"The Black Voice"



Until recently, only a few critics and Opera lovers have spoken about“The Black Voice”. It was Toscanini who praised the phenomenal vocal gift of Marion Anderson, saying it was one of the wonders of the world. Check out the 1934 recording of her singing Brahms.

Like wise, the same was thought of Leontyne Price by Herbert Von Karajan. These two gentlemen were the greatest conductors nationally and internationally.

Because of the terrible cancer “Racism” Many great artists fled The United States to find appreciation for their unique vocal abilities.

We now have been blessed with the beauty and excellence of Lawrence Brownlee “Tenor” who is considered by most, to be one of the greatest voices of our time.
Some time ago the New York Times printed in the Arts section; is there such a thing as a “Black Sound.” Without hesitation myself and many others gave a resounding yes. In a book on vocal pedagogy and the art of Bel Canto Singing; A native Italian clearly states that Black voices are richer and have greater range in the upper and lower part of the column. Some might call this quality dark, but I think the term “rich” says it better.

What also was a back handed compliment, in the case of the great Tenor Roland Hayes; He was given The title: “The Black Schipa” as in Tito Schipa.
Schipa was the tenor who shared fame at the time with Enrico Caruso.
We like to think of Mr. Hayes, not as The black Schipa but the one and only “Roland Hayes”.

Another 19th century voice was Adelina Patti born in 1843 and viewed as one of the Iconic figures of her time. Again, an African American Soprano Sissieretta Jones born in 1868 was given the title “The Black Patti” another great artist respected only if she were in some way associated with her white counterpart.
Black men such as Lawrence Winters, Charles Holland, Robert McFerrin, Thomas Young, Leslie Scott and many more I could name, were purposely ignored.
Charles Holland returned to America to perform at Carnegie Hall. He was 73 and the magic of his singing was ever present. He returned to his home in Berlin where, he like Lawrence Winters in Munich, shared their great talents with German audiences. For Holland that was one of the only appearances we know of, in his own country.

Europe recognized the magnitude of these artists and were it not for the European Understanding; many great gifts would have been lost forever.
Leslie Scott was one who literally got buried before the world could witness all that he had to offer.He did however sing opposite Ms Price in Porgy and Bess and toured all over Europe.
He returned to America where he passed at age forty eight. Broken hearted, with the knowledge that his own country refused to see or hear him.
I speak knowingly because Leslie Scott was my father.
Last but not least Paul Robeson, a truly great voice. One who sang and spoke for the masses.

He was exiled from his country for crying out for all mankind.
He was not allowed to re-enter until he was on his death bed.A truly great loss.

"BEAUTY ON THE RUNWAY"

The closing of the semester brought many emotions to the fore.
Students who were leaving Morgan State University,  having achieved their goal of receiving a degree were about to become apart of the American workforce.
Feelings of joy and  sadness ran extremely high for both teachers and students.
Pictures from my former blog help to show the excitement and warmth of this graduation ceremony.
Watching each student walk the runway to receive their diploma, was a truly great moment!!!!

My runway experience at this time led me to Hagerstown Maryland, where I became one of five judges for The Miss Maryland Pageant, and Miss outstanding Teen for 2013.
The process was extremely intense, every day during the week leading to the final choice of Miss Maryland and Miss Outstanding Teen.
Judged on Fitness, Oral Communication, Bathing Suit, Talent, Evening Gown, Beauty, Poise, and a demeanor, that is in keeping with the  duties of  their positions; We the judges had the difficult job of choosing the two young ladies out of twenty four in each category that we thought, met the desired qualifications.

 Left: Christina Denny Miss Maryland 2013 / Right: Sabrina Frost Miss Outstanding Teen 2013

             Below are the five judges for the pageant.
 
 Kenneth Kamal Scott, Brenda Thomas, Dennis Momyer, Danae DeMasi and Devin Holmes

   
Everyone was shocked to learn that I was the first African American dancer on the Miss America Pageant back in the days of Bert Parks, Bess Myerson, and The Atlantic City Runway.
I was chosen by Peter Genero (Choreographer) who used me also, on the Ed Sullivan show every Sunday for over two years.
Thinking back to the other time, I have to say that The Miss America pageant in those days was truly a"FABULOUS"experience. However, our producer Sherry Rush and her assistant Jonathan Black worked tirelessly to maintain the standards of the past, where beauty and brains were expected if you were to wear the crown.
While we were there, we learned that the pageant was returning to her home in "Atlantic City" to once again bring to the boardwalk  "Beauty on the Runway".

                                  "Miss Maryland"


                The Judges and contestants who also placed. 

A DAY OF PRIDE

I am proud to have been a part of the commencement ceremony for the class of 2013 at Morgan State University; Today, Saturday, May 18th 2013.
It was a joyous occasion filled with such a deep sense of pride. Seeing so many young African American men and women graduating from college ready to go forward, helping to make our world a better place.
I was honored to be a part of the vocal faculty, that has inspired and shaped these talented voices that will undoubtedly, be a tremendous addition to the art world.
Below are a few moments captured for posterity 

 "A TRULY GIFTED SINGER" This young lady, Anne Bragg was one of my students who graduated.

    Here I 'm seen with my two fraternity brothers Vincent Dion Stringer and Colin Lett.

"HAVING ATTITUDE"  Some of the fraternity brothers and myself (2nd from the Rt).

It's hard to believe that the time has passed so quickly that this young lady and almost a thousand others of the Morgan State Family, will no longer be on campus.
We share in the joy of their accomplishments and with pride say: "JOB WELL DONE"

"HARMONY AT MORGAN STATE UNIVERSITY"

Kenneth Kamal Scott, Anamer Castrello, Janice Chandler Eteme, and Vincent Stringer, the soloists for this matinee performance of the Beethoven's 9th Symphony with the Morgan State Choir and Orchestra on May 5th. With us Walter Kennedy second from the left, one of our advanced vocal students.




I have blogged earlier about my colleagues, Vincent Dion Stringer and Ms Janice Chandler Eteme.
However,the above photo is of our lovely Anamer Castrello. Mezzo Soprano and a member of our wonderful vocal faculty.
Ms. Castrello is like a warm summer breeze. Always a pleasure when we greet and a smile that lights the room.

Presently she is sharing her wonderful voice and talent in the production of Show Boat at The Washington National Opera at Kennedy Center.
We the faculty and students of Morgan State University are fortunate that she is a member of our vocal family.
Her rich beautiful Mezzo in Beethoven's 9th symphony helped to bring the power and excitement to the work which it deserved.
She and I have often had conversation about the rich Latin American music or "Zarzuela" A form of Spanish Opera.
Anamer Castrello is a singer's singer; A true artist!!



This young lady is Ms. Anne Bragg.
This photo was taken after her senior graduate recital.
I am proud to say that Ms.Bragg came from my studio and gave a very fine senior recital.
In keeping with the theme of Harmony, Ms.Bragg has been accepted into The New York University vocal department.BRAVO!!!!

Last but by no means least,and a true moment of harmony; My becoming a "SINFONIAN"
An honor of which I am still in awe. I was invited by the brother's of Phi Mu Alpha to become a fraternity member and pledged as if I were a young man just beginning his journey.
How could I have ever guessed, that my devotion to my art would result in a living Symphony. "SINFONIA"

"THE MATINEE IDOL"



Leslie was exactly that, suave,debonair and his voice a thing of beauty.
His stunning good looks and charm made him an absolute winner, especially with the ladies.
Hollywood had already defined their idea of male beauty in actors such as Clark Gable, Alan Ladd, Sir Lawrence Olivier, and Tyrone power to name a few.
Leslie was all that and more!! But he arrived on the scene when the art world rejected people of color, whose abilities demeanor and excellence posed a seeming threat to the white establishment.
Maybe I seem somewhat prejudiced or one sided; but I think I have that right because Leslie,(Leslie Scott) was my father. A man who exemplified for me, all that I thought a great artist and true representation of masculine beauty should be.
When he walked into a room or down the street, frequently people would gasp or take a moment to catch that little extra glance. I loved it because I knew they recognized in him a true "Matinee Idol".

The shot above displays what was so very obvious.

In my memoir which I am still writing, I am much more forthcoming with regards to our father son relationship and the respect he earned from friends and colleagues.
Recently we acknowledged the passing of one of his leading ladies in "Porgy and Bess"Ms Gloria Davy.She left us on November 28th 2012 at the age of 81.
Ms Gloria Davy was born in Brooklyn New York March 28th 1931.
She made her home in Geneva Switzerland where she passed after a very long illness.
These images of her help us to remember an elegance of a time long gone.
The picture with my father was shortly after she replaced Leontyne Price in the role of Bess.





Ms Davy had performed fifteen roles in four seasons at The Metropolitan Opera but because of racial sickness in our country she was forced to seek employment abroad, where more roles were offered and not denied because of her color. "A Tremendous Loss"for The USA.
Here is a small review written in an Italian newspaper in Milano concerning Leslie and Ms Davy in their debut at the famed "La Scala" Opera house.
In a way I wish they had been critiqued more for their vocal excellence rather than (as they put it) "The Torrid Love Scene".In which I'm sure they were most titivating.
On and off stage they were simply "Delicious.

In this most historic photo we see Leslie Scott, Leontyne Price and Cab Calloway (Sportin Life) in a recording session of Porgy and Bess at CBS. Notice the insignia on the microphone.

Leslie had toured the world with Ms Price and was fortunate to have replacements of similar excellence when destiny called, and the voice of the century was born !!!!


Leontyne Price set a standard of vocal beauty that to this day has not been surpassed.
Those of us who were there at her beginnings will never forget the many moments.

Last but not least we see Leslie Scott, Helen Hayes and Martha Flowers. Another understudy to Ms Price.
Not so well known of his leading ladies was Irene Williams depicted in this article from Jet Magazine.

Although Leslie Scott passed at age 48, his accomplishments were many.
The matinee idol with shoes to big for anyone to fill, he is still remembered by many as a romantic, an artist,a friend and a Father.
He was our true, "Matinee Idol"


Sent from my iPad

"ODE TO JOY"
SINGER ON A MISSION




Vincent Dion Stringer is a man of great vision. Not for himself alone but for young artists who are willing to invest their
heart and soul to commit to becoming a consummate communicator.
Since I arrived on the campus of Morgan State university I have witnessed his unselfish leadership as coordinator of Vocal Studies for The Department of Fine and Performing Arts of which he heads, as Assistant Professor and Artistic Director of OPERA at Morgan.
We have all recognized as faculty and students, how fortunate we are to be led by an artist of international status. Acclaimed for the beauty of his Bass Baritone and his knowledge of Operatic Literature, Musicianship,and stage presence, he sets a standard and a tremendous sense of pride.
Tonight we witnessed his artistry as soloist in Beethoven's Ninth symphony,held at Chizuk Amuno Congrgation of Baltimore under the direction of Maestro T. Herbert Dimmock.
Mr. Stringer shared the stage with other soloists, plus THE MORGAN STATE UNIVERSITY CHOIR led by Dr. Eric Conway,
and THE MARYLAND STATE BOYCHOIR,Stephen Holmes, Artistic Director.
There were well over one hundred voices and they were accompanied by THE BACH CONCERT SERIES CHOIR AND ORCHESTRA which topped off the presentation and was truly lovely.
As I sat taking it all in, I saw a community perpetuating the very idea that Mr.Stringer is slowly nurturing in the Department of Fine and Performing Arts at Morgan.
On our Morgan Website you can see from the past and present, some of the exciting projects he has put together.
He involves the entire ARTISTIC COMMUNITY AT MORGAN creating a support system.
This is a rare insight and a blessing. He reminds us that it does take a VILLAGE. This is a man on a mission!!!

FINDING HER VOICE

Finding her voice: How Barbara Smith Conrad sang her way into civil-rights history


By JOSH MAX

Barbara Smith Conrad at home

Barbara Smith Conrad closes her eyes and draws a deep breath in the kitchen of her upper West Side apartment. A moment later, the room is filled with rich, soaring tones that seem to come from the bottom of her soul as she sings a spiritual she's known since she was 6:
"Lord, I feel like my time ain't long/Lord, I feel like my time ain't long/Lord, I feel like my time ain't long ..."
It's a sound that has carried the mezzo-soprano all the way from the tiny town of Pittsburg, Tex., where she was born in 1940, to the Metropolitan Opera and far beyond.
A New Yorker since 1959, Conrad has lived in this drop-dead gorgeous, two-bedroom apartment since 1971. It's a suitably diva-fabulous abode: The office, or "green room," is decorated with placid celery-green walls, green floor, green ceiling, green chandelier and green candles. The living room, where she receives scores of vocal students these days, is dominated by a Baldwin grand piano offset by violet walls, and the lengthy hallway is decorated with photos of Conrad singing with Placido Domingo and other opera stars.
The only remaining survivor of five siblings, Conrad says she considers her New York students kin. April Haines, Conrad's student and friend of 18 years and a singer in the Metropolitan Opera chorus, says the feeling's mutual.
"Barbara brings the concept of family to people she knows here in New York," Haines says. "And we, her students, come to her as family. But she is a New York institution all by herself, too."
Conrad still performs at select benefits and charity functions, and is known for her work to preserve and celebrate Negro spirituals. Her alma mater, the University of Texas at Austin, recently named her artistic adviser/ambassador for the collection of Negro spirituals at its Center for American History.
Any successful career in the arts is rife with rejection and setbacks, but Conrad's were unique to a young black girl growing up in a racist South. "I was 10 when an adult friend was murdered," she says. "I saw them jack the body out of the creek. I saw people lynched and dragged behind pickup trucks, so I had a real respect about how cruel the world could be. You knew you had to obey those implied boundaries, you knew better than to go to certain places."
Her experience with those boundaries came to a head in 1957 as a sophomore student at the University of Texas, when she was known by her birth name Barbara Smith. (She later added her father's first name, Conrad, as a tribute to him.) After auditioning for and winning the lead role of Dido in the English opera "Dido and Aeneas" by Henry Purcell, Conrad was informed by the dean that she could not perform.
"The incident became a national scandal after the story appeared in the Houston Post," she says. "I was threatened and harassed on a daily basis. It was awful. But I tell you, people rallied around us.
"Once the story broke, a friend named Inez Jeffrey took me home, saying, 'Girl, you are going to get yourself killed.'"
Jeffrey wrote to Eleanor Roosevelt on the young singer's behalf, Conrad says, and the former First Lady responded with a check for $5,000 and an introduction to the National Urban League, which stood behind the soprano. Conrad's black female classmates also shielded their friend by calling themselves "Barbara Smith" on campus in order to confuse antagonists.
Word of the incident reached singer Harry Belafonte in New York, then at the pinnacle of international stardom in the wake of his album "Calypso," which had spent 31 weeks at No.1 on the charts a year earlier.
"Mr. Belafonte called and offered to send me to a school of my choice," Conrad says.
Belafonte, reached by telephone, well remembers the emotions that the soprano's plight stirred in him. "I called Barbara to tell her the world had heard her story," he says. "I'd read about it in the Herald Tribune in New York, and I was just incensed." Conrad says, "I became a star for a few days because of Harry Belafonte, people wanting to touch me. The whole dorm was buzzing. He called me 'Tex Nightingale.'"
While her newfound attention contrasted sharply with the antagonism she received at her school, the young singer declined Belafonte's tuition offer, preferring to remain at the University of Texas.
"I was just that stubborn," she says. "I wasn't going anyplace. It was agin' my nature!"
At the same time, she adds, "I also have to say that having all those famous people behind you is what gives you a certain strength of character, and you can keep your dignity and your pride and your sense of humor."
The incident wasn't the end of Conrad's experience with racism, but the same fortitude and sense of humor carried her through other challenges.
"I had to do a school report on the movie 'The Bad Seed,' and the [theater] where it was showing was segregated," she says. "I called ahead and got permission to attend, but when they saw me coming, they freaked out and said, 'No, you can't come in.' So my friend took me to the school's costume department, put a dot on my forehead and a veil over my face and waltzed me in."
Belafonte stayed in touch with Conrad and arranged for her to come to New York City after her graduation. "[I] told her I would handle all expenses, and we'd see where we went from there," he says. "She came, she sang, and it was absolutely stunning."
The star used Conrad whenever he needed a choir on his records. "Part of her early livelihood was assured by the amount of record work I got her, backup singing for me and other artists as well," he says. "But I knew she would get to the Met and achieve success on her own level."
Conrad did go on to wide success, touring South America and Europe with assorted opera groups in the 1970s, and signing contracts with both the Met and the Vienna State Opera companies in 1981. In 1984, the then-president of the University of Texas invited her back, and she appeared in Earl Stewart's opera "Al-Inkishafi" there. She was also named Distinguished Alumnus, and she returns to the university almost every year. She sang for Pope John Paul II at a Mass in New Jersey in 1995, and has several CDs in print.
At 65, Conrad looks as vibrant as she did in the decades-old photos hanging from the walls of the apartment, and she says she's going on dates. She shrugs off compliments, though, assigning her looks to "good cheekbones" as well as genetics. With a wink, she says, "Black don't crack."
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