About this Artist

• Biography

Editorial Reviews

"A voice like yours is heard once in a hundred years," Arturo Toscanini told Marian Anderson. Barred from using Washington's Constitution Hall in 1939, the black contralto sang in front of the Lincoln Memorial instead, drawing an audience of 75,000. Sixteen years later, the Philadelphia-born singer finally made her debut at the Metropolitan Opera in 1955 -- the first African-American singer to appear with that celebrated company. Today, memories of Anderson's historic achievements often overshadow her artistic legacy. But once you've been embraced by the warm softness of her voice, you'll never forget it. This generous compilation is an invaluable reminder of the singer's work in opera, oratorio, and song. Highlights include an infinitely tender performance of "He Shall Feed His Flock" from Handel's "Messiah"; a version of Schubert's familiar "Ave Maria" that is transformed into something truly exalted by Anderson's astonishing breath control; and a spine-tingling interpretation of "Re dell'abisso affrettati," Ulrica's aria from Verdi's "Un Ballo in Maschera" (recorded just two days after she sang the role onstage at her Metropolitan Opera debut). The program closes with three spirituals which Anderson sings with her customary technical command, musical seriousness, and soul-stirring emotional profundity. Andrew Farach-Colton, Barnes & Noble

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