https://www.city-journal.org/article/a-jarring-opera-on-jarring-themes
EXCERPTS:
Peter Gelb hired the company’s first chief diversity officer, even as the Met was warning of imminent financial collapse. This new position was based on the idea that the present-day Met discriminated against qualified black artists and needed a high-priced overseer to combat its reflexive racism.
Anthony Davis is arguably the most militant of today’s black composers. (Daniel Bernard Roumain would vie for that title, but he is younger and less well known.) Davis favors tales of black victimhood, whether the alleged railroading of five black teenagers for the brutal 1989 rape of a white jogger in Central Park (the Pulitzer Prize-winning Central Park Five) or the struggles of blacks and homosexuals in the McCarthy era (Shimmer, still in development).
He has been showered with almost every honor that can grace a contemporary composer—from fellowships at the Rockefeller Foundation’s Bellagio Center in Italy and the MacDowell Colony to awards from the Guggenheim Foundation, the American Academy of Arts and Letters, OPERA America, and other institutions. He has taught at prestigious colleges, including Harvard and Yale. Malcolm X premiered to sold-out audiences at New York City Opera, then the second-most prestigious American venue for operas. The current production received a rare Ford Foundation grant (Ford stopped underwriting anything “white” long ago) as well as a National Endowment of the Arts grant.
By a stroke of good fortune, the libretto for X contains the line: “You have your foot on me, always pressing.” Cue the George Floyd comparisons. The aria containing the line, sung by Malcolm in prison, “captures the relation of our community to the police and the power structure and the pain that comes out of that,” Davis said. Davis’s brother, Christopher, who wrote X’s book, described the reaction of Detroit school students to the aria: “They were like, ‘YES!’ and unfortunately, considering the way things are going, there will always be that reaction.” (For the record, there are counterarguments to the idea that the police and other representatives of the white “power structure” are the main threat in the black community today.)