Marian Anderson, an African American contralto renowned for her rich vocal range and emotive performances, rose from a family legacy marked by enslavement to achieve international acclaim as a concert singer. Celebrated for her interpretations of spirituals, arias, and German Lieder, Anderson’s career was marked not only by artistic excellence but also by the racial barriers she confronted in the United States during the early to mid-20th century.

A new biography by Anthony Tommasini, titled “Voice of a Century,” seeks to restore Anderson’s reputation primarily as an exceptional artist, rather than solely a civil rights symbol. Tommasini emphasizes her unique vocal qualities, noting that Anderson’s voice possessed a resonant contralto foundation with an unusually wide range that extended seamlessly into soprano notes. This combination, along with her mastery of diverse repertoires including works by Franz Schubert, contributed to her captivating performances.

Despite her widespread recognition, Anderson was initially hesitant to embrace the role of a civil rights icon. In 1939, after being denied the opportunity to sing at Constitution Hall in Washington, D.C., due to her race, Anderson’s manager collaborated with Eleanor Roosevelt to arrange a landmark Easter Sunday concert on the steps of the Lincoln Memorial before an audience of 75,000. This event became a defining moment of resistance against racial segregation. However, Anderson herself reportedly was reluctant about the concert the night before, concerned that it was shifting the focus from her artistry to political protest. Later, when drafting her memoirs, she sought to minimize the importance of this event, aiming instead to inspire Black artists through her example of artistic excellence.

Throughout her career, Anderson often performed for segregated audiences under “vertical seating” arrangements, reflecting the pervasive racial divides of the time. She chose to continue these engagements to sustain her career, although a boycott of a Virginia concert signaled changing tides, leading to integrated performances such as one in Florida.

Anderson’s advocacy for racial equality was influenced in part by an encounter with physicist Albert Einstein in 1937. After being refused accommodation at a Princeton inn, Anderson was offered shelter by Einstein, who encouraged her to take a more outspoken stance against discriminatory practices.

Internationally, Anderson garnered admiration across Europe and the Soviet Union during the 1930s. German audiences, known for their nationalistic pride in the Lieder tradition, were struck by Anderson’s ability to perform this repertoire so authentically, despite prevailing racial prejudices. Scandinavian countries likewise welcomed her tours enthusiastically.

In a significant milestone, Anderson became the first Black soloist to perform at the Metropolitan Opera in New York in 1955, appearing in Verdi’s “Un ballo in maschera.” Although she was not formally trained as an opera singer and was 58 years old at the time, the role demanded considerable emotional and vocal strength. A recording of the performance reveals the intensity and dignity with which she approached this milestone.

Tommasini’s biography aims to deepen understanding of Marian Anderson’s artistry while acknowledging the complex intersection of her musical achievements and the racial realities she navigated throughout her career.