Denyce Graves’ Met Opera Farewell: A New Era Begins

A Legacy Forged in Breaking Barriers

For much of its history, the Metropolitan Opera presented a starkly limited vision of who belonged on its stage. The debut of Marian Anderson in 1955, at the age of 58, was a watershed moment, though arriving late in a distinguished career. It underscored a painful truth: opportunities for Black artists were severely restricted. Six years later, Leontyne Price became the first Black artist to open a Met season, a symbolic victory that didn’t immediately dismantle systemic barriers. Marian Anderson’s debut and Leontyne Price’s historic opening paved the way for future generations.

From Carmen to a New Calling

Denyce Graves burst onto the Met stage in 1995 as Carmen, a role that quickly became synonymous with her name. Over the ensuing three decades, she delivered 158 performances, captivating audiences with her portrayals of iconic characters like Dalila in Saint-Saëns’s Samson et Dalila and Sally in The Hours. Her talent resonated globally, commanding stages in Vienna, Paris, and London. But now, at 62, Graves is choosing a different path.

“I know that I could continue to sing. I know that,” Graves shared in a recent interview. “I feel that I’m being called to a different place.” That place is the Denyce Graves Foundation, an organization dedicated to combating the erasure of Black history within the realm of classical music. She’s transitioning from interpreting stories to actively shaping them, ensuring that the contributions of Black artists are recognized and celebrated.

The choice of Porgy and Bess for her farewell performance is deeply significant. The opera, while providing a rare platform for Black singers for decades, also carries a complex history, often representing one of the few major works where Black artists were prominently featured while other opportunities remained elusive. The Met’s delayed staging of Porgy and Bess – not until 1985, 50 years after its Broadway premiere – speaks volumes about the historical challenges faced by Black performers.

“I see the retirement around this as a real bowing to the lineage of being an African American woman, and what that has meant,” Graves explained. “We’re seeing many more stories of relevance, many more stories that speak to the whole African American diaspora.”

Finding Her Voice Beyond the Stage

Graves’ journey to this point wasn’t without its challenges. Growing up in southwest Washington, D.C. in the 1970s, she was raised with a cultural expectation of deference. This ingrained habit followed her to the world’s most prestigious opera houses. “Denyce, you go over here, you do this, you sit down, you move when we say move, you jump when we say jump,” she recalls being told. And for years, she complied.

However, a growing awareness of the power dynamics at play began to shift her perspective. She observed the decision-makers, recognizing that their authority wasn’t necessarily rooted in superior intellect. “They’re not smarter than me at all. They don’t have more than I have,” she realized. A colleague’s advice – “You have to be prepared to walk away” – proved pivotal.

The pandemic served as a catalyst for change. Witnessing the protests for social justice, Graves felt compelled to act. She began advocating for her conservatory students, challenging the status quo, and asserting her own boundaries. When her daughter required surgery and a theater attempted to restrict her attendance, she drew a firm line. “This is non-negotiable. I’m not asking your permission. I’m going,” she declared.

This newfound assertiveness unlocked a sense of liberation. Inspired by an athlete’s statement – “We’re not asking your permission” – Graves embraced a mindset of self-determination. “Pandora’s box, at least for me, has been opened. I’m not asking for your permission to live my life.”

Today, Graves finds her purpose not in performing, but in the work of her foundation. She’s dedicated to amplifying the voices of Black artists and reclaiming narratives that have been historically marginalized. She believes this work is “a straight line to social justice,” arguing that art has the power to transform perspectives and foster empathy. What do you believe is the role of art in social change?

The demands of a traditional operatic lifestyle – the constant travel, the transient existence – have also lost their appeal. “I’ve been doing that part of it, the actual lifestyle piece of it, for 50-something years,” she says. “My body and my spirit doesn’t want to engage in that anymore.”

When asked what advice she would give her younger self, she responds without hesitation: “Be bolder. Be brave, be courageous, don’t be afraid.” What lessons from Graves’ journey resonate most with you?

Graves hopes to be remembered for her honesty and vulnerability. “My work has been my whole self, my honesty, and my whole heart.” As she embarks on this new chapter, she remains steadfast in her commitment to telling the stories that matter, the stories that have been neglected, and the stories that have been intentionally erased.

Frequently Asked Questions About Denyce Graves