Often called the “Mother of the Blues,” Ma Rainey was known for her deep-throated voice and mesmerizing stage presence that drew packed audiences and sold hit records in the early twentieth century. Also a songwriter, her lyrics and melodies reflected her experiences as an independent, openly bisexual African-American woman.
Jazz pianist and singer Hazel Scott was not only the first African-American woman to host her own television show, but she also bravely stood up to the House Un-American Activities Committee and the Hollywood studio machine. The gifted and popular performer dazzled audiences in the U.S. and abroad with her jazzy renditions of classical works.
Marie Kraja was an Albanian opera singer, who is particularly known for her performances of Albanian folk songs.
Agni Baltsa is a prominent mezzo-soprano opera singer.
Alberta Hunter was an American jazz and blues singer and songwriter from the 1910s to the late 1950s, who returned to singing in her 80s after 20 years working as a nurse.
Lucia Lucas is a baritone opera singer who made history in March 2018, when it was announced that she would be the first female (transgender) baritone to perform a principal role in an American opera production. The premiere performance on May 3 2019 saw Lucas singing the title role in Mozart’s Don Giovanni with the Tulsa Opera in Oklahoma; it is the subject of the 2020 feature documentary The Sound of Identity.
Lucas is also the first transgender baritone to appear with the English National Opera in London on 5 October 2019, singing Public Opinion in Orpheus in the Underworld. She has performed all over the world, including in Dublin, London, Brussels, Berlin, Torino, Essen, Daegu and Korea. She has performed roles including Hagen in the world premiere of Surrogate/Götterdämmerung, Monterone in Rigoletto, Tchelio in Love of Three Oranges, Komtur in Don Giovanni, and the Ffour Villains in Les contes d‘Hoffmann all with Oper Wuppertal; Sharpless in Madama Butterfly with Lyric Opera of Dublin, and Escamillo in Carmen with Staatstheater Karlsruhe. As a five-year festival artist with Badisches Staatstheater Karlsruhe, Lucas also performed roles including Thoas in Iphigénie en Aulide, Ford in Falstaff, Marcello in La bohème, Varlaam in Boris Godunov, Kothner in Die Meistersinger von Nürnberg, Dr. Teller in Doctor Atomic, Sprecher in Die Zauberflöte, and Figaro in Le nozze di Figaro.
Abbie Mitchell was an African-American soprano opera singer who performed the role of Clara in the original production of George Gershwin’s Porgy and Bess in 1935, and was also the first to record “Summertime” from that musical. At age 14, she was cast by African-American composer Will Marion Cook and lyricist Paul Laurence Dunbar for a role in their one-act musical comedy Clorindy: The Origin of the Cakewalk (1898), which ran for the whole season at the Casino Roof Garden. The 14-year-old married the 29-year-old Cook in 1898 and bore him two children before her 20th birthday. Mitchell appeared in the lead role in Cook’s Jes Lak White Folks (1899) and performed in his production The Southerners (1904).
In London Mitchell appeared in the 1903 musical In Dahomey (with music by Cook). Mitchell received international acclaim for her performance, and was invited to appear with the company in a Royal Command Performance for King Edward VII and Queen Alexandra at Buckingham Palace.
She later performed with the “Black Patti’s Troubadours”, and in the 1908 operetta The Red Moon. In 1913, she appeared in the film Lime Kiln Field Day, but it was never completed or released. In 1919, Mitchell went to Europe with Cook’s Southern Syncopated Orchestra, as well as appearing in concert and in operas in New York.
Mitchell appeared in several Broadway plays including “In Abraham’s Bosom” (1926), “Coquette” (1927) with Helen Hayes, and “The Little Foxes” (1939) with Tallulah Bankhead. Mitchell was best known for her last musical role on the stage, performing in the role of “Clara” in the premiere of Porgy and Bess (1935). After this, she taught and coached many singers in New York and appeared in non-musical dramatic roles on the stage, and taught at the Tuskegee Institute in Alabama.
Lee De Forest made a short film of Mitchell singing, Songs of Yesteryear (1922), using his DeForest Phonofilm sound-on-film process; the film is preserved in the Library of Congress’s Maurice Zouary film collection.
Contralto singer Madame Ada Crossley had her professional debut in Sydney in January 1892. Sheleft Australia in March 1894 to study in Europe, after giving farewell concerts in Melbourne, Sydney and Adelaide. In Europe, she studied with Sir Charles Santley in London and later in Paris with Madame Marchesi, and made her London debut at the Queen’s Hall in May 1895. In 1902 and 1903, Crossley toured the United States, recording for the Victor Gramophone Companies Red Seal Celebrity series. She thentoured Australia and New Zealand, returning to England via South Africa (1903-1904) and subsequently returned to Australia for a series of concerts in 1908-1909. During the First World War she sang at benefit concerts, then limited her professional engagements after the war.
Singing in English, German, French, Italian, Norwegian, Danish and Russian, Crossley claimed a repertoire of 500 sacred songs and ballads, ranging from Gluck and Handel to Richard Strauss.
Gwyneth Evelyn “Gwen” Verdon was an American actor and dancer, who won four Tony Awards for her musical comedy performances, and served as an uncredited choreographer’s assistant and specialty dance coach for theater and film. Known for her bright red hair and a quaver in her voice, Verdon was a celebrated performer on Broadway from the 1950s through the 1970s. Having originated many roles in musicals she is also remembered as the dancer, collaborator and muse for whom her husband director–choreographer Bob Foss choreographed much of his work, and who guarded his legacy after his death.
Haydée Mercedes Sosa was an Argentine singer popular throughout Latin America and beyond. With roots in Argentine folk music, Sosa became one of the leading proponents of nueva canción, a genre that combines folk styles with social issue messages. Her repertoire including songs written by many Latin American songwriters, and she was called the “voice of the voiceless ones”.
Sosa performed in venues such as the Lincoln Center in New York City, the Théâtre Mogador in Paris and the Sistine Chapel in Vatican City, as well as selling out shows in New York’s Carnegie Hall and the Roman Colosseum during the last decade of her life. Her career spanned more than 40 years and she won six Latin Grammy awards (2000, 2003, 2004, 2006, 2009, 2011), including a Latin Grammy Lifetime Achievement Award in 2004 and two posthumous Latin Grammy Award for Best Folk Album in 2009 and 2011. She won Argentina’s leading music award, the Premio Gardel in 2000. She also served as an ambassador for UNICEF.