by Opera America, only about 20 per cent of employees and board members at opera companies in the United States and Canada identify as BIPOC. And of course, audiences reflect this dynamic. So, the implicit message is often: this is not a space for young, racialized people.“We’ve always been here – always. In the 60s and 70s, opera in America was actually much more popular. And there was a time where so many Black opera divas, women and men, were singing all around the country.
And now, she’s aware of the space she occupies, too. She has always spoken up about the lack of diversity in the field, even organizing a panel discussion about racism and inequality in opera for the Los Angeles Opera in May, 2020, not long after George Floyd’s murder. She knows what it means for her to be visible in this industry.
“I think people feel most welcome when they see themselves on stage – representation really does matter,” she says. “So it’s a win-win situation for everybody. It’s a win for me to feel like I can breathe a little deeper on stage knowing that I am supported by people that have actually helped me to get to this point. But it’s also that opera and classical music is for everybody.”, which she has performed six times.
The Canadian Opera Company’s production of Carmen opens Oct. 14 and runs until Nov. 4 at the Four Seasons Centre for the Performing Arts.
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