As representatives and friends of Ensemble Obiora, we feel it necessary to respond to Christophe Huss’s recent review, entitled “Fantasia et le déclin de l’empire symphonique” (“Fantasia and the decline of the symphonic empire”), published in Le Devoir on January 23.
The renown of this critic, a connoisseur of the local and international classical music scene, does not justify comments that minimize the legitimacy of African-American violinist Randall Goosby, by suggesting that he was invited by the Orchestre symphonique de Montréal (OSM) to meet the dictates of a DEI policy — Diversity, Equity and Inclusion – and to satisfy financial backers.
Contrary to what he claims, the young prodigy did not “pop up” suddenly, in October 2020, at the age of 24, “as the new Decca violinist.” His talent had already been recognized by eminent critics from The New York Times and The Los Angeles Times. By claiming that Goosby had “totally slipped under the radar previously” and that in the ranks of the OSM itself could be found “a good half-dozen violinists who play Bruch [whose violin concerto was performed by Goosby] as well and with more aura and charm,” Mr. Huss seems to be implying that he has no place on a prestigious stage.
Finally, he suggests that DEI programming will reduce artistic quality, which will in turn lead to fewer ticket sales, which will in turn lead to the need to cut, such as those recently announced by the Orchestre Métropolitain.
The idea that Goosby is invited to perform for reasons other than his talent is offensive. Such a preconception reflects the very biases that have historically excluded certain artists from the field, and is the kind of thinking that partly explains the erasure of Black figures from the history of classical music to this day, as documented by composer Gabriel Dharmoo in his study “Reflections of Coloniality in the New Music Scene,” published in 2019, in Intersections: Canadian Journal of Music.
The inference that Goosby has received preferential treatment because of his ethno-cultural background, or other iniquitous selection criteria, helps perpetuate the misconception that artists belonging to under-represented groups have not earned their place, and forces them to constantly justify their presence. It’s a clear message to them, insidiously reinforcing that classical music remains a closed, elitist universe, when it should, instead, reflect the inclusive, fair values of Canadian society and its future generations.
Diversity, equity and inclusion are neither a passing fad nor a compromise on musical quality. Excellence remains the primary criterion for selection, and without it, no soloist or orchestral musician gets a free pass, whatever his or her background, even in the presence of the under-representation of artists from diverse backgrounds in the classical music world and the systemic obstacles faced by some.
Since its founding at the end of 2021, Montreal-based Ensemble Obiora, the first Canadian classical music ensemble composed primarily of professional musicians from culturally diverse backgrounds, has been proud to spotlight the many talents on the classical music scene, and to program works by composers of different origins whose music is little-known or little-regarded.
During Black History Month, it seems particularly important for Ensemble Obiora and its allies — like the Orchestre symphonique de Montréal, which has just introduced the El Sistema educational program in the metropolis, under the impetus of maestro Payare — to demonstrate that multicultural representation is beneficial for both the arts community and for the public, as audiences diversity.
Whether liked or not, this prodigy’s visit to the Maison symphonique was a privilege for music lovers, who are not only spectators, but also defenders and bearers of values. Finally, to paraphrase the theme of the EDI* Forum, organized by the Réseau québécois pour l’équité, la diversité et l’inclusion (RQEDI) on February 6 and 7, at HEC Montréal, we need to know how to “navigate and collaborate in a world on the move”!
(*) Forum des organisations en EDI: Naviguer et collaborer dans un monde en mouvement (2025 edition), February 6 and 7, 2025 at HEC Montréal.
Signatories:
Allison Migeon, Co-founder and General Manager of Ensemble Obiora
Brandyn Lewis, Co-founder and Artistic Director of Ensemble Obiora
Members of the Ensemble Obiora Board of Directors
Katherine Carleton, Executive Director, Orchestras Canada
Bibiana Pulido, Executive Director, Quebec Network for Equity, Diversity and Inclusion
Suzanne Taffot, soprano and lawyer.
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