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Immersive Klimt

Website_ Camille Thomas - Illustration b

Camille Thomas

Copy of Mazur - Constantine Orbelian_edi

Constantine Orbelian


Hyde Park Center


Chicago Symphony


Josh Grossman


Pia Kleber, UofT


FFDN Festival

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Kristy Gordon

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Lynn H. Leeson

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Robert Lepage



Anthony Barfield

Anthony Barfield, by Ella Mazur

I feel that it is very important, as a Black composer—a Black artist—to show that there is another perspective on this thing that we call ‘classical music.’ 

The Invictus Composer Discusses Barriers, Collaborators, and his Earned Ambition

Anthony Barfield by Ella Mazur.png

One of the things composer Anthony Barfield loves about New York is that when a guy in a dinosaur costume sits next to you on the New York subway, the question asked is, “What else? Is that all you’re going to do?” He’s the kind of person that gets excited by the world around him, the political moment, and music. But he doesn’t want people to be comfortable when he knows they’re ready for something better. His orchestral music draws on jazz, gospel, and hip-hop, as well as the Western classical tradition—a combination that isn’t often included or taken seriously in classical spaces. Now, however, that combination is not only an especially relevant approach to a world reckoning with systemic racism, it’s a sound he knows audiences, both inside and outside of the recital hall, are eager to hear.

Of course, the Lincoln Center has been very good about trying to spread the gospel, so to speak. One of the things that I appreciate, and have appreciated, about certain organizations are the ones consistently displaying works by people of colour. When the pandemic happened and Black Lives Matter started, you had people that would say, “Ok, it’s time we program this work,” or, “We’re going to put out a statement to say we support Black Lives Matter. We support X, Y, Z.” And then it just fell off. Fortunately, a few organizations have shown that this is not a momentary movement. This is something that we have to once-and-for-all incorporate into the arts.

A colleague of mine—the composer Jessie Montgomery—pardon my French, but she is kicking ass! There are a bunch of people that I can mention of course, but she is one of those people who has been able

How do you define the barriers existing for people of colour in orchestral spaces? And who are some of the forces for good? 

AB - That is a hard question to answer. It’s interesting hearing that even at the Toronto Symphony, you know, you do have— more-or-less—a white audience. In my experience of American orchestras: the symphonies are mainly white musicians playing the music of dead white men [laughs], playing mainly to white audiences of an orchestra that is mainly comprised of white, middle-aged to older, board members. 

You know, it’s okay. But I think when it comes to the thought of bringing in people of colour to audiences, for me personally, I think that orchestras should simply just program the kind of music I grew up with more. Even if it is somebody like a Jon Batiste or whomever, promote that music in a way that would be a little bit new and fresh. And hip! Because the thing is, we’re living in a society where people are starting to sniff the wind a little bit to see that what’s been inside of this typical box really doesn’t work anymore.

I don’t really have a specific answer to that question. I think that exposure, to me, is the most important thing. Speaking of white people: in my experience, one of the reasons why they haven’t necessarily been as open to accepting Black music or Black classical music, is that they’re ignorant to not just Black music, but ignorant to things that are within our culture.

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Anthony Barfield,  photo courtesy of the arttist

to just stick the knife in there and just go with whatever she feels. She’s forging a path that will help a lot of younger composers be able to feel comfortable enough that they can actually survive in that space.

I’ve had a lot of white people actually come up to me and say, “I had no idea this was happening.” That’s okay, but I had tried to explain to them that we’ve been preaching the same thing for decades now. But the thing that George Floyd’s death allowed to happen—as well as the pandemic—was for people’s lives to slow down enough so that they could actually be able to listen. Specifically non-Black audiences, because they’d been ready to listen in terms of police brutality and stuff like that, and now their ears are ready to hear the artistic side of it. I think that younger audience members are ready, but I also think that the older ones are ready too, I really do.

Art on theMART


The Joffrey Ballet


Read the full interview in 
Issue No.8 of smART Magazine, out February 2022

Issue No.7 features in-depth interview with artists and arts organizations across 10 cities. 

Dennis Watkins

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