Grace Bumbry Research Paper

1037 Words3 Pages

On January 4th, 1937, the legendary Grace Bumbry was born in St. Louis, Missouri to a freight-handler and a Mississippi school-teacher. While a very religious but only middle-class couple, Benjamin and Melzia Bumbry made sure to tell their three children to seek their riches through music. Singing was always a part of everything that the Bumbry family did whether it was washing clothes, helping with dinner or gathering around the piano and singing just for fun. Thursday nights was especially important because the Bumbry family would attend church for choir rehearsal. Grace's brothers, Benjamin and Charles, were part of the youth chorus at their church and since Grace was too young to be home alone, she tagged along as well. Her brothers eventually …show more content…

With professional help on her side to help better her raw, rare, talent Grace went on to become the joint winner of Metropolitan Opera National Council Martina Auditions with Soprano Marina Arroyo. After this Grace's career began climbing higher and higher. She barely even realized that she was on the rise to stardom. She gained international renown when she was cast by Wieland Wagner (Richard Wagner's grandson) as Venus at Bayreuth in 1961, at age 24, the first black singer to appear there, which earned her the title "Black …show more content…

Here's a few of her parts and what she played in is as follows: Amneri (in Verdi's Aria), Venus (in Tannhauser), Princess Eboli (in Verdi's Don Carlos), Jenufa (in Janaceks Opera, Ariane (in Duka's Bluebeard) and she even made an appearance in Puccinis Tosaca, singing Richard Strauss's Salome at Covent Garden. Her smooth, melodic, mezzo soprano voice filled seats in many opera houses around the world. In 1967 she sang Carmen in her debut with the Philadelphia Lyric Opera Company and returned to the San Francisco Opera in 1967 for her first performance of Laura Adorno (in La Gioconda) with Leyla Gencer as Gioconda, Renato Cioni as Enzo Grimaldi, Maureen Forrester as La Cieca and Chester Ludgin as Barnaba. Other soprano roles in her career have included: Chimène (in Le Cid), Elisabeth (in Tannhäuser), Elvira (in Ernani), Leonora (both Il trovatore and La forza del destino), Aida, Turandot and Bess. Other major mezzo-soprano roles in her repertory included: Dalila, Cassandre and Didon (in Les Troyens), Massenet's Hérodiade, Ulrica, Azucena, Gluck's Orfeo (her only trouser role), Poppea and Baba the

Open Document