Giving Voice to Anne Brown: Lisa K. Winkler on Gershwin’s Bess.
George Gershwin’s Porgy and Bess is one of America’s most celebrated operas, but the story behind the woman who first brought the character of Bess to life is far less familiar. In her historical fiction novel Gershwin’s Bess, author Lisa K. Winkler shines a light on soprano Anne Wiggins Brown, an ambitious young Black woman who defied expectations and broke barriers to pursue a career in opera.
Inspired by Brown’s remarkable journey, Winkler blends extensive historical research with imagined conversations, relationships, and emotions to explore Brown’s path from Baltimore to Juilliard and ultimately to the stage as the first soprano to portray Bess. Here, Winkler discusses the inspiration behind the novel, her research into Brown and Gershwin, the role of music in storytelling, and what readers can learn from Brown’s extraordinary perseverance.
Below, Winkler shares how she discovered Anne Brown’s story, brought her journey to life through historical fiction, and explored the remarkable woman behind one of opera’s most iconic roles.
What inspired you to write Gershwin's Bess, and why did Anne Brown's story resonate so deeply with you?
Gershwin’s Bess began life as a short play I wrote for 365 Women’s Play Writing. I had written two plays and was looking for inspiration for my next play. The site has a database of women who hadn’t yet been written about, and I started googling. The names were listed in alphabetical order by first name. Anne Wiggins Brown caught my attention. I immediately began to imagine this young woman and how she worked side by side with this internationally known composer, George Gershwin. After the play was written and received two workshop readings by professional actors, I remained interested in the story and decided to write it as historical fiction.
Anne Brown’s story resonated with me because it really is the tale of a young woman pursuing her dream in the face of many obstacles and challenges. She moved from her family home in Baltimore at age 16 to study voice at Juilliard. She defied the wishes of her father, who wanted her to pursue a more traditional career for women at the time, like teaching or nursing. She knew that even though she had the equivalent of a BA and a MA from one of the world’s most prestigious music conservatories, she’d still be denied performing on the traditional opera stages in the US due to her skin color.
This book is historical fiction. How did you balance documented history with imagined conversations and emotions?
I read many biographies about George Gershwin and about the creation of the opera. The librarians at Juilliard provided access to files about Anne Brown and Juilliard at the time. I read the course catalogue, concert programs, and news clippings. I also visited the Amistad Research Center at Tulane University where Anne Brown’s papers are stored. I did a lot of research about transportation, architecture, fashions, and foods of the time. I also interviewed many opera singers about the rehearsal process and performance routines. To write the story as fiction, I allowed my imagination to drive the narrative and shape the characters’ emotions. I imagined Anne Brown’s family life, her friendships and romances, and her journey in music. I envisioned her meeting George Gershwin and how the opera creation unfolded through auditions, rehearsals, and performances.
Your novel explores the creative partnership between George Gershwin and Anne Brown. What did you discover about their relationship that readers may not already know?
While I read many books about George Gershwin that included mentions of Anne Brown, I found only short online references about her. I created the meetings and correspondence between them. I tried to show the human side of Gershwin that people might not know: his concern about Anne’s career, health, and safety; his humor and ability to laugh at himself and his own insecurities about being taken seriously by the music world. I admire Anne’s ability to speak freely to Gershwin about her opinions about the opera.
Anne Brown faced enormous obstacles pursuing opera. What do you hope readers take away from her perseverance?
Certainly, to never give up trying. A career in the arts now is not much different than in the 1920s and 1930s. Audition after audition. Try everything. Be flexible about roles; be able to travel or even relocate. Anne Brown was the first soprano to sing the role of Bess. She paved the way for hundreds of African American singers to enter the world of classical music and opera. No longer are African Americans only cast in black operas.
Why did you choose historical fiction instead of writing a traditional biography?
There just wasn’t enough material available to create a traditional biography. Historical fiction allowed me to imagine Anne Brown’s life and her journey to becoming Bess. I was able to combine history of the time period—current events and social norms, modes of transportation, styles of fashion, popular foods, and other cultural references with a story of an aspiring opera singer as she faced many challenges.
What role does music play in storytelling beyond simply being the backdrop?
In Gershwin’s Bess, music is practically a character. I included songs in every chapter that relate to the time period or help show Anne Brown’s passion for music. I included the songs she sang for her auditions, the program she sang for her Juilliard recital, and, of course, many Gershwin songs beyond those in Porgy and Bess. I included a playlist in the back of the book that lists all the songs mentioned in the novel.
What do you hope readers are thinking about/takeaway after they turn the final page?
Porgy and Bess is a quintessential American opera. It’s about a community, only a couple of generations removed from slavery, that experiences the entire human experience, from birth to death, love and loss. Gershwin wrote original spirituals to convey the culture of the Gullah people. The opera also includes jazz, blues, and classical orchestrations. The song “Summertime” is one of the most covered songs in the world. The music is magnificent; the story is compelling; and the characters are believable, leading to pathos and empathy.
One needn’t be an opera fan to enjoy reading Gershwin’s Bess. However, I’d love to think that readers may be inspired to learn more about George Gershwin, about Anne Brown and the other real characters in the book, and about opera after reading my book.
For more info, please visit: https://www.lisakwinkler.com/
