June 8th, 2012
Through the decades, consternation over Porgy and Bess has inevitably reflected its own era’s black class anxieties as well as white misconceptions about black life—for black audiences desiring characters like themselves to identify with, the question hasn’t always been one of representation so much as the much trickier one of surrogacy. In its own day, even those critical of the opera’s racial modus operandi credited it with at least giving a flock of talented, conservatory-trained opera singers a foot in the door. But Porgy and Bess achieved far more than that.
My friend and mentor Francis Davis, in a Capital New York essay on Porgy and Bess that you should read even if you don’t care about Porgy and Bess
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