https://www.city-journal.org/tulsa-opera-daniel-bernard-roumain
Composer Daniel Bernard Roumain has made a good career leveraging his skin color. He writes pieces with titles like “i am a white person who ____ Black people.” He argues that orchestras should “focus on BLACK artists exclusively” [punctuation in the original]. He has solicited funding for a work written “EXCLUSIVELY for BIPOC [black, indigenous, and people of color] members of ANY orchestra.”
When a percussionist on Roumain’s Facebook page suggested that such a work would be divisive, Roumain told him to “speak less and try to listen and learn and understand more.” BIPOC musicians “FACE racism everyday” from their white orchestral colleagues, Roumain added. In fact, Roumain argues, white musicians’ contracts should be term-limited as reparations for “decades of benefitting from orchestral racism.”
Roumain’s racial-justice profile has earned him a seat on the boards of the League of American Orchestras and the Association of Performing Arts Presenters, as well as a faculty position at Arizona State University. He has been commissioned by Carnegie Hall and is working on film, TV, and opera scores.
He likely seemed a natural choice, then, to write a piece to commemorate the centennial of a race riot in Tulsa. That explosion of violence, from May 31, 1921, to June 1, 1921, followed a still-undetermined incident between a 19-year-old black male and a 17-year-old white female. Tulsa officials tried to protect the male from a possible lynching; armed black residents circled the jail where the teen was being held as another line of defense. Gunfire broke out around the jail, killing 10 whites and two blacks. In retaliation, white rampagers looted and set fire to hundreds of homes and businesses in the black section of Tulsa called Greenwood. Entire neighborhoods were reduced to ashes, leaving thousands homeless. A 2001 report by the Tulsa Race Riot Commission confirmed 26 black and 13 white deaths from the riots; unofficial estimates put the death toll at several hundred. Many more were wounded.
Tulsa Opera planned a concert called Greenwood Overcomes as part of the city’s riot centennial events. Eight black opera singers, accompanied on the piano by Metropolitan Opera assistant conductor Howard Watkins, would perform the works of 23 living black composers, as well as traditional songs and spirituals. Tulsa Opera commissioned four new works for the concert, the first commissions in its history.
Roumain received one of those commissions, and it was a peach: writing a short aria for mezzo-soprano Denyce Graves. Graves’s Metropolitan Opera debut as Carmen in 1995 received rousing acclaim, drawing international attention to her full-bodied vocal tone and smoldering stage presence. She would be the biggest star of the Tulsa concert; any composer would jump to have her perform his work.