Black Opera
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University of Witwatersrand, 25, 44
University of Zululand, 44
U.S. rural South, 138–39, 141, 166, 228n28
U.S. Southern immigration, 85. See also Great Migration
U.S. Supreme Court: Brown v. Board of Education of Topeka, 139; Loving v. Virginia, 137; Plessy v. Ferguson, 139
Van Dijk, Péter Louis, 179–80, 233–34n23
vantage points, shifting, 166
vaudeville, 132, 133
Verdi, Giuseppe, 37–38; Aida, 10, 15, 16–19, 209n5, 231n62; Otello, 2, 3–4, 10, 13–14, 209n5; Risorgimento and, 174–75; Un Ballo in Maschera, 15–16, 35, 112, 212n30; “Va pensiero” from Nabucco, 38; work with censors, 212n30
vernacular popular styles, classical music and, 99
Viardot, Pauline, 213n4
Victoria Theatre, 132–33
video recordings, 7
Virginia Jubilee Singers, 37
Volume 10, 147
Vundla, Mfundi, 167, 179, 182, 234n28
Wagner, Richard, 112, 175
Wakonda’s Dream, 11
Walker, Alice, 145, 169
Washington, Kerry, 230n49
Wayles, John, 59, 63t, 64
Wayles, Martha, 59, 63t
Webster, Cyrus, 78–79, 222n61
Webster, Emma Hatcher, 79
Weill, Kurt, 48
We Shall Not Be Moved, 12, 229n42
West, Cornel, 145
White, George L., 31, 32
White, Walter, 133, 150
whiteness, 85, 87, 88, 100, 101, 105; articulations in Porgy and Bess, 100; audience interpretation of, 15; of audiences, 52; construction of, 61; music associated with, 34; puritanical culture of, 94
whiteness studies, 100–101
White Pine Music label, 72
white singers, black stereotypes and, 2
white supremacy, 4, 65, 80, 107. See also racism; segregation
Wiggins, Thomas “Blind Tom,” 30
Wilensky, Warren, 24, 167, 179, 182, 191
Wilkerson, Isabel, 101–2
Williams, Michael, 179–80
Wilmington & Manchester Railroad, 103–4
Wilson, Rubin, 146, 229n38
Wimberly, Bridgette A., 12
Winnie: The Opera, 8, 24–25, 44, 167–73, 179, 216n45, 231–32n2, 234n28; black singers in, 182; in canonic opera repertory, 182–83; in comparative framework of Western opera tradition, 168–69; in context of post-apartheid South Africa, 171–72; funding of, 182; genre and, 168, 182–83; interracial collaboration in, 182; Maswanganyi in, 44, 46; onstage, 180–83; premiere in 2011, 180–81, 187–93; relevance of, 182–83; South African music and, 167–68; souvenir program booklet, 188–89; structure of, 187t, 188t; TRC and, 183–87, 189–90, 192; Xhosa traditional dress in, 189
Wits Institute for Social and Economic Research (WISER), 25
Wodehouse, Artis, 83
Wolfe, George C., 221n33
womanhood, 24, 87, 166; in Bizet’s Carmen, 123; black womanhood, 24, 34, 85, 87, 107, 108–19, 151–53, 195; “black woman’s standpoint” theory, 195; in Carmen: A Hip Hopera, 151–53; invisibility of black omen, 34; in Porgy and Bess, 107, 108–19; representation, 85; stereotypes and, 118–19
Woolfe, Zachary, 3
Work, John W. II, 92–93, 93
“work songs,” 30
Wright, Danielle, 201, 202, 203, 237n27
Wright, Josephine, 28, 33
written culture, 26
Wu Tang, 41
Wyclef Jean, 148
X, The Life and Times of Malcolm X, 11, 177–78
Xhosa language and culture, 53, 159, 167, 182, 234n24; Xhosa setting, 50, 51; Xhosa songs, 47, 158, 160, 183, 192; Xhosa traditional dress, 189, 235n40
Yared College of Music, 41
Yende, Pretty, 46–48
Yiddish musicals/theater, 101
Yiimimangaliso: The Mysteries, 50, 51
Young Vic, 51, 52
Zeffirelli, Franco, 210n12
Zimmerman, George, 209n1, 233n21
Zuma, Jacob, 4
NAOMI ANDRÉ is an associate professor in the departments of African and Afroamerican Studies and Women’s Studies. She also is associate director in the Residential College at the University of Michigan. She is the author of Voicing Gender: Castrati, Travesti, and the Second Woman in Early-Nineteenth-Century Italian Opera and coeditor of Blackness in Opera.
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