DIY History | Transcribe | Campus Culture | Cecile Cooper newspaper clippings, 1966-1987 | 1978-11-12 ""'Bias' remains, Estes says"" Page 2

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Cecile Cooper newspaper clippings, 1966-1987

1978-11-12 ""'Bias' remains, Estes says"" Page 2

DES MOINES SUNDAY REGISTER NOVEMBER 12, 1978/5B

said that officials at "two opera houses in recent years told me that they couldn't hire me because I am black,"
Conceding that there are numerous black prima donnas on the operatic stage today, Estes says that racial discrimination primarily affects the male singer. He says:
"Basically, there is the feeling that a black man should not be shown as romantically involved on stage with a white woman. Some of this is subconscious and not done deliberately, but there are other times when it's completely intentional.
"The intention is often a deliberate effort to keep prestigious positions in the hands of whites and away from blacks."
According to Estes, the same degree of discrimination does not exist on the concert stage, where the same theatrical considerations do not apply.
Estes sees much irony in these circumstances because, he asserts, "the concert stage requires a great degree of musicianship than the operatic stage."

ESTES attended the University of Iowa from 1957 to 1963, but not as a voice or music student. Starting out as a pre-medical student and later switching to theology and social psychology, he earned money by working the 5 a.m. shift on a demolition crew and was later employed by a radio manufacturer.
Although he had no formal vocal training, he became the first black member of the Old Gold Singers, a university ensemble that toured Iowa and Illinois. As a soloist in the group, he came to the attention of Charles Kellis, who then taught voice on the university music faculty.
"Kellis told me I had an operatic voice, introduced me to opera through recordings and started to coach me," Estes recalled.
Kellis, who now teaches voice privately in New York, arranged for Estes to be auditioned in 1963 at the Juilliard School. After a year at Juilliard, Estes determined to seek a career in Europe, where opera houses are plentiful. He obtained financing from the New York Community Trust Fund and the National Association for the Advancement of Colored People.
A successful audition at Berlin's Deutsche Oper secured for him the role of Ramfis in Verdi's "Aida" and launched his career.
Of his growing success, Estes said: "I hope that it will help other black artists launch a singing career." And, referring to what he considers continuing discrimination in this country, he added: "I'm not bitter, but it saddens me that it should still be this way.

Simon Estes

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DES MOINES SUNDAY REGISTER NOVEMBER 12, 1978/5B said that officials at "two opera houses in recent years told me that they couldn't hire me because I am black," Conceding that there are numerous black prima donnas on the operatic stage today, Estes says that racial discrimination primarily affects the male singer. He says: "Basically, there is the feeling that a black man should not be shown as romantically involved on stage with a white woman. Some of this is subconscious and not done deliberately, but there are other times when it's completely intentional. "The intention is often a deliberate effort to keep prestigious positions in the hands of whites and away from blacks." According to Estes, the same degree of discrimination does not exist on the concert stage, where the same theatrical considerations do not apply. Estes sees much irony in these circumstances because, he asserts, "the concert stage requires a great degree of musicianship than the operatic stage." ESTES attended the University of Iowa from 1957 to 1963, but not as a voice or music student. Starting out as a pre-medical student and later switching to theology and social psychology, he earned money by working the 5 a.m. shift on a demolition crew and was later employed by a radio manufacturer. Although he had no formal vocal training, he became the first black member of the Old Gold Singers, a university ensemble that toured Iowa and Illinois. As a soloist in the group, he came to the attention of Charles Kellis, who then taught voice on the university music faculty. "Kellis told me I had an operatic voice, introduced me to opera through recordings and started to coach me," Estes recalled. Kellis, who now teaches voice privately in New York, arranged for Estes to be auditioned in 1963 at the Juilliard School. After a year at Juilliard, Estes determined to seek a career in Europe, where opera houses are plentiful. He obtained financing from the New York Community Trust Fund and the National Association for the Advancement of Colored People. A successful audition at Berlin's Deutsche Oper secured for him the role of Ramfis in Verdi's "Aida" and launched his career. Of his growing success, Estes said: "I hope that it will help other black artists launch a singing career." And, referring to what he considers continuing discrimination in this country, he added: "I'm not bitter, but it saddens me that it should still be this way. Simon Estes