Marian Anderson

On April 14, 2011, Marian Anderson's house in Philadelphia, Pennsylvania was listed on the National Register of Historic Places; she resided there from 1924 - 1943.

Pictured on a USA 37¢ commemorative postage stamp in the Black Heritage series, issued 27 January 2005.

Biography in: "The Scribner Encyclopedia of American Lives". Volume 3, 1991-1993, pages 19-22. New York: Charles Scribner's Sons (2001).

In 1990, Anderson made a documentary on her life and career, in addition to the documentary of her 1939 Lincoln Memorial Concert.

She was awarded the American National Medal of the Arts by the National Endowment of the Arts in Washington, D.C. (1986).

Inducted into the National Women's Hall of Fame (charter member) (1973) and the Connecticut Women's Hall of Fame (1994).

After six months and 50 concerts in the USA and Canada Anderson gave her final performance on April 18, 1965, at Carnegie Hall. She spent her retirement years on her 155-acre farm in Connecticut, and extended her continuous support of such talents as Kathleen Battle, Jessye Norman, Leontyne Price and others.

In 1964 Sol Hurok was asked by Anderson to organize her farewell concert tour.

She began her last tour in October of 1964 with a concert in Washington D. C. 's Constitution Hall.

She was awarded a Star on the Hollywood Walk of Fame for Recording at 6262 Hollywood Boulevard in Hollywood, California on February 8, 1960.

In 1958, Anderson was appointed a delegate to the UN and made several diplomatic trips as a "goodwill ambassador" to Africa and Asia.

In 1955, Anderson made her Metropolitan Opera debut, becoming the first African-American singer to perform there.

In 1955, she sang in Hebrew with the Israel Philharmonic.

Anderson became the first African-American vocalist in Japan's history to perform for the Imperial Court in 1953.

Her comeback after a throat surgery in 1948, was another sensation. Her voice sounded as beautiful as ever and the emotional depth in her song interpretations was impressive. However, some critics mentioned her troubles with technique, pitch, and breath in her later years. Anderson's career spanned over forty years. She made over two thousand performances worldwide, including concerts for inaugurations of American Presidents Dwight D. Eisenhower and John Kennedy, King Gustav of Sweden, and the King and Queen of England.

During the 1940's Anderson's best accompanist Kosti Vahanen left for Finland, and her teacher Boghetti passed away. She was diagnosed with a cyst in her throat and had to stop her singing career.

However in 1939, DAR again turned Anderson away from the Constitution Hall. Eleanor Roosevelt resigned from DAR in protest of their discrimination of non-white artists. Sol Hurok brilliantly resolved the situation; he organized an open-air concert at the Lincoln Memorial, which was, ironically, near the Constitution Hall. 75,000 people of all races attended that historic concert of Anderson; it was broadcast nationwide and made her a celebrity.

In 1936 Sol Hurok arranged for her to perform at Constitution Hall, which was owned by the "Daughters of the American Revolution" (DAR). Anderson was rejected because of the "white performers only" policy of the DAR. Hurok quickly turned to a black school in Washington D. C. and the concert was a success. Anderson was invited by the First Lady Eleanor Roosevelt to perform for President Roosevelt at the White House, and the two women developed friendship.

Her 1935 concert tour of the Soviet Union was another sensation. Anderson managed to overcome the communist censorship by changing the titles of spirituals and religious songs; Shubert's "Ave Maria" was translated by her Russian interpreter as "an aria by Schubert. " She was also invited to the Moscow Art Theatre and performed for legendary directors Konstantin Stanislavski and Vladimir Nemirovich-Danchenko. She brought her Finnish accompanist Kosti Vehanen to America.

In May of 1934, in Paris Anderson met Sol Hurok, who offered her a guarantee: 15 concerts with a fee of $500 per concert. No other impresario could match Hurok's offer, which Anderson signed. Under the direction of Sol Hurok, Anderson became the third highest box office draw.

Anderson went to Europe in 1927, because she saw Europe as a place of real freedom and culture, where she could perfect her craft. She spent most of her time in Germany and Scandinavia making successful tours with the Finnish pianist Kosti Vehanen. Vehanen introduced her to the Finnish composer Jean Sibelius who added a number of songs to her repertoire.

In 1925, Boghetti secretly entered Anderson in a New York Philharmonic contest, which she won and gave a successful performance with the New York Philharmonic on August 26, 1925, before a crowd of seven thousand.

Pasternack also introduced her to the Victor recording company, where Anderson made recordings of spirituals in 1923-1924.

Encyclopedias and biographies made during her lifetime, incorrectly report her birth year as 1902. Although her family declared 1897 as the correct date in her obituary when she died in 1993, the 1902 notion still occasionally finds its way into print.

Marian Anderson was born on February 27, 1897, in Philadelphia, Pennsylvania. She was the first of three sisters in the family. Her father, named John Anderson, was a salesman at a railroad station. Her mother, named Anna Anderson, was a schoolteacher. From the age of six, Anderson sang in the choir of the United Methodist Church, where she became known as the "baby contralto. " She taught herself piano and violin until the age of sixteen. She was sponsored by her neighbors, who raised money for her to study under Giuseppe Boghetti. Their teacher-student relationship blossomed into a friendship that lasted for several decades. Boghetti broadened her range from traditional spirituals to classical opera repertoire. With the help of Joseph Pasternack, Anderson became the first African-American singer to perform with the Philharmonic Society of Philadelphia.