Marian Anderson
Marian Anderson was an American contralto. She performed a wide range of music, from opera to spirituals. Anderson performed with renowned orchestras in major concert and recital venues throughout the United States and Europe between 1925 and 1965.
Anderson was an important figure in the struggle for African-American artists to overcome racial prejudice in the United States during the mid-twentieth century. In 1939, during the period of racial segregation, the Daughters of the American Revolution refused to allow Anderson to sing to an integrated audience in Constitution Hall in Washington, D.C. The incident placed Anderson in the spotlight of the international community on a level unusual for a classical musician. With the aid of First Lady Eleanor Roosevelt and her husband, President Franklin D. Roosevelt, Anderson performed a critically acclaimed open-air concert on Easter Sunday, April 9, 1939, on the Lincoln Memorial steps in the capital. The event was featured in the documentary Marian Anderson: The Lincoln Memorial Concert. She sang before an integrated crowd of more than 75,000 people and a radio audience in the millions.
On January 7, 1955, Anderson became the first African-American singer to perform at the Metropolitan Opera. In addition, she worked as a delegate to the United Nations Human Rights Committee and as a Goodwill Ambassador for the United States Department of State, giving concerts all over the world. She participated in the civil rights movement in the 1960s, singing at the March on Washington for Jobs and Freedom in 1963. The recipient of numerous awards and honors, Anderson was awarded the first Presidential Medal of Freedom in 1963, the Congressional Gold Medal in 1977, the Kennedy Center Honors in 1978, the National Medal of Arts in 1986, and a Grammy Lifetime Achievement Award in 1991.
Early life and education
Marian Anderson was born in Philadelphia on February 27, 1897, to John Berkley Anderson and Annie Delilah Rucker. Her father sold ice and coal at the Reading Terminal in downtown Philadelphia and eventually also sold liquor. Before her marriage, Anderson's mother was briefly a student at the Virginia Seminary and College in Lynchburg, and worked as a schoolteacher in Virginia. As she did not obtain a degree, Annie Anderson was unable to teach in Philadelphia under a law that was applied only to black teachers and not white ones. She therefore earned an income caring for small children. Marian was the eldest of the three Anderson children. Her two sisters, Alyse and Ethel, also became singers. Ethel married James DePreist and their son James Anderson DePreist was a noted conductor.Anderson's parents were both devout Christians and the whole family was active in the Union Baptist Church, which, during her youth, stood in a building constructed by the congregation in 1889 at 709 S. 12th Street in South Philadelphia. Marian's aunt Mary, her father's sister, was particularly active in the church's musical life and convinced her niece to join the junior church choir at the age of six. In that role, she got to perform solos and duets, often with her aunt. Aunt Mary took Marian to concerts at local churches, the YMCA, benefit concerts, and other community music events throughout the city. Anderson credited her aunt's influence as the reason she pursued her singing career. Beginning as young as six, her aunt arranged for Marian to sing for local functions where she was often paid 25 or 50 cents for singing a few songs. As she got into her early teens, Marian began to make as much as four or five dollars for singing, a considerable sum for the early 20th century. At the age of 10, Marian joined the People's Chorus of Philadelphia under the direction of singer Emma Azalia Hackley, where she was often a soloist.
When Anderson was 12, her father received a head injury while working at the Reading Terminal before Christmas 1909. Soon afterwards, her father died following heart failure. He was 37 years old. Marian and her family moved into the home of her father's parents, Benjamin and Isabella Anderson. Her grandfather had been born a slave and was emancipated in the 1860s. He relocated to South Philadelphia, the first person in his family to do so. When Anderson moved into his home, the two became very close, but he died just a year after the family moved there.
Anderson attended Stanton Grammar School, graduating in 1912. Although her family could not pay for any music lessons or high school, Anderson continued to perform wherever she could and learn from anyone willing to teach her. Throughout her teenage years, she remained active in her church's musical activities and was now involved heavily in the adult choir. She became a member of the Baptists' Young People's Union and the Camp Fire Girls, which provided her with some, though limited, musical opportunities. Eventually, the People's Chorus of Philadelphia and the pastor of her church, Reverend Wesley Parks, along with other leaders of the black community, raised the money she needed to get singing lessons with Mary Saunders Patterson and to attend South Philadelphia High School, from which she graduated in 1921.
Undaunted, Anderson pursued studies privately in her native city through the continued support of the Philadelphia black community, first with Agnes Reifsnyder, then Giuseppe Boghetti. She met Boghetti through the principal of her high school. Anderson auditioned for him by singing "Deep River"; he was immediately brought to tears. Boghetti scheduled a recital of English, Russian, Italian and German music at The Town Hall in New York City in April 1924; it took place in an almost empty hall and received poor reviews.
In 1923, Anderson made her first recordings for the Victor Talking Machine Company in Camden, New Jersey.
Early career
In 1925, Anderson got her first big break at a singing competition sponsored by the New York Philharmonic. As the winner, she performed in concert with the orchestra on August 26, 1925, a performance that scored immediate success with both the audience and music critics. Anderson continued her studies with Frank La Forge in New York. During this time, Arthur Judson, director of the New York Philharmonic, became her manager. Over the next several years, she made a number of concert appearances in the United States, but racial prejudice prevented her career from gaining momentum. In 1928, she made her first performance at Carnegie Hall.Rosenwald Fund
During her fall 1929 concert schedule, Anderson sang at Orchestra Hall in Chicago, for which she received measured praise. Critic Herman Devries from the Chicago Evening American wrote, " reached near perfection in every requirement of vocal art—the tone was of superb timbre, the phrasing of utmost refinement, the style pure, discreet, musicianly. But after this there was a letdown, and we took away the impression of a talent still unripe, but certainly a talent of potential growth." In the audience were two representatives from Julius Rosenwald's philanthropic organization, the Rosenwald Fund. The organization's representatives, Ray Field and George Arthur, encouraged Anderson to apply for a Rosenwald Fellowship, from which she received $1500 to study in Berlin.European tours
Anderson went to Europe, where she spent a number of months studying with Sara Charles-Cahier and Geni Sadero before launching a highly successful European singing tour. In the summer of 1930, she went to Scandinavia, where she met the Finnish pianist Kosti Vehanen, who became her regular accompanist and her vocal coach for many years. She also met Jean Sibelius through Vehanen after he had heard her in a concert in Helsinki. Moved by her performance, Sibelius invited them to his home and asked his wife to serve champagne in place of the traditional coffee. Sibelius complimented Anderson on her performance; he felt that she had been able to penetrate the Nordic soul. The two struck up an immediate friendship, which further blossomed into a professional partnership, and for many years Sibelius altered and composed songs for Anderson. He created a new arrangement of the song "Solitude" and dedicated it to Anderson in 1939. Originally The Jewish Girl's Song from his 1906 incidental music to Belshazzar's Feast, it later became the "Solitude" section of the orchestral suite derived from the incidental music.In 1933, Anderson made her European debut in a concert at Wigmore Hall in London, where she was received enthusiastically. In the first years of the 1930s, she toured Europe, where she did not encounter the prejudices she had experienced in America. Anderson, accompanied by Vehanen, continued to tour throughout Europe during the mid-1930s. Before going back to Scandinavia, where fans had "Marian fever", she performed in Russia and the major cities of Eastern Europe. She became a favorite of many conductors and composers of major European orchestras quickly. During a 1935 tour in Salzburg, the conductor Arturo Toscanini told her she had a voice "heard once in a hundred years."
American tours
In 1934, impresario Sol Hurok offered Anderson a contract with more favorable terms than she had with Arthur Judson. Hurok became her manager and persuaded her to return to America to perform. In 1935, Anderson made her second recital appearance at The Town Hall, New York City, which received highly favorable reviews from music critics. She spent the next four years touring throughout the United States and Europe. She was offered opera roles by several European houses, but Anderson declined all of them due to her lack of acting experience. She did, however, record a number of arias in the studio, which became bestsellers.Anderson's accomplishments as a singer did not make her immune to the Jim Crow laws in the 1930s. Although she gave approximately seventy recitals a year in the United States, Anderson was still turned away by some American hotels and restaurants. In the midst of this discrimination, Albert Einstein, a champion of racial tolerance, hosted Anderson on many occasions, the first being in 1937 when she was denied a hotel room while performing at Princeton University. Einstein's first hosting of Anderson became the subject of a play, "My Lord, What a Night", in 2021. She last stayed with him months before he died in 1955.