By Daniel St’clr Bookal
On March 11, 2025, I had the extraordinary pleasure of attending the online performance of “Karen Slack, soprano & Kevin Miller, piano: African Queens,” streamed live from Buttenwieser Hall at the esteemed 92NY, located on New York City’s Upper East Side. . Initially, this concert was simply a backup option due to a scheduling conflict, but it unexpectedly turned into one of the most enriching and emotionally profound musical experiences I’ve ever come across. Sitting at my desk, the perfect quality of the livestream allowed me to forget the physical distance, effortlessly drawing me into the performance with crystal-clear audio and high-definition visuals. The thoughtful camera work captured intimate close-ups of the performers, making me feel as though I was seated just meters away, enveloped in the same soft, ambient purple spotlight casted on both Slack and Miller.
Significantly, Buttenwieser Hall catered this immersive experience. Its intimate size, coupled with a welcoming ambiance, perfectly matched the chamber music style of the evening. Observing the assorted and exciting audience reactions, enthusiastic applause, cheers, and multiple standing ovations heightened my own sense of excitement and connection. Even through the livestream, the palpable energy and emotional engagement from the crowd resonated with me, strengthening my gratitude for the fortunate circumstances that led me to this extraordinary event.
Karen Slack captivated me instantly with her graceful and commanding stage presence. Adorned in an emerald-green gown complemented by a golden shawl, her appearance subtly mirrored the Pan-African colors, thoughtfully aligning with the concert’s theme dedicated to historical African queens. Her hairstyle, colored in fiery reds and oranges, symbolized the resilience and rebirth associated with a phoenix. Slack’s radiant appearance emphasized these powerful symbolic themes and effectively underscored her emotionally rich performance. Her voice that carried impressive power and warmth, smoothly conveyed a wide emotional range, deeply resonating with every piece she performed. Known for her extraordinary talent, Slack received the Grammy Award in 2025 for Best Classical Solo Vocal Album for “Beyond the Years: Unpublished Songs of Florence Price,” recorded with pianist Michelle Cann. Her numerous accolades, including the prestigious Marian Anderson Award and praises from organizations such as the NAACP, reflect her significant cultural and artistic contributions, making her performance even more impactful and inspiring for me when looking back.
Pianist Kevin Miller’s astonishing ability was equally mesmerizing. Miller’s sensitive and insightful playing provided a perfectly balanced musical collaboration with Slack, blending seamlessly with her expressive vocal interpretations. His intuitive piano accompaniment not only supported Slack but also boosted the emotional narrative of each piece. Known for his performances at esteemed venues such as Carnegie Hall and the Kennedy Center, and notable collaborations with acclaimed artists such as Lawrence Brownlee and Jessye Norman, Miller brought deep emotional depth and nuance to the concert. Observing their flawless coordination, mutual respect, and genuine enthusiasm intensified my appreciation and improved the concert’s emotional impact.
The evening began with Dave Ragland’s evocative “Precatio,” showcasing Slack’s notable vocal range and emotional depth right from the beginning. Her emotionally charged delivery established a captivating tone of anticipation. The concert continued to build momentum through powerful renditions of Carlos Simon’s moving piece “Behold, The Queen” and Jessie Montgomery’s profound “The Song of Nzingha.” Shawn Okpebholo’s striking “A Letter From Queen Ufua” especially resonated with me, complemented beautifully by Miller’s nuanced piano accompaniment, featuring an unexpected and charming nod to the classic “Peanuts” theme song that provided an enjoyable and noticeable contrast to the piece.
Fred Onovwerosuoke’s serene “Duniya (Mystic Universe)” kindly concluded the first half, offering relaxing melodies and harmonies, allowing me a thoughtful pause to internalize the performance. The second half first piece that grippe me was Joel Thompson’s heartwarming “Queen Nanny’s Lullabye,” which personally evoked memories linked to my Jamaican heritage. Bringing back vivid memories of family gatherings, exciting community celebrations, and Sundays heavily rooted in gospel music because the community attendee church up the road.
The piece which I seconded to “Queen Nanny’s Lullabye” of the evening but was the apex of the program in terms of showcasing one’s technical skills, Damien Geter’s dynamic “Amanirenas,” was by far in its own category. Featuring Slack’s powerful vocal projection harmoniously interwoven with Miller’s dynamic piano, the audience’s enthusiastic reaction perfectly echoed my own exhilaration. However, the emotional pinnacle for me was undoubtedly the spontaneous encore performance of Margaret Bonds’ inspirational spiritual, “You Can Tell The World” which was not mentioned in the program and I had to immediately seek out once the show concluded.
Margaret Bonds, born March 3, 1913, and departed April 26, 1972, was a groundbreaking figure in 20th-century American music. Despite her immense talent and influence, Bonds historically received less recognition than her contributions deserved. She dedicated her career to merging gospel traditions with classical musical frameworks, aiming to uplift African American spirituals within classical settings. Bonds composed “You Can Tell The World” in 1942, originally part of her noteworthy collection titled “Five Creek-Freedmen Spirituals,” specifically created for soprano Hortense Love. This composition was historically and culturally significant, because Love represented both
African American and Creek Indian communities, symbolizing a cultural bridge through music. Bizarrely, Bonds’ valuable manuscripts were nearly lost, fortuitously rescued from disposal in the 1980s, emphasizing their cultural significance and making the performance even more precious for me. Bonds’ unique ability to blend warm spiritual melodies with sophisticated classical harmonies stood out making her music extremely relevant and powerful.
Experiencing “You Can Tell The World” live was uplifting and surpassed any recorded version I later heard when searching for the piece. Slack’s spirited vocal delivery, combined with Miller’s lively piano accompaniment, captivated the atmosphere. Their seamless chemistry emphasized the joyous and celebratory spirit of the composition. The audience’s enthusiastic engagement, visible and audible even through the livestream, deepened my own sense of participation and joy. I found myself impulsively clapping and fully absorbed in the excitement by the joyous performance, an unforgettable finale of the evening.
Throughout the concert, Slack and Miller consistently demonstrated excellent musicianship and deep emotional expressions. Slack’s technical prowess and deeply heart-rending performances were perfectly matched by Miller’s insightful and sensitive piano accompaniment. Their unified creative collaboration caused an evening of emotional resonance of each piece, creating an unforgettable experience that strongly connected both the live and virtual audience.
Reflecting upon this incredible evening, I am very grateful that unexpected circumstances guided me to attend “African Queens.” This concert turned into a deep and rewarding musical experience that I now regard as one of the most captivating live musicals of my life. The historical richness, cultural implication, expressive depth, and technical delivery by Slack and Miller were truly special. I wholeheartedly recommend this performance to friends, family, and any music fan. It has significantly expanded my appreciation for classical music and inspired me to explore more vast and diverse cultural narratives that music can express. Attending this concert has strengthened my belief in the power of music and the unexpected beauty that can emerge from unexpected circumstances.
Sources and References
Michael Cooper. “John Michael Cooper: KNOWING MARGARET BONDS (Presentation for LLGTX, June 2024).” YouTube, 3 July 2024, www.youtube.com/watch?v=_sZuriDyrjM. Accessed 24 Mar. 2025.
Lauritzen, Brian. “Open Ears: The Endlessly Unfolding Story of Margaret Bonds – Classical KUSC.” Classical KUSC, 3 Mar. 2025, www.kusc.org/articles/open-ears-margaret-bonds. Accessed 24 Mar. 2025.
Jackson, Barbara. “Bonds [Richardson], Margaret Allison.” Oxford Music Online, edited by Dominique-René De Lerma, 26 Nov. 2013, www.oxfordmusiconline.com/grovemusic/display/10.1093/gmo/9781561592630.001.0001/omo-9781561592630-e-90000318953?rskey=K8jb40&result=1. Accessed 26 Mar. 2025.
Broad, Leah. “Margaret Bonds: A Gifted Composer Who Celebrated Black Identity.” Gramophone, 21 Feb. 2025, www.gramophone.co.uk/choir-and-organ/features/article/margaret-bonds-a-gifted-composer-who-celebrated-black-identity. Accessed 26 Mar. 2025.
Song of America. “Bonds – Song of America.” Song of America, 17 Sept. 2024, songofamerica.net/composer/bonds-margaret. Accessed 26 Mar. 2025.
“Karen Slack Rules in African Queens – and Offstage Too.” 92NY, www.92ny.org/about-92ny/92ny-insider/culture/karen-slack. Accessed 26 Mar. 2025.
“About | Karen Slack.” Karen Slack, www.sopranokarenslack.com/about. Accessed 26 Mar. 2025.
“Kevin Miller.” The Kennedy Center, uploaded by Kennedy Center, www.kennedy-center.org/artists/m/ma-mn/kevin-miller. Accessed 26 Mar. 2025.
