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The Voice That Challenged a Nation: Marian Anderson and the Struggle for Equal Rights

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Just wished I could have heard her, too!
If the planet Earth could sing
Richie's Picks: THE VOICE THAT CHALLENGED A NATION

The Voice That Challenged a Nation: Marian Anderson and the Struggle for Equal Rights
Russell Freedman
Manufacturer: Recorded Books
ProductGroup: Book
Binding: Audio Cassette

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ASIN: 1419339680

Book Description

"A voice like yours," celebrated conductor Arturo Toscanini told contralto Marian Anderson, "is heard once in a hundred years." This insightful account of the great African American vocalist considers her life and musical career in the context of the history of civil rights in this country. Drawing on Anderson's own writings and other contemporary accounts, Russell Freedman shows readers a singer pursuing her art despite the social constraints that limited the careers of black performers in the 1920s and 1930s. Though not a crusader or a spokesperson by nature, Marian Anderson came to stand for all black artists-and for all Americans of color-when, with the help of such prominent figures as Eleanor Roosevelt, she gave her landmark 1939 performance on the steps of the Lincoln Memorial, which signaled the end of segregation in the arts. Carefully researched, expertly told, and profusely illustrated with contemporary photographs, here is a moving account of the life of a talented and determined artist who left her mark on musical and social history. Through her story, one of today's leading authors of nonfiction for young readers illuminates the social and political climate of the day and an important chapter in American history. Notes, bibliography, discography, index.

Customer Reviews:

Just wished I could have heard her, too!.......2006-04-24

I was not too familiar with the life of Marian Anderson, so it was
with some degree of anticipation that I listened to THE VOICE THAT
CHALLENGED A NATION by Russell Freedman . . . it did not
disappoint.

Anderson began her career, singing in church choirs . . . because
she had to quite school after her father died when she was in
eighth grade, she did not get to complete high school until
she was 24 . . . yet she continued to sing, helped along by
members of her church who constantly came together to raise
money for her lessons.

She eventually sang to sold-out concert halls throughout Europe . . . yet
the book's most moving part described her return to this country in
1939 . . . when she was denied permission to perform in Constitution
Hall in because she wasn't white, she staged--with help from
Eleanor Roosevelt--a breathtaking outdoor concert at the Lincoln Memorial.

I would have liked this CD to have contained some of the performances
of her actual songs . . . yet for that, I guess I'm just going to have to
spring for another CD of her music . . . it will be my pleasure to do so.

If the planet Earth could sing.......2005-02-22

Writing a biography of a private person who led a public life is, by definition, difficult. So it only stands to reason that writing a children's biography of a private person who led a public life would be ten times as hard. Children's biographies cannot speculate over the sex life of the subject. They can't delve into shoddy rumors or dredge up conspiracy theories related to the person's sordid background. None of this is to say that Marian Anderson had such sketchy rumors floating about her person, of course. By all accounts she led an exciting life, had a fabulous career, and is regarded as a great American hero. But she was also a private person, which places Russell Freedman in a difficult position. As the author of, "The Voice That Challenged a Nation", Freedman's job is to tell Anderson's story while relying on as many good, strong, clean facts as he can get his hands on. Fortunately, we're talking about the premiere biographical children's author here. Alongside fellow genius James Giblin, Freedman knows exactly how to present a life this interesting and detailed. The book will not charm every child assigned it in school. But if you've a kid who's open-minded and able to get into Marian's struggle, this is an excellent resource. Even if, prior to this book, they couldn't tell Marian Anderson from Ella Fitzgerald.

The book opens with what is inarguably Anderson's greatest moment in the public eye. She stands on the steps of the Lincoln Memorial with a crowd of 75,000 people below her, waiting to hear her sing. The date is April 9, 1939, and Anderson has been refused the chance to perform at Constitution Hall. Anderson is black and the DAR (Daughters of the American Revolution) is inherently racist. With this concert, under the shadow of Lincoln himself, Anderson gives a heckuva performance that stands as a dignified response to racism in America. It goes very well and from here we shoot back and see Ms. Anderson's life in full. From her early days as a choir member in Philadelphia to her triumphant European tour in the early 30s. Certain aspects of Marian's life repeat themselves. She was wholly dedicated to her mother and took her everywhere. She was uncertain of her own talents at times but continued to sing and conquer. Freedman expertly weaves fascinating aspects of Marian's life (example: her high school boyfriend waited some twenty years to marry her) with factual information about the times in which she lived. Kids who read this book learn just as much about Jim Crow laws and deeply imbedded segregation as they do about Ms. Anderson's life. By the end of the book you find yourself emerging with a fascinating look at a truly great woman.

Freedman follows up this book with an extensive bibliography (which gives props to fellow fabulous child biography, "When Marian Sang" by Pam Munoz Ryan). There's also a discography, a series of picture credits, and a wonderful index. It seems petty to demand that an author (or publisher) bend even farther backwards after producing such a gorgeous book, but I was a teensy bit sad that "The Voice That Challenged a Nation" didn't have a small cd accompanying it. When you read a quote, like the one from opera and concert singer Jessye Norman saying that, "If the planet Earth could sing, I think it would sound like Marian Anderson", you want to hear that voice. Not just read about it. But as I said, them's small potatoes. As it is, this may be one of those few children's books that inspire kids to search for Marian Anderson recordings on itunes (which has a lovely selection, by the way).

With some authors, you know to trust them. You pick up their latest work without a smidgen of doubt in your mind that what you're about to peruse is going to impress you. After Freedman won my respect with his glorious, "Eleanor Roosevelt: A Life of Discovery" (Eleanor shows up quite a lot in this book as well, I'm pleased to report), I expected nothing but the best from his Marian Anderson bio. And the best it is. A fine selection for any library, whether personal or public, anywhere.

Richie's Picks: THE VOICE THAT CHALLENGED A NATION.......2004-10-28

"This will be the day when all of God's children will be able to sing with a new meaning, 'My country, 'tis of thee, sweet land of liberty, of thee I sing. Land where my fathers died, land of the pilgrim's pride, from every mountainside, let freedom ring.'
"And if America is to be a great nation this must become true. So let freedom ring from the prodigious hilltops of New Hampshire. Let freedom ring from the mighty mountains of New York. Let freedom ring from the heightening Alleghenies of Pennsylvania!

"Let freedom ring from the snowcapped Rockies of Colorado!

"Let freedom ring from the curvaceous slopes of California!

"But not only that; let freedom ring from Stone Mountain of Georgia!

"Let freedom ring from Lookout Mountain of Tennessee!

"Let freedom ring from every hill and molehill of Mississippi. From every mountainside, let freedom ring..."

--Martin Luther King, Jr., August 28, 1963

Dr. King must surely have had a thought or two of Marian Anderson as he stood on the steps of the Lincoln Memorial on that historic afternoon and delivered those words.

Many of us know Marian's basic story:

Marian Anderson was a helluva singer.

Despite being celebrated in Europe as the voice of a century, and despite having the strong support of the President's wife, Eleanor Roosevelt, Marian Anderson was denied the opportunity to perform in Constitution Hall in Washington, DC because it was owned by the Daughters of the American Revolution, and those ladies didn't allow no black folks to be singing in their hall. That refusal led to Marian performing instead from the steps of the Lincoln Memorial for a crowd of 75,000 people on the Mall and a nationwide radio audience.

She stood up tall where Martin would stand a quarter-century later and led off her performance with a rendition of My County 'Tis of Thee.

Her performance is seen as a historic event at the dawn of the modern Civil Rights movement.

Two years ago, Pam Munoz Ryan and Brian Selznick created the stunningly beautiful 40 page picture book, WHEN MARIAN SANG (Scholastic Press, 2002), which won all sorts of awards including a Sibert Honor.

Now Russell Freedman has written a beautiful and more detailed biography of Marian Anderson which will similarly captivate readers with its engaging text and its clear, oversized photographs of the singer herself and of supporting characters in the story of Marian Anderson.

The most precious of those supporters were also some of the earliest. Through the chapters focusing on her earliest years, I was moved by Freedman's portrayal of how Marian's childhood community came through time and time again to insure that her dreams would not be in vain:

"Again there was no money for lessons. Most of Marian's earnings from concert appearances went to her mother, who was still taking in laundry and scrubbing floors, and to her sisters, who were still in school. And again the congregation at Union Baptist Church came to Marian's aid, organizing a benefit concert that raised $566 so that she could study with Boghetti."

Equally moving is the subplot of her life that involves Orpheus Fisher:

"I don't wanna wait in vain for your love" --Bob Marley

Having had to quit school after eighth grade in the wake of her father's death, Marian did not complete high school until she was twenty-four. It was during her delayed high school years--back when America was engaged in the First World War--that Marian met Orpheus Fisher who, "like her, was still in high school. He fell for the shy singer with the soft laughter and huge sparkling eyes who was almost as tall as he..."

Decades later, America was midway through the Second World War when Marian finally relented and married Orpheus, who has tirelessly and faithfully pursued her all those years, while she was single-mindedly focused on her career.

And what a career it was:

"During one ten-month period she gave 123 concerts in fifteen different countries, performing a repertoire that included over two hundred songs and arias in German, Italian, English, French, Spanish, Portuguese, Swedish, Finnish, and other languages."

It must have been amazingly disheartening for Marian Anderson to return home from entertaining European royalty and once again come face to face with Jim Crow. Like black sports stars of that era, Marian faced dangerous and humiliating conditions when traveling and performing around some regions of our "sweet land of liberty." And yet, in photos, she appears both to have left that all behind and to be channeling some kind of higher power as she sings.

" 'It was music-making that probed too deep for words.' "

Marian Anderson remains a symbol of the historic fight to let freedom ring for all Americans. In VOICE THAT CHALLENGED A NATION, Russell Freedman goes far beyond the symbolic to provide us a memorable look at the life of a singer whose talents knew no bounds.

Writing and Healing: Toward an Informed Practice (Refiguring English Studies)

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Writing and Healing: Toward an Informed Practice (Refiguring English Studies)

Manufacturer: National Council of Teachers of English
ProductGroup: Book
Binding: Paperback

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Marian Anderson: A SINGER'S JOURNEY (Music in American Life)

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Humanizing a legend
Engaging Bio Of A Pioneering Diva
Talent and Grace

Marian Anderson: A SINGER'S JOURNEY (Music in American Life)
Allan Keiler
Manufacturer: University of Illinois Press
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Amazon.com

Marian Anderson is often perceived more as a civil rights legend than a singer. In this first complete biography, Allan Keiler, a music professor at Brandeis University, gives his primary allegiance to Anderson the artist. In the first decades of the 20th century, a time when black classical musicians were rare, she rose from a poor neighborhood in Philadelphia to a level of supreme accomplishment. Although she came to be identified with spirituals, she resisted being pegged as a black singer and emphasized her mastery of the European art song.

Virtually all of Anderson's career took place on the concert stage; opera was even harder to break into. She was in her late 50s when she became the first black singer to appear at the Metropolitan Opera. In any period, though, opera would not have suited her personality. She preferred the intimate engagement she could achieve with a song and a single accompanist.

Anderson's most indelible moment came in 1939, when the Daughters of the American Revolution refused her the use of its segregated Constitution Hall in Washington. In response, her supporters organized a huge concert at the Lincoln Memorial, an emotional event that propelled her to iconic status. But Anderson was neither outspoken nor comfortable in the political limelight. After World War II, she was criticized for not refusing to perform in the segregated South. In the last decades of her long life (she died at 96, in 1993), she was revered as a symbol of humanitarianism and restrained dignity--a quality that made her seem remote to younger, more impatient generations.

Keiler is a methodical rather than inspired writer. His prose can be flat-footed, and his chronology is often murky. But he successfully evokes what made Anderson's singing unique: the "opulent" tone and the interpretive ability that cut to the heart of a varied repertoire embracing spirituals, folk songs, and pieces by Schubert, Brahms, Handel, Sibelius, Purcell, and de Falla. And his sympathetic portrait transforms her from a civics lesson into a woman of her time, one who believed the most valuable contribution she could make to a better world was to offer it her gift. --David Olivenbaum

Book Description

Marian Anderson was a woman with two disparate voices. The firstÐ-a powerful, majestic contralto spanning four octaves--catapulted her from Philadelphia poverty to international fame. A second, softer voice emanated from her mere presence: an unwavering refrain of opportunity and accomplishment in the face of racial prejudice.

Anderson was born in 1897 to parents who made the long journey north from Virginia to escape the clutches of Jim Crow. Her musical genius was apparent from an early age, but even tremendous community and familial support could not shield her from the blows of economic hardship and bigotry she encountered in her early performing days.

Anderson first garnered major acclaim while studying in London and Berlin. Her breakthrough in America commenced when impresario Sol Hurok took her under his wing, and her broad repertoire included Bach and Handel, spirituals, German lieder, French melodies, and the art songs of Scandinavian, Russian, and Spanish composers. In 1955, she became the first African-American to perform at the Metropolitan Opera.

Since she was more comfortable as artist than activist, Anderson's intense privacy and devotion to her work distanced her from direct roles in the civil rights movement, but she remained a symbol of possibility throughout her career. Famously, Eleanor Roosevelt resigned from the Daughters of the American Revolution when the organization refused to let Anderson perform at Constitution Hall. Images of Anderson singing at the 1939 Easter concert, subsequently moved to the Lincoln Memorial, established her immediately as an icon in the struggle against discrimination.

From meetings with Anderson before her death in 1993, as well as interviews, reviews, and early coverage in the black press, and personal diaries and letters, Allan Keiler has assembled a massive and magnificent study of Anderson's life. Now in paperback for the first time, this edition features separate appendices for Anderson's repertory and discography, and thirty-two photographs of the singer's incredible life and career.

Customer Reviews:

Humanizing a legend.......2001-11-27

Allan Keiler's biography of the great African-American contralto Marian Anderson is meticulously researched and detailed. Having exhaustively consulted contemporary sources neglected by other researchers, such as black newspapers, and personally interviewed many people, including the singer herself, Keiler sheds new light on the familiar story of Anderson's life and career.

Of particular interest is his detailed chronology of the famous events of 1939 that began with the refusal of the Daughters of the American Revolution to allow Anderson to give a concert in Constitution Hall in Washington, D.C., and ended with her outdoor concert on the steps of the Lincoln Memorial, a performance that propelled the singer to iconic status in the civil rights movement. His recounting of this and subsequent events, including her eventual success in obtaining a performance in Constitution Hall years later, reveals Anderson to have been surprisingly hesitant and passive in combatting segregation, and by no means unequivocally in favor of some of the bolder, more confrontational moves of her supporters.

Likewise, Keiler probes her personal relationships, something Anderson was reticent about in her own autobiography, and reveals a human being with faults and frailties, one who could be dictatorial and impatient toward members of her family, and aloof and uncommunicative when terminating relationships with lovers and artistic collaborators (notably Billy King, her first regular accompanist, who never recovered from the pain of being replaced by Kosti Vehanen). In no way do these revelations detract from Anderson's accomplishments as a musician; rather, they form a touching picture of the real sacrifices she had to make in the service of her talent.

The one major area in which this book falls short is a detailed examination of Anderson's vocal art. Despite her unique status in American history, the singer comes from and joins several well-defined artistic traditions--the low-voiced female classical singer, a vocal species now almost extinct; the singer who makes a career through concert and oratorio work rather than opera; and the African-American classical singer. With her well-documented performance history and large recorded legacy, the time is ripe for a definitive study of Anderson the vocal artist, writing of the kind John Ardoin and Michael Scott have published about Maria Callas and her work. Despite its many virtues this volume does not pretend to, nor does it accomplish this task.

Engaging Bio Of A Pioneering Diva.......2000-11-20

In 1939 world-class contralto Marian Anderson was barred -- because of her race -- from performing an Easter concert in Washington's Constitution Hall when the Daughters of the American Revolution refused to rent her the space.

Instead, supported by the NAACP and Eleanor Roosevelt, Anderson sang at the Lincoln Memorial. In so doing she brought attention to both her magnificent voice and the reality of segregation in the capital.

This absorbing authorized biography puts Anderson's career before her skin color, but Brandeis University music professor Keiler, who interviewed the singer shortly before her death in 1993 at age 96, carefully documents both her musical evolution and civic triumphs.

Though clearly awed by the stately vocalist who dressed in white satin, Keiler celebrates the humanitarian who served as a U.N. delegate, funded scholarships for black youth (both Jessye Norman and Leontyne Price auditioned for one but lost), mastered works by Brahms, Schubert and Sibelius and became the first African-American to sing at the Metropolitan Opera.

An important read of a voice which sang so true.

Talent and Grace.......2000-03-13

Though Mr. Keiler does a tremendous job of putting Ms. Anderson's life on paper, at the end I still felt I did not know her. I don't know if it was because he had the cooperation of her family and was overly cautious, or if she is just a personality to complicated to really get to know. Anyway, a great read, but just left me wanting to know more.

When Marian Sang: True Recital of Marian Anderson, The

Average customer rating:

Good things come to they who wait, and wait, and wait...
Singing for the Soul
The Best Book
One of my favorites for my own classroom!
Singing for the Soul

When Marian Sang: True Recital of Marian Anderson, The
Pam Munoz Ryan
Manufacturer: Scholastic Press
ProductGroup: Book
Binding: Hardcover

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Amazon.com

As this skilled duo did with Amelia and Eleanor Go for a Ride, Pam Muñoz Ryan and Brian Selznick bring to life the story of yet another remarkable American woman, gifted black contralto Marian Anderson.

Undoubtedly one of America's greatest singers, Anderson was hardly known in her own country because of her race--music schools ignored her applications ("We don't take colored!") and even after she began singing professionally, many venues only featured white performers. Ryan's well-paced story becomes especially poignant as she recounts Anderson's overwhelming success in Europe ("one newspaper in Sweden called it 'Marian Fever' ... In Austria, the world-famous conductor Arturo Toscanini announced that what he had heard, one was privileged to hear only once in a hundred years"). The book reaches its climax with a wordless, deep brown two-page spread from Selznick, a crowd's-eye view of Anderson singing at the Lincoln Memorial in 1939, an historic concert that drew an integrated audience of over 75,000.

Ryan's simple, metered text (punctuated frequently by lyrics) captures the quiet drama of Anderson's story, and kids will especially identify with the confusion and frustration of young Marian. And as with the pair's previous collaboration, Selznick's rich illustrations ably convey the undeniable strength and courage of a talented, determined woman. (Ages 4 to 8) --Paul Hughes

Book Description

Marian Anderson is best known for her historic concert at the Lincoln Memorial in 1939, which drew an integrated crowd of 75,000 people in pre-Civil Rights America. While this momentous event showcased the uniqueness of her voice, the strength of her character, & the struggles of the times in which she lived, it is only part of her story. Like the operatic arias Marian would come to sing, Ryan's text is as moving as a libretto, & Selznick's pictures as exquisitely detailed & elaborately designed as a stage set. What emerges most profoundly from their shared vision is a role model of courage.

Customer Reviews:

Good things come to they who wait, and wait, and wait..........2007-03-25

This is an ugly book.
Ugly, in the respect of
disrespect for
true talent
unrewarded
in an age of ugliness in America.

The rich skin-toned shades of brown, borderline mono-chromatic
"makes" the book!

The use of italicized musical scores to accentuate certain historical occurances throughout the book merits NOTE.

What a woman.
What a voice.

I have mixed feelings about the uncle super-imposed; but on the otherhand, his making it inabstetia to the concert may have been in some other dimension --
atleast a notation was made of this "tall tale."

Bravo!

Encore!

Singing for the Soul.......2003-11-24

A little black girl named Marian Anderson loved to sing . She would sing to her baby doll everyday. Every Sunday she would go to church and sing with her sister. She and her family were very proud. She grew into her teens and still loved to sing. People say when Marian sang she would sing with her eyes closed ,as finding the music within. As marian sang her heart filled with tragedy and sometimes her songs.
Marian was a full grown adult and Marians parents past away She was sad but still sang.

She went to a music school and she patiently in line for an application. The girl behind the counter helped everyone else but Marian. The lady didn't let her have an application because she was colored. She grew older and married a fine man who respected her singing. She went to a master singer and he loved her singing so she sang and sang till the end of her days.

The Best Book.......2003-11-17

This book is undoubtedly one of the best books that I have ever read for my class. It teaches people, both young and old, a little piece of our American history including the Great Depression and segregation. With it, the tandum of Ryan and Selznick provide a general overview of history realia. Overall, this piece is a great resources to read for all people.

One of my favorites for my own classroom!.......2003-07-12

When this book first came out, I was ecstatic that someone took the time to make the life of Marian Anderson accessible to children. Too often classical singers of the Civil Rights era are overlooked and forgotten. The combination of the gorgeous illustrations and lovely text make this book exceptional. Although not the easiest book for children to read on their own, as a read-aloud in a classroom setting, it can make an incredible impact. It is an excellent book to incite discussion on many subjects and it truly inspires children to pursue their dreams despite the troubles they may face.
The timeless lyrics interwoven within the story comment wonderfully on Marian's life and the perseverance with which she dealt with her struggles. The beauty of this book is that it focuses on the accomplishments of her life and the overcoming of disappointments, not the actual disappointments themselves. This lack of sensationalism gives the book dignity. This is definitely one book that I will treasure and hope to share many times over with students in my own classroom.

Singing for the Soul.......2003-06-23

WHEN MARIAN SANG beautifully depicts the life of Marian Anderson, a wonderful singer who broke racial barriers to become one of the most world-renowned performers. The story tells of her humble upbringing in Philadelphia and the support she garnered from her family, her church, and her community. It also tells of the discrimination that Marian faced when trying to learn music and later when she attempted to perform. Yet, Marian persevered. She went to Europe where she received so much attention and acclaim that it was said the people suffered from "Marian Fever." She later returned to the United States, and fought prejudices and discrimination by performing at the Lincoln Memorial. She was finally able to break down racial barriers and perform at the Metropolitan Opera. At last, Marian felt free to sing.

WHEN MARIAN SANG is an inspirational and educational biography of a great performer. The book gives details in a poignant, yet simplistic way that people of all ages will be able to appreciate. The illustrations are truly breathtaking. I enjoyed the fact that verses of songs that Marian sang were intertwined within the text to add depth to the story. I was also impressed with the detailed information about Marian's life and the fact that her discography was included in the back of the book. Pam Munoz Ryan and Brian Selznick have done an excellent job in telling the story of Marian Anderson. I look forward to future works from this dynamic duo.

Reviewed by Latoya Carter-Qawiyy
The RAWSISTAZ Reviewers

What I Had Was Singing: The Story of Marian Anderson (Trailblazer Biographies)

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Warm and Factual Story of a Great Singer

What I Had Was Singing: The Story of Marian Anderson (Trailblazer Biographies)
Jeri Ferris
Manufacturer: Carolrhoda Books
ProductGroup: Book
Binding: Paperback

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Warm and Factual Story of a Great Singer.......2000-06-01

The life of Marian Anderson, the first African-American to sing solo at the Met, is depicted in this book in a warm and factual manner. Jeri Ferris provides a biography of Marian Anderson from from childhood to the end of her life with facts, warmth and seriousness. This book will provide young readers with a bibliograpy they can enjoy.

The Cairo Guidebook: A Guide to Cairo in the 1920s (Call of Cthulhu)

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The Cairo Guidebook: A Guide to Cairo in the 1920s (Call of Cthulhu)
Marion Anderson , and Marian Anderson
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Marian Anderson (Journey to Freedom)
James Meadows
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ASIN: 1567669212

Book Description

A biography of African-American concert singer Marian Anderson, discussing her happy childhood in Philadelphia, her early involvement with music, her attempts to perfect her art, her European success, the discrimination she encountered in the U.S., and the impact of her fame on racism.

My Lord, What a Morning: AN AUTOBIOGRAPHY (Music in American Life)

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The most excellent autobiography I've read in ages...

My Lord, What a Morning: AN AUTOBIOGRAPHY (Music in American Life)
Marian Anderson
Manufacturer: University of Illinois Press
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Book Description

My Lord, What a Morning is a gentle and engrossing memoir, abounding with the tender and inspiring stories of Marian Anderson's life in her own modest words. From her humble but proud beginnings in south Philadelphia to international vocal renown, the legendary contralto writes of triumph and adversity, of being grounded in faith and surrounded by family, and of the music that shaped her career.

Anderson published My Lord, What a Morning in 1956 on the heels of her groundbreaking role as the first African American to perform at the Metropolitan Opera. In it are bittersweet reminiscences of a working-class childhood, from her first job scrubbing the neighbors' steps to the sorrow and upheaval of her father's untimely death. Here are the stories of a young girl with prodigious talent, and her warm remembrances of the teachers, managers, friends, accompanists, and fans who worked to foster it. Here is a veritable travelogue of her concerts across the globe and rare glimpses at the personal life of a woman more concerned with family than celebrity.

An entire chapter devoted to the Easter concert at the Lincoln Memorial in 1939 reveals Anderson's immense respect for Eleanor Roosevelt, who resigned from the Daughters of the American Revolution when they refused to let Anderson perform at Constitution Hall. Supplanting sorrow and regret for anger and violence, Anderson demurely imparts her views on discrimination and on becoming an icon in the struggle for civil rights.

With eleven photographs and a touching new foreword by Anderson's nephew, famed conductor and poet James DePreist, this new paperback edition of My Lord, What a Morning revives the classic portrait of a musical legend who was resilient in the bullying face of bigotry and gracious in the unfaltering glow of fame.

Customer Reviews:

The most excellent autobiography I've read in ages..........2000-01-31

This was a completely personal and revealing work. If you are a fan of Anderson's voice this book will soon become one of your favourites. I couldn't put it down (I know that statement is cliche-ed but it's the truth). Anderson had an incredible struggle establishing a career as an African American opera singer, but throughout her life she treated everyone she encoountered (despite the cruelty and racism of many) with dignity and grace. Her autobiography is indicative of her supreme modesty and love of music and the human voice as the most divine instrument. If you buy it, you will be enchanted. I particularily recommend it for people studying voice.

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Principles of Financial Accounting
Belverd E. Needles , Marian Powers , Sherry K. Mills , Henry R. Anderson , and James C. Caldwell
Manufacturer: Houghton Mifflin (T)
ProductGroup: Book
Binding: Hardcover

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Marian Anderson: A Portrait
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