Leontyne Price

Mary Violet Leontyne Price (born February 10, 1927) is an American soprano. Born and raised in Laurel, Mississippi,[1] she rose to international acclaim in the 1950s and 1960s, and was the first African American to become a leading performer, or prima donna, at the Metropolitan Opera, and one of the most popular American classical singers of her generation.[2][3][4]

After her farewell opera performance at the Met in 1985, a televised performance of Aida, one critic described Price's voice as "vibrant," "soaring" and "a Price beyond pearls."[5] Time magazine called her voice "Rich, supple and shining, it was in its prime capable of effortless soaring from a smoky mezzo to the pure soprano gold of a perfectly spun high C."[4]

A lirico spinto (Italian for "pushed lyric") soprano, she was considered especially well suited to roles in operas by Giuseppe Verdi, Giacomo Puccini, and Wolfgang Amadeus Mozart.

After her retirement from opera, she continued to appear in recitals and orchestral concerts until 1997.

Among her many honors are the Presidential Medal of Freedom (1964), the Spingarn Medal (1965),[6] the Kennedy Center Honors (1980), the National Medal of Arts (1985), numerous honorary degrees, and 19 Grammy Awards for operatic and song recitals and full operas, and a special Lifetime Achievement Award in 1989, more than any other classical singer. In October 2008, she was among the recipients of the first Opera Honors by the National Endowment for the Arts. In 2019, Leontyne Price was awarded an honorary doctorate degree from Boston Conservatory at Berklee.[7]

Life and career

Leontyne Price was born in Laurel, Mississippi.[8] Her father James worked in a lumber mill and her mother Katie was a midwife who sang in the church choir. They had waited 13 years for a child, and Leontyne became the focus of intense pride and love. Given a toy piano at the age of three, she began piano lessons with a local teacher. When she was in kindergarten, her parents traded in the family phonograph as the down payment on an upright piano. At 14, she was taken on a school trip to hear Marian Anderson sing in Jackson, an experience she later said was inspirational. In her 2011 autobiography, My Life, as I See It, Dionne Warwick notes that Price is her maternal cousin.[9]

In her teen years, Leontyne accompanied the "second choir" at St. Paul's Methodist Church, sang and played for the chorus at the black high school, and earned extra money by singing for funerals and civic functions. Meanwhile, she often visited the home of Alexander and Elizabeth Chisholm, where her aunt worked as a laundress. A wealthy white family connected to the dominant lumber company in Laurel, the Chisholms encouraged Leontyne's piano-playing and singing, and sometimes hired her to entertain guests. During World War II, Leontyne began working part-time in the Chisholms' household as a maid and baby-sitter. She was allowed to play the piano and to listen to music on the radio and record player.

Aiming at first for a teaching career, Price enrolled in the music education program at the all-black Wilberforce College in Wilberforce, Ohio.[8] (The institution's public and private arms split in her junior year and she graduated from the new, public Central State University.) Success in the glee club led to solos, and her teachers began to encourage her to pursue advanced studies in voice. At Wilberforce, Price joined Delta Sigma Theta, a sorority that would help arrange and support performances early in her career. After first hearing Leontyne sing at a master class at nearby Antioch College, the famous bass Paul Robeson put on a benefit concert for her in Dayton (at which she also sang) at the end of her senior year. The $1,000 proceeds were earmarked for her conservatory studies. However, Robeson was becoming a controversial figure for his left-wing political stands. Although she apparently accepted the money, she later denied the concert had ever taken place. After graduation, Mrs. Chisholm began accompanying Leontyne in recitals and church appearances in and near Laurel, and agreed to defray some of her future expenses. In fall 1948, Price enrolled at the Juilliard School in New York City. She auditioned and won a scholarship and was admitted to the studio of Florence Page Kimball, who would remain her teacher until Miss Kimball's death in 1973.[10][8]

In fall 1950, Leontyne entered the Opera Workshop at the school and became enthusiastic about opera, singing in workshop performances of The Magic Flute and Gianni Schicchi. That summer, she enrolled in the opera program at the Berkshire Music Center at Tanglewood and sang Ariadne in Strauss' Ariadne auf Naxos (second cast). In early 1952, she sang Mistress Ford in Juilliard production of Verdi's Falstaff.[8] It proved her big break. In the audience was Virgil Thomson, who hired her for the revival of his all-black opera, Four Saints in Three Acts. After a two-week Broadway run, Saints (and Price) went to Paris. Meanwhile, she had auditioned and been cast as Bess in the third major production of George Gershwin's Porgy and Bess, directed by Robert Breen, who had also hear her in Falstaff. Bereft returned from France, she sang the opening night of Porgy at the State Fair of Texas on June 9, 1952 to rave reviews. The Breen-Davis production toured Chicago, Pittsburgh, and Washington, D.C., and then Europe (Vienna, Berlin, London and Paris), under the sponsorship of the U.S. State Department.

On the eve of the European tour, Price married her Porgy, the noted concert singer, bass-baritone William Warfield, at the Abyssinian Baptist Church in Harlem, with many of the cast in attendance. The couple were legally separated in 1967, and divorced in 1973. They had no children.[11]

Price planned on a recital career, following the successful models of Marian Anderson, tenor Roland Hayes, Warfield, and other black concert singers. Amid performances of Porgy, she sang the premiere of Hermit Songs, a song cycle by Samuel Barber, at the Library of Congress. She also premiered new works by Lou Harrison and John La Montaine.

However, Porgy had proved that she had the voice and the personality, and confirmed her appetite, for the operatic stage, as the Met itself recognized by inviting her to sing "Summertime" at a "Met Jamboree" fund-raiser on April 6, 1953 at the Ritz Theater on Broadway. Price was therefore the first African American to sing with the Met, if not at the Met. That distinction went to Marian Anderson, who, on January 7, 1955, sang Ulrica in Verdi's Un ballo in maschera.


In November 1954, Price made her recital debut at New York's Town Hall with a program that featured the New York premiere of Samuel Barber's cycle Hermit Songs, with the composer at the piano. Her first recital tour followed on the Columbia Artists roster. The door to opera opened through the NBC Opera Theater, under music director Peter Herman Adler. In January 1955,[8] she sang the title role of Puccini's Tosca, becoming the first African American in a leading role in televised opera. Price sang in three later NBC Opera broadcasts, as Pamina in The Magic Flute (1956), Madame Lidoine in Poulenc's Dialogues of the Carmelites (1957), and Donna Anna in Don Giovanni (1960). Although the Tosca broadcast was shown without incident (her appearance had not been widely advertised), several NBC affiliates (including some north of the Mason–Dixon line) canceled the later broadcasts.

In March 1955, she auditioned at Carnegie Hall for the Austrian conductor Herbert von Karajan, who was touring with the Berlin Philharmonic. Impressed with her singing of "Pace, pace, mio Dio" from Verdi's La forza del destino, Karajan reportedly leapt to the stage to accompany her himself. Calling her "an artist of the future," Karajan asked her management and was given permission to direct her future European career. Over the next three seasons, Price crossed the U.S. in recitals in Community Concerts series with her longtime accompanist, David Garvey. She also toured India (1956) and Australia (1957), under the auspices of the U.S. State Department. On May 3, 1957, a concert performance of Aida at the May Festival in Ann Arbor, Michigan, was her first public essay of what became her signature role.

External audio
You may hear Leontyne Price performing Wolfgang Amadeus Mozart's Requiem Mass in D minor K. 626 with Herbert von Karajan conduicting the Vienna Philharmonic Orchestra and Fritz Wunderlich, Eberhhard Wachter, Hilde Rossel-Majdan, Walter Berry in 1960 Here on archive.org

Her grand opera debut occurred in San Francisco on September 20, 1957, as Madame Lidoine in the U.S. premiere of the Dialogues of the Carmelites. A few weeks later, Price sang her first staged Aida, stepping in for Italian soprano Antonietta Stella, who was suffering appendicitis. Her first European opera performance was Aida, at the Vienna Staatsoper on May 24, 1958, under Von Karajan. That season she also made noted debuts at London's Royal Opera House (replacing Anita Cerquetti),[12] and at the Arena di Verona, both performances as Aida. In 1958-59, she sang in San Francisco, including her first 'Il Trovatore (with Jussi Bjoerling), thrn returned to Vienna, again as Aida, and her first onstage Pamina. She repeated her Aida at Covent Garden. In London, she also gave a BBC televised recital with Gerald Moore and sang operatic scenes by Richard Strauss on BBC Radio. That summer, she made her debut at the Salzburg Festival in Beethoven's Missa Solemnis, conducted by Karajan; sang Il Trovatore in Verona (with tenor Franco Corelli); and made her first operatic recording, of Il Trovatore, for RCA. After hearing one of the Verona performances, Rudolf Bing, the general manager of the Metropolitan Opera, invited Price and Corelli to make their Met debuts in 1960-61.

On May 21, 1960, Price made her debut at the Teatro alla Scala in Milan, again as Aida, becoming the first African American to sing a leading role in Italy's greatest opera house. (In 1958, the African American soprano Mattiwilda Dobbs had sung Elvira, the seconda soprano role in Rossini's L'italiana in Algeri.)

Metropolitan Opera

The Mat was slow to offer Price a major contract. Rudolf Bing had invited Price to sing a pair of performances as Aida in 1958, but she turned down the offer on the advice of Peter Herman Adler, director of NBC Opera, among others. In his autobiography, William Warfield quotes Adler as saying, "Leontyne is to be a great artist. When she makes her debut at the Met, she must do it as a lady, not a slave." That meant a white role.

On January 27, 1961, Price and Corelli made a triumphant joint debut in Il trovatore. The ovation at the end lasted at least 35 minutes, one of the longest in Met history.[8] (Price said her friends or family had timed it at 42 minutes, and that was the number generally used in her publicity.)

In his review, New York Times critic Harold C. Schonberg wrote that Price's "voice, warm and luscious, has enough volume to fill the house with ease, and she has a good technique to back up the voice itself. She even took the trills as written, and nothing in the part as Verdi wrote it gave her the least bit of trouble. She moves well and is a competent actress. But no soprano makes a career of acting. Voice is what counts, and voice is what Miss Price has."

Reviewers were less enthusiastic about Corelli, who, disappointed, told Bing he would never sing with Price again. Tge outburst was soon forgotten, and Price and Corelli sang together often over the next dozen years, at the Met, in Vienna, and in Salzburg.

In her first season at the Met, Price sang four other roles: Aïda, Cio-Cio-San in Madama Butterfly, Donna Anna in Don Giovanni, and Liu in Turandot. In recognition of this extraordinary run, Time magazine put her on its cover in March. That fall, she was named "Musician of the Year" by American music critics and put on the cover of "Musical America."

In September 1961, Price opened the Met season, another first for an African American, as Minnie in La fanciulla del West. When a musicians' strike threatened to abort the season, President Kennedy sent Secretary of Labor Arthur Goldberg to mediate a settlement. During the second Fanciulla performance, she had her first serious vocal crisis. In the middle of the second act, her voice grew hoarse and then Disappeared, and she completed tge act by shouting her lines. The standby, soprano Dorothy Kirsten, was called and sang the third act. The newspapers reported that Price was suffering a virus infection. After several weeks off, she returned and repeated the Fanciulla and then, after a Butterfly in December, canceled appearances and left for a several-month respite in Rome. The official word was that she had never fully recovered from the earlier virus. Price herself later said she was suffering from nervous exhaustion.

In April, she returned to the Met to give her first staged performances of Tosca, and then joined the Met tour that spring in Tosca, Butterfly, and two performances of Fanciulla, including the first performance with an African American in a leading role on tour in the South (Dallas).

Other African Americans had preceded Price in leading roles at the Met. However, Price was the first African American to build a star career on both sides of the Atlantic, the first to open a season, the first to sing a leading role on the Met tour in tge South, the first to last more than five seasons, and the first to earn the Met's top fee. In 1964, Leontyne Price received $2,750 per performance, on a par with Joan Sutherland, Maria Callas and Renata Tebaldi, according to the Met archives. Only Birgit Nilsson, who was unique in singing both Italian and Wagnerian roles, earned the Met's highest fee, $3,000 a performance.)

Over the next five seasons, Price introduced seven more roles at the Met: (in chronological order) Elvira in Verdi's Ernani, Pamina in Mozart's The Magic Flute, Fiordiligi in Mozart's Così fan tutte, Tatyana in Tchaikovsky's Eugene Onegin, Cleopatra in Barber's Antony and Cleopatra, Amelia in Un ballo in maschera, and Leonora in La forza del destino. Critics found Her voice and temperament especially well suited to Verdi's "middle period" heroines, noble ladies with high, glowing vocal lines and postures of dignified suffering and prayerful supplication. She also became the leading exponent of the plaintive soprano part in Verdi's Requiem.

Antony and Cleopatra

The next milestone in her career was September 16, 1966, when she sang Cleopatra in Antony and Cleopatra by American composer Samuel Barber, a new opera commissioned to open the Met's new house at Lincoln Center. The composer had written the role especially for Price, often visiting her house in Greenwich Village to assess new pages of his score.[13]

In the performances, Price's singing was highly praised, especially in a powerful death scene, but the opera as a whole was considered a failure by many critics. Director Franco Zeffirelli was blamed for burying the music under heavy costumes, huge scenery, scores of supernumeraries, and several camels. Bing acknowledged he had made a mistake in scheduling nine new productions in the first season (three in the first week). Adding to the challenge, the opera house's new high-tech stage equipment and lighting had not been tested or fully mastered. (In the rehearsals for "Antony and Cleopatra," the expensive stage turntable broke down and, at the dress rehearsal, Price was trapped briefly inside a pyramid.) The pressured last week before the opening night, and excerpts of Price's singing, were chronicled by director Robert Drew in a Bell Telephone Hour TV documentary aired that fall. Price said the experience was traumatic and affected her attitude toward the Met, where she began to appear less often.

Antony and Cleopatra has never been revived at the Met. However, with the help of Gian Carlo Menotti, Barber reworked the score for successful productions at the Juilliard School and the Spoleto Festival in Charleston, where it received praise. Barber also prepared a concert suite of Cleopatra's arias, which Price premiered in Washington in 1968 and recorded for RCA.

Late opera career

In the late 1960s, Leontyne Price cut back her operatic performances in favor of recitals and concerts. She was tired, stressed by the racial and political tensions in the country, frustrated with the number (and quality) of new productions. Perhaps she also felt the need to rework her vocal technique as she reached middle age. Over the next two decades, she was a popular mainstay in orchestral and recital series in the major American cities and large universities. In 1970, she returned to Europe for opera performances in Hamburg and London's Covent Garden, and gave her first recitals in Hamburg, Vienna, Paris, and the Salzburg Festival. At the latter she became a favorite recitalist, appearing in 1975, 1977, 1978, 1980, 1981, and 1984.

She continued to sing at the Met and San Francisco Opera, but limited herself to three to five performances a year, sometimes a year or more apart, and she undertook only three new roles after 1970. They were: Giorgetta in Puccini's Il tabarro (San Francisco only); Puccini's Manon Lescaut (San Francisco and New York); and Ariadne in Richard Strauss' Ariadne auf Naxos (San Francisco and New York).

She was frequently called on as a soloist for state occasions. In January 1973, she sang "Precious Lord, Take My Hand" and "Onward, Christian Soldiers" at the state funeral of President Lyndon B. Johnson, at whose 1965 inauguration she had sung. A favorite singer of President Jimmy Carter, she was invited to sing for the visit of Pope John Paul II and at the dinner after the signing of the Camp David Peace Accords. In 1978, President Carter invited her to sing a nationally televised recital at the White House.

In October 1973, she returned to the Met to sing Madama Butterfly for the first time in a decade (and the last time in her career). In 1976, she appeared in a long-delayed new Met production of Aida, with James McCracken as Radames and Marilyn Horne as Amneris, directed by John Dexter. The following season, she renewed her partnership with Karajan, with whom she had not sung for almost a decade, in a performance of Brahms' Requiem, with the Berlin Philharmonic at Carnegie Hall. In 1977 returned to Europe for her performances of Il trovatore at the Salzburg Easter Festival and Vienna's Staatsoper, again under Karajan. This was a sentimental occasion that marked the first performances for both artists at the Stastsoper since 1964.

In 1977, Price introduced her final new role, and her first Strauss heroine, Ariadne in Ariadne auf Naxos, in San Francisco, to positive reviews. When she sang the role at the Met in 1979, she was suffering from a viral infection and canceled all but the first and last of eight scheduled performances. Reviewing her first performance, the New York Times critic John Rockwell was not complimentary.[14]

In fall 1981, she had a late career triumph when she stepped in for soprano Margaret Price on short notice as Aida in San Francisco. (Leontyne Price had not sung the role since 1976.) The evening was one of the rare occasions when she sang with tenor Luciano Pavarotti. Columnist Herbert Caen of the San Francisco Chronicle reported that she had insisted on being paid $1 more than the tenor. That would have made her, for the moment, the highest-paid opera singer in the world. The opera house denied the arrangement. In 1982, Price returned to the Met in Il Trovatore, and sang a televised concert of duets and arias with Marilyn Horne. In 1983, she hosted two televised performances of "In Performance from the White House," hosted by President and Mrs. Reagan.

Although she had considered her Met "Trovatore"s to be her (unannounced) final opera performances, She was persuaded to return to the Met for a run of "Forza"s in 1984 and a final series of "Aidas" in 1984-1985. Her performances of both operas were broadcast in the "Live from the Met' series on PBS that had begun in 1977. Shortly before the last "Aida," on January 3, 1985, the broadcast word leaked to the press that it was her farewell to opera. (She had planned to announce her decision as part of a biographical presentation at intermission, but she canceled the film after the news got out.) Time Magazine described the televised "Aida" as a "vocally stunning performance... that proved she can still capture her peak form."[4] Donal Henahan of the New York Times wrote that the "57-year-old soprano took an act or two to warm to her work, but what she delivered in the Nile Scene turned out to be well worth the wait." In 2007, PBS viewers voted her singing of the Act III aria, "O patria mia", as the No. 1 "Great Moment" in 30 years of "Live from the Met" telecasts.[15] The performance ended with 25 minutes of applause.[5]

In all, Price sang 201 performances with the Met, in 16 roles, in the house and on tour, including galas. (She was absent for three seasons1970/71, 1977/78, and 1980/81and sang only in galas in 1972/73, 1979/80, and 1982/83.)

Post-operatic career

For the next dozen years, she continued to perform concerts and recitals. Her recital programs, framed by her longtime accompanist David Garvey, usually combined Handel arias, French mélodies, German Lieder, an aria or two, and a group of American art songs by Barber, Ned Rorem, and Lee Hoiby, and ended with spirituals. She liked to end a sequence of encores with "This Little Light of Mine", which she said was her mother's favorite spiritual.

With time, Price's voice became darker and heavier, but her upper register held up well and the conviction and joy in her singing always spilled over the footlights. On November 19, 1997, she gave a recital at the University of North Carolina at Chapel Hill that was her unannounced last.

Before retiring, Price gave several master classes at Juilliard and other schools. In 1997, at the suggestion of RCA Victor, she wrote a children's book version of Aida, which became the basis for the hit Broadway musical by Elton John and Tim Rice in 2000.

Price avoided the term African American, preferring to call herself an American, even a "chauvinistic American". She summed up her philosophy thus: "If you are going to think black, think positive about it. Don't think down on it, or think it is something in your way. And this way, when you really do want to stretch out, and express how beautiful black is, everybody will hear you."[16]

On September 30, 2001,[8] at the age of 74, Price was asked to come out of retirement to sing in a memorial concert at Carnegie Hall for the victims of the September 11 attacks. With James Levine at the piano, she sang a favorite spiritual, "This Little Light of Mine", followed by an unaccompanied "God Bless America", ending it with a bright, easy B-flat below high C.[17]


Most of Leontyne Price's commercial recordings were issued by RCA Victor Red Seal and include three complete recordings of Il trovatore, two of La forza del destino, two of Aida, two of Verdi's Requiem, two of Tosca, and one each of Ernani, Un ballo in maschera, Carmen, Madama Butterfly, Cosí fan tutte, Don Giovanni (as Donna Elvira), Il tabarro and (her final complete opera recording) Ariadne auf Naxos. She also recorded a disc of highlights from Porgy and Bess, singing the music of all three female leads. It was conducted by Skitch Henderson and featured William Warfield as Porgy.

She recorded five Prima Donna albums of operatic arias generally of roles that she never performed on stage. She also recorded two albums of Richard Strauss arias, recitals of French and German art songs, two albums of Spirituals, and a crossover disc, Right as the Rain, with André Previn. Her recordings of Barber's Hermit Songs, scenes from Antony and Cleopatra, and "Knoxville: Summer of 1915", were reissued on CD as Leontyne Price Sings Barber. Her most popular operatic aria collection is her first, the self-titled Leontyne Price, sometimes referred to as the "Blue Album" because of its light blue cover. It has been reissued on CD and SACD. In 1996, for her 70th birthday, RCA Victor issued a limited-edition 11-CD boxed collection of her recordings, with an accompanying book, entitled The Essential Leontyne Price.

In addition, sunce her retirement in 1997, several archival recordings of live performances have been released on CDs. Deutsche Grammophon issued Salzburg performances of "Missa Solemnis" (1959) and Il trovatore (1962), both conducted by Karajan. In 2002, RCA released a shelved tape of her 1965 Carnegie Hall recital debut in its "Rediscovered" series. In 2005, Bridge Records brought out the complete 1953 Library of Congress recital with Barber, with the Hermit Songs, Henri Sauguet's "La Voyante", and songs by Poulenc. In August 2008, a tape of a 1952 Berlin performance of the Breen-Davis Porgy and Bess was found in the Berlin radio archives and released on CD. It offers the earliest recorded glimpse of Price's voice and style. In 2011, Sony Classics brought out on disc her Met broadcasts of Il trovatore (1961) and Tosca (1962), both with Corelli. They were followed in 2012 by anErnani (1962) with Carlo Bergonzi.

Partial discography

Critical appreciation

In The Grand Tradition, a 1974 history of operatic recording, the British critic J.B. Steane writes that "one might conclude from recordings that [Price] is the best interpreter of Verdi of the century." For the Russian soprano Galina Vishnevskaya, a 1963 Price performance of Tosca at the Vienna State Opera "left me with the strongest impression I have ever gotten from opera." In his 1983 autobiography, Plácido Domingo writes, "The power and sensuousness of Leontyne's voice were phenomenal—the most beautiful Verdi soprano I have ever heard."

In an interview, Price once recalled that Maria Callas had told her, during a meeting with the older diva in Paris, "I hear a lot of love in your voice." The sopranos Renée Fleming, Kiri Te Kanawa, Jessye Norman, Leona Mitchell, Barbara Bonney, Sondra Radvanovsky, the mezzo-soprano Denyce Graves, bass-baritone José van Dam, and the countertenor David Daniels, have talked about Price as an early inspiration.

Miles Davis, in Miles: The Autobiography, wrote: "Man, I love her as an artist. I love the way she sings Tosca. I wore out her recording of that, wore out two sets. Now, I might not do Tosca, but I loved the way Leontyne did it. I used to wonder how she would have sounded if she had sung jazz. She should be an inspiration for every musician, black or white. I know she is to me."[18]

She has also had her critics. In his book The American Opera Singer, Peter G. Davis wrote that Price had "a fabulous vocal gift that went largely unfulfilled," criticizing her reluctance to try new roles, her Tosca for its lack of a "working chest register", and her late Aidas for a "swooping" vocal line. Others criticized her lack of flexibility in coloratura, and her occasional mannerisms, including scooping or swooping up to high notes, gospel-style. Karajan took her to task for these during rehearsals for the 1977 Il trovatore, as Price herself related in an interview in Diva, by Helena Matheopoulos. In later recordings and appearances, she sang with a cleaner line.

Her acting, too, drew different responses over a long career. As Bess, she was praised for her dramatic fire and sensuality, and tapes of the early NBC Opera appearances show her an appealing presence on camera. In her early Met years, she was often praised for her dramatic as well as vocal skill.

In March 2007, on BBC Music Magazine's list of the "20 All-time Best Sopranos" based on a poll of 21 British music critics and BBC presenters, Leontyne Price was ranked fourth, after, in order, Maria Callas, Joan Sutherland, and Victoria de los Ángeles.[19]



  1. Randye Jones, "Biographies: Leontyne Price (b. 1927)", Afrocentric Voices in "Classical" Music.
  2. "Price, Mary Violet Leontyne". Encyclopedia of African-American Culture and History. Encyclopedia.com. Retrieved February 21, 2011.
  3. Garland, Phyl (June 1985). "Leontyne Price: Getting Out At the Top. A prima donna assoluta says goodbye to the opera, will continue as concert singer". Ebony Magazine. Retrieved February 21, 2011.
  4. Walsh, Michael; Newman, Nancy (January 14, 1985). "Music: What Price Glory, Leontyne!". Time Magazine. Retrieved February 21, 2011.
  5. Henahan, Donal (January 4, 1985). "Opera: Leontyne Price's Final Stage Performance". The New York Times. Retrieved February 2, 2011.
  6. "Spingarn Medal winners: 1915 to today" Archived 2010-07-07 at the Wayback Machine, NAACP. Retrieved September 18, 2012.
  7. Boston Conservatory at Berklee to Honor Sutton Foster, Leontyne Price
  8. Driscoll, F. Paul. "Leontyne Price". Opera News. Retrieved 1 October 2019.
  9. Dionne Warwick; David Freeman Wooley (November 22, 2011). My Life, as I See It: An Autobiography. Simon and Schuster. p. 93. ISBN 978-1-4391-7135-6.
  10. Delta Sigma Theta celebrates centennial
  11. "Time Magazine, Milestones, May 21, 1973". Time. May 21, 1973. Retrieved December 5, 2013.
  12. "A New Star at Covent Garden", The Times, July 3, 1958, p. 5, column D.
  13. Portraits of the American Stage. Washington: Smithsonian Institution Press. 1971. p. 178. To her also went what many consider the outstanding operatic honor of this century – the privilege of opening the new Metropolitan Opera House in New York's Lincoln Center in a role written especially for her. On 16 September 1966 the curtains of the new house parted on a grandiose production of her old friend Samuel Barber's Antony and Cleopatra with Justino Diaz and Leontyne Price in the title roles.
  14. Rockwell, John (February 19, 1979). "Opera: Met's 'Ariadne' Finally Comes to Stage". The New York Times. Retrieved December 5, 2013.
  15. Great Performances – Great Moments at the Met: Viewer's Choice Archived 2012-06-30 at the Wayback Machine. KQED. Transcript. Aired Saturday, December 26, 2009. Retrieved February 21, 2011.
  16. Story, "And So I Sing," p. 114.
  17. Anson, Philip (30 September 2001). "Carnegie Hall: A Concert of Remembrance". La Scena Musicale. Retrieved 1 October 2019.
  18. Miles Davis, Quincy Troupe, Miles: The Autobiography, Simon & Schuster, 1990. Pages displayed by permission of Simon & Schuster. 2005. Retrieved March 15, 2011.
  19. BBC Music Magazine press release, March 13, 2007.


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