Dear Editor: The reality of Vinson Cole’s words regarding opera companies telling his management that “they would not have a black tenor singing opposite a white soprano” can be as devastating to aspiring black singers as the 9/11 attacks (especially if you’re hearing it for the first time). It is incomprehensible to have that blatant statement uttered in the 21st Century. I’m sure whoever said it would not publicly state their identity because it would be against the law and they might find a healthy suit on their hands. These cowards have no idea the damage they create to aspiring African-American singers and also the silent anger many blacks feel toward a profession in which they are mostly helpless to do anything about. We have no alternative but to seek out situations that involve only ourselves. When will these opera companies understand that we are only interested in working at our craft and not trying to force our intentions on another race? —Tim Kennedy, Buffalo, NY
It isn’t hard to feel the hopelessness from your letter and the terrible injustice the article made you feel. We felt as ashamed to print those words as Mr. Cole felt to say them. But it was time to bring this reality to the light of day. Singers of all races need to stand together against this hatred and put an end to it. It can change in this generation. Many of you reading this will be sitting on the boards that make these decisions and you will have the chance to stand against this type of thinking. If 9/11 taught us anything, it is that we have been silent against injustice too long.
Dear Editor: There are more African-American singers on the scene now who need more exposure and articles written on their achievements. I am one of them. The ones who do make it “big” seem to be the ones who have the most money or backing. Let’s not forget the others who have struggled just as hard or harder and might not have been given the opportunities as, say, Kathleen Battle, Jessye Norman, etc. This is not to minimalize these great artists’ vocal gifts at all. It would just be nice to see another African-American female artist have the spotlight for a change. Yes we are out here doing major and minor roles, placing high in opera competitions and still going through subtle and not so subtle racial discrimination practices but I for one refuse to give up. —Name Withheld, TN
Dear Editor: I am writing this note in order to offer an apology to the NATS Journal and Classical Singer magazine. When I agreed to have my article African-American Operatic Tenors Coping With Discrimination published by the NATS Journal and basically the same article entitled Three Tenors Transcend Discrimination published by Classical Singer magazine in February 02, it was not my intention to breach any agreements of exclusivity. As a novice writer, I was so overwhelmed and excited by the fact that both of these publications thought the article was worthy of being a feature, that I never considered this simultaneous publication to be an infringement on the publisher’s right to exclusivity. Therefore, I am offering a humble apology for any problems I may have created for the NATS Journal and the Classical Singer Magazine and their readers. —Mel Foster (A Wiser Writer)
Dear Editor: It is always wonderful to open the mailbox and find the latest issue of Classical Singer waiting for me within. I find the articles/interviews on/with industry professionals to be of great value and miss Nicholas Limansky’s columns on great singers of the past. It’s difficult to understand the world of today without recognizing the greats of yesterday. Keep up the good work and thank you. —Adam Frei, Forest Hills, NY
Nicholas Limansky continues to write for Classical Singer magazine and you will see his articles from time to time, including one in this issue.
Dear Editor: Your publication continually engages in age discrimination with age limits on competitions. Who says a singer loses their voice at 50, 60 or 76.
Lucine Amara at 76 sings better than anyone I know at any age. But let’s stop putting limits on vocal or college scholarships-competitions; people are going to college at any age. What of the bass-baritone, dramatic soprano, alto or tenor who finds their voice at 35, 40, 45, even 50 or even older. A great singer is a great singer. Tell Placido Domingo or Pavarotti or any of the aging great singers they can’t sing anymore. Sherrill Milnes was subjected to the most disgusting discrimination I have ever seen at the Met. He was singing better or as good as anyone. He wasn’t singing at the peak of his voice, but it was and is still one of the best instruments in the world. I find this whole edition on age or racial discrimination totally disingenuous because your magazine itself continues to support the very thing you protest. —Jan Clairmont, Dramatic Tenor,
Older but singing better than I ever did.
Classical Singer does not support age discrimination; we do report age limits in our competition section, where singers need to know age limits exist. There is a big difference between the two. We have come out very strongly against the practice and have written both articles in the magazine and letters to competitions asking them to remove age limits on competitions. We are pleased to report that over the years, our efforts have been successful in that several competitions have removed their age barriers and are instead using experience as their criteria in evaluating candidates.
Dear Editor: Classical Singer has important information regarding USA news and activity yet should give more information regarding European competitions, academics, auditions, etc. —Doris Andrews, President Accademia Internazionale delle Art
Dear Editor: I appreciate all that you try to do to cover all of the singers who subscribe to your magazine. I would hope that in future you would spend some more time and effort on some of the lower voices. I know that we are a minority and not as popular but I would like to see more stuff aimed at the low, low voice. —Name Withheld, CT
Thanks for pointing out our oversight. You are not alone in your request! Take a look at Osmin’s aria in this month’s coach article and Dwayne Croft on our cover.
