Lillian Evanti, Black Opera Star

Lillian Evanti was a professional Opera singer. She became the first African American to sing in a professional European opera company in 1925. She was born in Washington, D.C., and graduated from Armstrong Manual Training School, where her father, W. Bruce Evans, was the first principal. Her paternal grandfather, Henry Evans was born in North Carolina as a free black man and later moved to Oberlin, Ohio where he helped with the Underground Railroad. Evanti's maternal grandfather John H. Brooks was elected to the House of Delegates in 1874 and defeated Frederick Douglas Jr. Although gifted in music, in 1908 Lillian entered Miner Teachers College (now University of the District of Columbia) for the education of black elementary school teachers. In her time there she met Georgia Douglas Johnson, a future poet and literary figure that Evanti would later consult with in writing songs. From Wikipedia She graduated from Howard University with a bachelor's degree in music. At her commencement in May 1917 she sang French, German, English as well as American songs that brought her national attention by the black press such as the New York Age (being a woman of color, she was not discovered by white media for over a decade after this performance). With the support from her husband, Lillian set sail for Paris in 1924 to begin her operatic journey. In an effort to sound more European she combined her maiden name "Evans" and her married name "Tibbs" to create her new stage name Evanti. As an African American classical singer in America, there was little success for her outside of the black community and she hoped that in France she would finally find her voice. In Paris, Lillian studied voice with French soprano Gabrielle Ritter-Ciampi and within the year moved to Nice where her instructor advised her to audition at the local opera houses. Evanti, a soprano, sang at the Belasco Theatre in 1926 with Marian Anderson.[2] She debuted in 1925 in Delibes's Lakmé at Nice, France.[3] Although she was receiving praise in Europe, only black newspapers were picking up her success in America. In an article by The Chicago Defender (national edition) on Sept 26, 1925, Evanti goes into detail about the unknown color prejudice she experienced in France after her debut. "Distinguished Parisians understand us " says Madame Evanti "there is no such thing as color prejudice, especially among the upper classes." The article then goes into a story of her making her first public appearance in a joint recital with a violinist at the home of the distinguished Salmon family " I feel that Mme.Salmon understands very thoroughly the race question in America. She has made a special study of it and is very much interested in the general progress of the Negro." As Lillian's popularity grew she sang opera at Toulon, Montpelier and Monte Carlo where in 1926 she was a guest artist of the Monte-Carlo Philharmonic Orchestra. Finally, in 1927 she was invited to sing in Paris. The Chicago Defender reviewed her singing the same role at the Trianon-Lyrique in Paris during Christmas Eve of 1927 "When the posters all over Paris announced that an American would interpret "Lakme" on Christmas Eve night, the theater-going public began to wonder. An American interpreting the leading role at the Trianon-Lyrique? That's one of the things which almost never happen. She was no longer an American singing in French, she was an artist of rare ability; she was all that Delibes himself could have desired in his heroine." During her time in Europe, Evanti would return home to Washington every summer and would give concerts in the area. Along with spirituals, Lillian presented a wide range of repertoire including works by Handel, Scarlatti, Bellini, Rameau which grabbed the attention of a few "white" papers, although they neglected to identify her as a black singer. As Evanti's reputation and demand grew, her marriage began to suffer. Her husband Roy Tibbs who was once enthusiastic in supporting her career was now beginning to resent her success. In September 1925 while visiting her family she found that Roy had moved out of their house and was terribly ill. After nursing him back to health, Lillian returned to France only to come back again two years later to a cold and empty house. Evanti decided to sue Roy for separate maintenance. In an article by The New York Amsterdam News on August 22, 1927 " she sought to return to him and that he refused to see her, that when she went to see him he left the house and that she and her son remained. Mrs. Tibbs stated that from 1924 to 1927 she did not receive more than $225 from her husband for her support and assistance maintenance. She says her husband after urging her to pursue her career has tried to make it appear that her ambition is the cause of their separation." Lillian's petition was granted by the Supreme Court of the District of Columbia and Roy Tibbs was ordered to pay monthly child support. After her divorce, Evanti continued to travel with her mother and son. As an opera singer and concert artist, she toured throughout Europe and South America. In early 1932 she was invited by Gatti-Casazza, general manager of the Metropolitan Opera Company, to audition at their house. Lillian left Europe at the height of her career to sing opera in her native country. Unfortunately, they refused to give her a contract. With all of her European success, it was hard to believe that the highest opera house in America would deny this diva their stage. She auditioned for them two more times, the last time in 1946 at the age of fifty-six. They never offered her a contract, due to racial segregation. Nevertheless, Evanti continued to sing from 1932 to 1935 in the United States to praise and acclaim for the "tonal beauty of her voice.", including a private recital at the White House for an audience of Eleanor Roosevelt and her friends. In 1943, she performed with the Watergate Theater barge on the Potomac River. In 1944, she appeared at The Town Hall (New York City).[5] She received acclaim as Violetta in Verdi's La traviata as produced by the National Negro Opera Company in 1945.[6] In an article by The Chicago Defender (National edition) on August 14, 1943 "Miss Evanti expressed a desire to see more of her race become interested in opera. She explained that "La Traviata" is offering her an opportunity to translate the role of Violetta in English, in order that a better understanding will be afforded those witnessing the performance." Lillian continued to give concerts and recitals all over the country and in the 1940s began to spend more time composing. In 1942 Evanti visited notorious blues composer W.C Handy and thus began a musical relationship between composer and publisher. The Handy Brothers published Lillian's "The Mighty Rapture", "The Twenty-third Psalm", "Thank You Again and Again", "Speak to Him Thou", and "High Flight". Eventually, she published her own music as owner and founder of the Columbia Music Bureau in Washington. In 1963, she walked with her friend Alma Thomas in the March on Washington. She is also a member of Zeta Phi Beta sorority. In the post World War II era her life changed drastically when her husband, mother and brother died all within five years of each other. Her grief- and the decline of professional demands-gave Lillian the chance to grow closer with her son, his wife and her two grandchildren. Although she was no longer singing on grand opera stages, Evanti became involved in the music life within the D.C community and brought her love and passion to the "Evanti horale". Lillian's prologue to her unpublished autobiography can be found at the Center for Black Music Research at Columbia College Chicago.

"Khalid Moss" - Kenneth Matthew Moss (Obituary)

My Friend Khalid Moss Obituary MOSS, Kenneth Matthew (AKA Khalid Moss) age 75 of Dayton, Ohio, died Friday evening, February 18, 2022 after a battle with cancer. This legendary jazz pianist was born Wednesday, December 18,1946 in Chicago, IL. to John Moss, Jr. and Frances (Webster) Moss. Kenneth was preceded in death by his wife, Helen (Mundell) Moss. He was a beloved father, son, brother, and friend to so many! Left to cherish his memories are his children Jamal Sharif, Esu Ma’at, and Malaika Laurant-Hutcherson, mother Frances Moss-Moore, brother John (Betty) Moss III, sisters Karol (James) Brown and Joyce (David) Barnes. He was also a treasured grandfather, son-in-law, brother-in-law, uncle and an amazing friend. Kenneth was a longtime member of St. Margaret’s Episcopal Church. World renowned for his piano playing skills, Kenneth, who’s stage name was ‘Khalid Moss’, traveled extensively throughout Europe, Africa, Canada, and much of the United States. His most cherished memories were his appearances at The White House, Carnegie Hall and The Kennedy Center. He was a proud father who valued family-time most; he appreciated sports, movies and quiet time to relax and reflect. Services are in care of Schlientz & Moore Funeral Home. As we know, Khalid touched the lives of so many people, so in order to honor these relationships, condolences, fond memories and photos may be shared at www.DaytonFunerals.com

Teddy Pendergrass was born on this date

March 26, 1950 Teddy Pendergrass was born on this date. He was an African American singer and entertainer. Theodore DeReese Pendergrass Jr. was born in Kingstree, S.C., and moved to Philadelphia as an infant with his mother, Ida Pendergrass. Growing up in North Philadelphia, Pendergrass was steeped in both gospel and soul music. He was 2 years old when he first stood on a chair to sing at a storefront Holiness church, and with his mother’s encouragement he often attended church seven days a week. But he was also drawn to the Uptown Theater, which presented top performers on the R&B circuit. When he was a teenager his mother gave him a set of drums, and he taught himself to play them. Pendergrass dropped out of high school to become a musician, working with R&B and doo-wop groups. In 1969 he joined Harold Melvin and the Blue Notes, a vocal group that had been working in Philadelphia since the mid-1950s. He soon moved from the drums to lead vocals. Huff had noticed Pendergrass while preparing for a Blue Notes recording session as the band’s drummer. Signed to Philadelphia International, Harold Melvin and the Blue Notes had a string of hits in the ’70s with Pendergrass singing lead, including “If You Don’t Know Me by Now” in 1972, “The Love I Lost” in 1973 and “Bad Luck” and “Wake Up Everybody,” both in 1975. But there was increasing friction between Pendergrass and Melvin, and in 1975 Pendergrass left the group. By the late ’70s, Pendergrass’s concerts some of them presented for women only drew screaming, ecstatic crowds. Women would fling teddy bears and lingerie onstage. Gamble called Pendergrass “the black Elvis.” Pendergrass was a hitmaker for a decade. On March 18, 1982, on a winding road in the Germantown section of Philadelphia, Pendergrass’s Rolls-Royce smashed into a highway divider and a tree, a result of either brake failure or a faulty electric system that had disabled the power steering. Spinal cord injuries left him paralyzed from the chest down at 31. After extensive physical therapy he resumed his recording career and had Top 10 rhythm and blues hits and gold albums into the ’90s. His voice was less forceful but still recognizable, as he substituted nuance for lungpower. Though he could no longer tour, a worldwide television audience saw him sing at the Live Aid concert in Philadelphia in 1985, and he returned occasionally to the stage in the 1990s and 2000s. Teddy Pendergrass, the Philadelphia soul singer whose husky, potent baritone was one definition of R&B seduction in the 1970s but whose career was transformed in 1982 when he was severely paralyzed in an auto accident, died on January 13, 2010 in Bryn Mawr, Pa. He was 59. His mother, along with his wife, Joan; his children, Teddy Pendergrass II, Trisha Pendergrass and La Donna Pendergrass; and four grandchildren survived him.✨ THE Greatest Hits [FULL ALBUM] - P.e.n.d.e.r.g.r.a.s.s Best Songs 2021

Cicely Tyson speaks at Aretha Franklin's funeral

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Cicely Tyson Last Moments Before Her Death Will Make You Cry

Opera Conference 2015 May 6-9 in Washington DC

Michael Sam looks to balance 'Dancing With the Stars' with NFL's veteran scouting combine

Michael Sam was set to lace up his dancing shoes for ABC's "Dancing with the Stars," but he'll have to set them aside for a few days in March to participate in the NFL's first-ever veteran scouting combine.
Read more at:https://www.latimes.com/sports/sportsnow/la-sp-sn-michael-sam-dancing-with-the-stars-nfl-veteran-combine-20150227-story.html

News and Events/Dance Theatre of Harlem Performing In Florida

The Dance Theatre of Harlem Will be performing at the Travis Center in West Palm Beach Florida on April 19, 2013. Please log in in to their website site or contact some one at the Travis Center.

Showtimes
Friday, April 19 at 7:30 PM
Tickets start at $25.00



Website:https://www.dancetheatreofharlem.org/calendar-1/company-tours-to-west-palm-beach-fl

The Top Ten Opera Houses

Taken from National Geographic/
Interior of Bolshoi Theater, Moscow Russia




1. La Scala, Milan, Italy
Milan’s Teatro alla Scala is perhaps the most famous opera house in the world, the one most associated with “opera.” Built in 1778 with four tiers with separate loges, it is the home of Rossini, Bellini, Donizetti, and Verdi. One of La Scala’s most ingenious features is the concave channel under the wooden floor of the orchestra; this is credited with giving the theater superb acoustics.




2. Teatro di San Carlo, Naples, Italy
Built by King Charles of Bourbon and inaugurated in 1737, the magnificent red-and-gold theater is the world’s oldest working theater, and until La Scala, it was the most prestigious in Italy. Some of Gioachino Rossini’s most popular operas premiered on its stage.


3. Teatro Colon, Buenos Aires, Argentina
Not to be outdone by wealthy U.S. industrialists, opera-loving Argentines completed the Teatro Colon in 1908. With so many architects involved, it is not surprising that the building incorporates a great many styles that are associated with European theaters.
This grand opera house’s outstanding record of great performances is matched only by the host of famous artists who have graced its stage. Teatro Colon has its own elaborate costume and scenic construction departments.


4. The Royal Opera House, London, England
An opera house has stood in the present location of the Royal Opera House at Covent Garden since the early 18th century; the current building is the third.
George Handel’s operas were the first ever to be performed here, and he wrote many of his operas and oratorios for this place in particular. From 1735 until his death in 1759 he gave regular seasonal performances here.



5. The Bolshoi, Moscow, Russia
One of Russia’s premier theaters, coupled with one of the best symphony orchestras in the world, the Bolshoi in Moscow has survived fire, war, and revolution. Its stunning neoclassic portico, topped by a statue of Apollo in his chariot, is a precursor to the magnificent splendor visitors will find when they venture inside. The Bolshoi closed in 2005 for extensive interior renovations and reopened in the fall of 2011.
Four balconies and a top gallery surround the orchestra, where the seats are Chippendale chairs upholstered in red damask. The great stage is known for its celebrated ballet company. Here, Yuri Grigorovich choreographed memorable productions of Swan Lake, The Golden Age, and Romanda.




6. Sydney Opera House, Sydney, Australia
Situated on a spit of land that juts out into Sydney’s harbor, the spectacularly contemporary Sydney Opera House has wonderful views of the sailboat-dotted water. Even if attending a performance doesn’t suit your plans, you might want to visit the opera house just to see the building; tours are offered frequently. The structure was designed by Jørn Utzon to suggest a series of overlapping shells and sails. The grand opening took place in 1973; the first public performance was Prokofiev’s War and Peace.
Inside, each theater is paneled in different types of wood to enhance the venue’s acoustic qualities as well as offer pleasing aesthetics. All major performance areas have their own foyers.


7. Paris Opéra, Paris, France
The main facade of the Opéra is an imposing sight, even in Paris, a city filled with architectural marvels. The highly ornamented building with its crowning dome was built in 1875. The grand theater within is suitable for both ballet and opera. Some of the greatest ceremonial spaces in the world are here at the Paris Opéra, lending their sublimity to lofty occasions.
The rich and striking interiors capture the tastes and attitudes of France’s Second Empire. In 1962, Marc Chagall created new frescoes on the center of the Palais Garnier’s ceiling. The result, nothing short of spectacular, is all the more remarkable for not conflicting with the formal character of the interior decor.



8. Opéra Royal, Versailles Court Theater, France
The interior of the Opéra Royal in the famously opulent palace of Versailles is a clever creation. The wooden walls were actually painted to resemble marble, which they do quite perfectly. Gold is harmoniously blended with the pinks and greens of the marbling and the sky-blue curtain and upholstery. Breaking with traditional Italian-style theaters, two balconies ring the house, topped by an ample colonnade that seems to extend into infinity thanks to a play of mirrors.
Ange-Jacques Gabriel built the theater in 1769 in preparation for the marriage of the dauphin, the future King Louis XVI, to the Austrian princess Marie-Antoinette. After the French Revolution, the theater was used just occasionally for various events. Today, special gala performances are often held there.


9. Vienna Staatsoper, Vienna, Austria
Built in 1869, the Staatsoper was inaugurated with a performance of Mozart’s Don Giovanni. Its reputation as the center of Viennese musical life has long been established, and the Staatsoper remains one of the world’s top opera houses. Although much of it was destroyed on March 12, 1945, when the Allies bombed the city toward the end of World War II, the grand staircase and some of the other public areas miraculously survived. For an idea of how things looked before the air raid, walk through the main doors into the box office foyer. The theater you see now reopened after the Russian occupation of Austria ended, and the first piece performed there was Ludwig van Beethoven’s Fidelio, a hymn to freedom.



10. Lincoln Center, New York, New York
Home to the Metropolitan Opera, New York Philharmonic, and New York City Ballet, Lincoln Center for the Performing Arts also houses a library and two theaters. The center advances not only classic performance but also innovation. Operas at the Met are regularly filmed and presented live in theaters around the world. The Lincoln Center Institute for the Arts in Education is a global repertory promoting inspiration and creativity for students and professionals.