{"@context":"http://iiif.io/api/presentation/3/context.json","id":"https://arsc.aviaryplatform.com/iiif/z60bv7cx55/manifest","type":"Manifest","label":{"en":["Roland Hayes: A Recording Legacy Considered"]},"logo":"https://d9jk7wjtjpu5g.cloudfront.net/organizations/logo_images/000/000/019/original/ARSC_Full_Logo_RGB_K.jpg?1605438091","metadata":[{"label":{"en":["Agent"]},"value":{"en":["Christopher Brooks (Presenter)"]}},{"label":{"en":["Date"]},"value":{"en":["2009-05-28 (Created)"]}},{"label":{"en":["Format"]},"value":{"en":["Audio"]}},{"label":{"en":["Description"]},"value":{"en":["\u003cp\u003eOnce called the “Black Caruso,” Roland Hayes (1887–1977) was hailed as one of the greatest concert performers of the 20th century. During his 60 year career, the gifted American singer packed concert halls all over Europe, in South America, and throughout the United States. At the height of his popularity, he was one of the few artists along with Fritz Kreisler, Ignaz Paderewski, Tito Schipa, John McCormack, and Pablo Casals who could sell out famous venues like New York’s Town Hall and Carnegie Hall; Washington’s Constitution Hall; Boston’s Symphony Hall, among others. He was the first African American musician to perform with a major orchestra in the country in 1923 which led to him singing with many great conductors of the world including Eugene Ormandy, Leopold Stokowski, Otto Klemperer, Bruno Walter, Pierre Monteux, Serge Koussevitzky, Sir Henry Wood, Willem Mengelberg, and Gabriele Pierne. Given his celebrity and popularity, Hayes’ recorded legacy is relatively small when compared to his contemporaries like Marian Anderson, and Paul Robeson. When he was at his vocal height in the mid-1920s, he recorded relatively few works. This discussion will consider the issues surrounding this great artist and his recordings and how it had ultimate affected his legacy.\u003c/p\u003e"]}},{"label":{"en":["Language"]},"value":{"en":["English"]}},{"label":{"en":["Publisher"]},"value":{"en":["Association for Recorded Sound Collections"]}},{"label":{"en":["Rights Statement"]},"value":{"en":["\u003cp\u003eCopyright Association for Recorded Sound Collections\u003c/p\u003e"]}}],"summary":{"en":["\u003cp\u003eOnce called the \u0026ldquo;Black Caruso,\u0026rdquo; Roland Hayes (1887\u0026ndash;1977) was hailed as one of the greatest concert performers of the 20th century. During his 60 year career, the gifted American singer packed concert halls all over Europe, in South America, and throughout the United States. At the height of his popularity, he was one of the few artists along with Fritz Kreisler, Ignaz Paderewski, Tito Schipa, John McCormack, and Pablo Casals who could sell out famous venues like New York\u0026rsquo;s Town Hall and Carnegie Hall; Washington\u0026rsquo;s Constitution Hall; Boston\u0026rsquo;s Symphony Hall, among others. He was the first African American musician to perform with a major orchestra in the country in 1923 which led to him singing with many great conductors of the world including Eugene Ormandy, Leopold Stokowski, Otto Klemperer, Bruno Walter, Pierre Monteux, Serge Koussevitzky, Sir Henry Wood, Willem Mengelberg, and Gabriele Pierne. Given his celebrity and popularity, Hayes\u0026rsquo; recorded legacy is relatively small when compared to his contemporaries like Marian Anderson, and Paul Robeson. When he was at his vocal height in the mid-1920s, he recorded relatively few works. This discussion will consider the issues surrounding this great artist and his recordings and how it had ultimate affected his legacy.\u003c/p\u003e"]},"requiredStatement":{"label":{"en":["Attribution"]},"value":{"en":["\u003cp\u003eCopyright Association for Recorded Sound Collections\u003c/p\u003e"]}},"provider":[{"id":"https://arsc.aviaryplatform.com/aboutus","type":"Agent","label":{"en":["Association for Recorded Sound Collections"]},"homepage":[{"id":"https://arsc.aviaryplatform.com/","type":"Text","label":{"en":["Association for Recorded Sound Collections"]},"format":"text/html"}],"logo":[{"id":"https://d9jk7wjtjpu5g.cloudfront.net/organizations/logo_images/000/000/019/original/ARSC_Full_Logo_RGB_K.jpg?1605438091","type":"Image"}]}],"thumbnail":[{"id":"https://d9jk7wjtjpu5g.cloudfront.net/public/images/audio-default.png","type":"Image","format":"image/png"}],"items":[{"id":"https://arsc.aviaryplatform.com/collections/2671/collection_resources/128433/file/240022","type":"Canvas","label":{"en":["Media File 1 of 1 - ARSC_conf_2009_BrooksC_audio.mp3"]},"duration":1924.919,"width":640,"height":360,"thumbnail":[{"id":"https://d9jk7wjtjpu5g.cloudfront.net/public/images/audio-default.png","type":"Image","format":"image/png"}],"items":[{"id":"https://arsc.aviaryplatform.com/collections/2671/collection_resources/128433/file/240022/content/1","type":"AnnotationPage","items":[{"id":"https://arsc.aviaryplatform.com/collections/2671/collection_resources/128433/file/240022/content/1/annotation/1","type":"Annotation","motivation":"painting","body":{"id":"https://aviary-p-arsc.s3.wasabisys.com/collection_resource_files/resource_files/000/240/022/original/ARSC_conf_2009_BrooksC_audio.mp3?1714689973","type":"Audio","format":"audio/mpeg","duration":1924.919,"width":640,"height":360},"target":"https://arsc.aviaryplatform.com/collections/2671/collection_resources/128433/file/240022","metadata":[]}]}],"annotations":[]}]}