Introduction
On a late night this past spring, I saw a headline in The Independent that would soon provoke exasperation in parts of the opera world, outrage in others: “Otello: Why is a white tenor leading the Royal Opera House’s new production?” I was troubled, too: the headline I’d expected to see was, “ ‘I am singing about myself’: as the Royal Opera announces a new ‘Otello,’ four Black tenors discuss why the role matters.”