Blackness in Opera

by Andre, Naomi; Bryan, Karen M.; Saylor, Eric; Ramsey, Guthrie

• ISBN13: 9780252036781
• ISBN10: 0252036786
• Format: Hardcover
• Copyright: 2012-03-01
• Publisher: Univ of Illinois Pr

Summary

Blackness in Operacritically examines the intersections of race and music in the multifaceted genre of opera. A multidisciplinary cross-section of scholars place well-known operas ( Porgy and Bess, Aida, Otello) alongside lesser-known works such as Scott Joplin's Treemonisha,Clarence Cameron White's Ouanga!,and William Grant Still's Blue Steelto reveal a new historical context for re-imagining race and blackness in opera. The volume brings a wide-ranging, theoretically informed, interdisciplinary approach to questions about how blackness has been represented in these operas, issues surrounding characterization of blacks, interpretation of racialized roles by blacks and whites, controversies over race in the theatre and the use of blackface, and extensions of blackness along the spectrum from grand opera to musical theatre and film. In addition to essays by scholars, the book also features comments by renowned tenor George Shirley.

Author Biography

Naomi Andr is an associate professor of Women's studies at the University of Michigan. KAREN M. BRYAN is a Professor and chair of the department of music at the University of Arkansas at Little Rock. ERIC SAYLOR is an associate professor of musicology at Drake University.

Table of Contents

Foreword: Singing in the Dark	p. ix
Preface	p. xi
Introduction: Representing Blackness on the Operatic Stage	p. 1
From Otello to Porgy: Blackness, Masculinity, and Morality in Opera	p. 11
Hearing the Other in The Masque of Blackness	p. 32
Nationalism, Racial Difference, and "Egyptian" Meaning in Verdi's Aida	p. 55
Race, "Realism," and Fate in Frederick Delius's Koanga	p. 78
Political Currents and Black Culture in Scott Joplin's Treemonishna	p. 101
Clarence Cameron White's Ouanga! in the World of the Harlem Renaissance	p. 116
New Paradigms in William Grant Still's Blue Steel	p. 141
Performers in Catfish Row: Porgy and Bess as Collaboration	p. 164
Searching for "Authenticity" in Paul Bowles's Denmark Vesey	p. 187
The Politics of Color in Oscar Hammerstein's Carmen Jones	p. 212
Performing Race in Ernst Krenek's Jonny spielt auf	p. 236
Il Rodolfo Nero, or The Masque of Blackness	p. 260
Contributors	p. 275
Index	p. 279
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