Composers
Sylvia Olden Lee
1917 - 2004About
Sylvia Olden Lee’s remarkable life felt like a symphony of perseverance, passion, and pioneering firsts. A world-renowned pianist and vocal coach, the esteemed Curtis faculty member, who served at the school from 1970–90, shaped the voices of some of the most celebrated opera singers of the 20th century. Her influence stretched beyond mere technique—throughout her life, she instilled in her students a deep emotional connection to their craft, championed the inclusion of African American spirituals in the classical repertoire, and fearlessly broke racial barriers in the opera industry.
She first pursued her studies at Howard University but later transferred to the Oberlin Conservatory of Music on a full scholarship, where she thrived both academically and artistically, participating in the Musical Union and becoming a member of the Pi Kappa Lambda honor society. After graduation in 1938, she entered a world where opportunities for African American musicians were few and far between, but her determination to exceed all expectations and excel knew no bounds. It was during this period that she toured throughout the South with American bass-baritone concert artist, actor, professional football player, and activist Paul Robeson, using her music and highly visible performances as a platform to challenge racial injustice. She also began teaching at several institutions of higher learning, including Howard University, Oberlin College, Columbia University, and Dillard University in New Orleans.
In 1954, she shattered racial barriers when she became the first African American musician employed by the Metropolitan Opera in New York City. Serving as vocal coach at the largest repertory opera house in the world was nothing short of groundbreaking at the time, and Ms. Lee played an integral part in preparing contralto Marian Anderson for her historic 1955 performance as Ulrica in Giuseppe Verdi’s Un Ballo in Maschera. A watershed moment in American musical history, this performance marked the first time an African American had ever sung a principal role at the Met.
A stalwart advocate for the inclusion of African American spirituals in the classical repertoire, Ms. Lee believed each student held a unique power to communicate the entire human experience in their artistry, and she urged her students to look beyond the notes on a manuscript page, teaching them to connect with the stories these songs, arias, and spirituals told. Ms. Lee continued to coach opera singers at the Met and conduct master classes worldwide until shortly before her death from pancreatic cancer on April 10, 2004, at age 86.