue des deux mondes: Journal des voyages, 121t, 122–23
Larson, Jonathan, 180
La Scala, 47
Lee, Casey, 148
León, Tania, 12
Lester Horton Dance Theater, 141
Lewis, George, 11
Lewis, Henry, 137
Lewis, Norm, 88
LGBTQ community, 201–2, 203, 236n18, 237n24
Lil’ Bow Wow, 148
Lincoln Memorial, 15, 34
Lind, Jenny, 33
listening, racialized, 22–23
“listening ear,” 22–23
Little Rock, Arkansas, Central High School, 12
Little Rock Nine, 12
Locke, Alain, 28, 93, 94, 95, 96
Locke, Ralph, 204–5
Lorde, Audre, 25–26
Los Angeles, California, 166
Los Angeles Opera, 35
Louis, Joe, 143
Louis XIV, 174
Lourde, Audre, 169
Loving v. Virginia, 137
Lyles, Aubrey, 66
lynching, 97
Mabotha, Johannes “Themba,” 184
Madame Butterfly, 209n5
Madame Mao, 181
Madikizela, Columbus, 186, 191
Madikizela-Mandela, Winnie, 10, 24, 26, 44, 46, 172–74, 179, 182, 192; attendance at Winnie: The Opera, 180–81; as “Mother of the Nation,” 192; reputation of, 185; return to Soweto, 184; statement in souvenir program booklet, 188–89; TRC and, 183, 184–85, 186–87. See also Winnie: The Opera
Magee, Gayle Sherwood, 94
Magic Flute: Impempe Yomlingo, 51
Magogo kaDinuzulu, 10, 44
Maidi, Otto, 86
Malan, Nico, 40
Malcolm X, 178
Malefane, Pauline, 50, 51, 122, 159, 160
Malibran, Maria, 213n4
Mammy, 107
Manca, Joseph, 36
Mandela, Nelson, 4, 10, 179–80, 181, 190, 191, 192 The Mandela Trilogy, 179–80, 233–34n23
Mandela United Football Club (MUFC), 184, 186
Margaret Garner, 12, 177–78
margin, center and, 5, 169
Margulies, Adele, 91
Marian Anderson Committee, 34
Martin, Trayvon, 3, 12, 209n1, 233n21
Martinique, 34
masculinity, 124–25; black, 85, 112; constructions of, 107
Mashatile, Paul, 188
“Master’s tools,” metaphor of, 25–26
Maswanganyi, Tsakane Valentine, 44–46, 47, 49
Matshikiza, Pumez
a, 46–48
Maultsby, Portia, 28
Mbeki, Thabo, 4, 58, 59, 218n4
Mbembe, Achille, 231n59
McAdoo, Orpheus M., 37
McCarten, John, 135–36
McClary, Susan, 125, 129, 148
McDonald, Audra, 88, 177, 221n33, 233n18
McFerrin, Bobby, 41
McFerrin, Robert, 90
McKaiser, Eusebius, 214n20
mehter, 204–5
Meilhac, Henri, 122, 129
Melba, Nellie, 132
Menotti, Gian Carlo, 99
Mérimée, Prosper, Carmen, 24, 120–24, 121t, 126, 127–32, 134, 146, 148, 152, 154, 158–59, 161, 165
Messiaen, Olivier, 66
Metropolitan Opera, 3–4, 7, 8, 15, 35, 47–48; Anderson’s performance at, 15–16, 35, 179; architecture of, 8; ballet, 141; black female singers at, 15–16, 19, 35, 179, 210n15; “color barriers” at, 15–16, 35, 137; Live in HD series, 2, 3; Porgy and Bess, 85; Price’s debut at in 1961, 19; Price’s performance of Cleopatra at, 16; segregation at, 15–16; staging of Otello, 209n5; use of supertitles, 210n14
Meyers, Henry, 91
Mhlambi, Innocentia Jabulisile, 25
Michigan, post 9/11, 204–8
Michigan Department of Corrections, 202
Michigan Opera Theatre, 2, 12, 88
Michigan Quarterly Review, 67–71, 78
Midgette, Anne, 72
Milhaud, Darius, 66
Miller, Flournoy, 66
Mills, Florence, 66
minstrelsy, 2, 4, 23, 27–32, 38; early development of, 31–32; in Europe, 32; history of, 105; minstrel troupes, 27, 32; origin myth of, 105; popular theater in nineteenth century and, 105; in South Africa, 27, 32, 37–38, 167; specter of, 105–8; stereotypes and, 24, 31–32, 87, 97, 105, 106–8, 111–13, 119, 212n33; transgressive elements of, 213–14n7; in the United States, 31–32
Miranda, Lin-Manuel, 53–54, 229n42
mixed-race identity, 61, 65, 212n31, 214n20, 220n31, 232n12
mixed-race singers, 43–44, 171
Mngoma, Khabi, 44, 216n42
modernism, blackness and, 21
modernity, 22
Moeketsi, Stompie, 184
“monodrama,” 70, 72
Monroe, Marilyn, 153–54, 230n46, 230n47
Monticello, 55–56, 61, 68, 73, 77, 79, 83, 219n20, 219–20n21, 220n24
Moore, Dorothy Rudd, 11
Morgan, John, 184
Morrison, Toni, 12, 145, 177–78, 228–29n37
Mos Def (also known as Yasiin Bey), 148, 153, 163
Mothers of the Missing, 189, 235n38, 235n40
motion, 101
Motlanthe, Kgalema, 4
Move group, 12
Mozart, Wolfgang Amadeus, 39, 51, 114, 197, 201, 204–8, 222n54, 234n24
MTV, 147–48
Munda, Spain, 127, 128
Murchison, Gayle, 28
Murray, Diedre L., 88, 223n4
Musée de l’Homme, 57
Musée d’Orsay, 57
musical, genre of, 234n29