21 episodes
Every Voice with Terrance McKnight WQXR
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- Music
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4.9 • 139 Ratings
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“Every Voice with Terrance McKnight” is a show that spotlights the vibrant stories and perspectives that reflect the whole of the American musical experience.
There are many different kinds of classical music, depending on where you are in the world. While this music typically preserves the traditions of a given society, classical music in America remains wedded to its Western European roots. On this show, we want to know why — and what America’s classical music really sounds like. Through interviews, historical investigation, and personal storytelling, Terrance McKnight unearths the hidden voices that have been shaping our musical traditions all along.
Our debut season examines the representation of Blackness in opera. While character flaws are universal, stereotypes often fall along racial lines. We look at the loneliness, jealousy, self-loathing, and cultural appropriation associated with African characters in 18th and 19th century operas by Mozart and Verdi, and we introduce the African-American personalities found in the operas of Atlanta-based composer Dr. Sharon Willis.
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A Radio Special: Mozart’s "Abduction from the Seraglio"
“Every Voice with Terrance McKnight” spotlights the diverse stories and perspectives that reflect the whole of the classical music experience. In this radio special of the final chapter in the season, we discuss Mozart’s “Abduction from the Seraglio” and ask big questions about the future of opera.
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A Radio Special: Verdi’s "Aida”
In this radio special of “Every Voice,” Terrance McKnight investigates Verdi’s “Aida” and the complicated history behind this African love story.
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A Radio Special: Verdi's "Otello"
In this radio special of “Every Voice,” Terrance McKnight turns toGiuseppe Verdi’s “Otello” and how this centuries-old story shapes today’s narratives around Black success.
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A Radio Special: Mozart’s "The Magic Flute"
Classical music is full of hidden voices. In this radio special of “Every Voice with Terrance McKnight,” enjoy the season’s journey into Mozart’s "The Magic Flute," its investigation into the overlooked character of Monostatos, and what his portrayal teaches us about ourselves.
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Abduction from the Seraglio: Revelations
With troubled origins, opera has often reduced people of African descent to racist stereotypes. Can this art form find its place in a world where many are striving for inclusivity and beauty?
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Abduction from the Seraglio: A Blind Eye
In “Abduction from the Seraglio,” Pasha Selim subjects both European women and men of African descent to servitude within his haram. But their dramatic treatment — which characters get to enjoy freedom, which characters do not — tend to uphold stereotypes of race, class and sex.
Customer Reviews
Verdi’s Aida
This podcast is the definition of edutainment! From the explanation of the play and the choices of skin color of the actors and actresses. From the history of those who played leading roles to the nationality of those actors enlightened the listener. Further, the true history that was laid out with such simplicity makes me think that this one podcast should be a college level class. The music and the singing were amazing. All of it was excellent. 👏🏾
A fine introductory education into the arts of the classical and operatic expression
I can’t write enough words to convey how much I have enjoyed this series of podcasts of Every Voice.From Chevalier to Aida Mr.McKnight guides us through these fascinating stories.Thanks for seeing and sharing our stories in this series.More please!
Kevin Rhone
Every Voice
As an opera fan (and former opera house employee) I find this series so important. It is both painful, refreshing, and critical giving the listener a comprehensive understanding about how many art forms, no matter how beautiful, continue to perpetuate negative stereotypes, especially when it comes to people of color. I hope that you will continue to explore opera and other classical music forms through this lens. I think this offers a challenge to producers and directors of “beloved” works of opera to find ways to expose, reveal, and mitigate some of the harm done to date by finding ways of reversing or eliminating the inherently racist tropes offered to opera audiences by finding ways to re-interpret or re-shape the work.