Standing on stage in a stunning gown, she sang for her nephew the old hymn, “He’s Got the Whole World in His Hands.”
The story of Mattiwilda Dobbs is part of the great American story of the family of John Wesley Dobbs, the civic and political leader known as the “Mayor of Auburn Avenue.”
A coloratura soprano, her vocal technique was described as pure and resonant as a bell. Her interpretations and stage presence were legendary.
“She was a captivating performer with an extraordinarily beautiful voice. But she was also an extremely humble person,” said her nephew Dobbs Jordan. “Should could go on stage and assume any role. But offstage, she was the complete opposite.”
In the 1950s, she rose to international fame as one of the first African-American opera singers to perform on major stages around the world, paving a path for Leontyne Price, Kathleen Battle and Augusta’s Jessye Norman.
But like many Black artists of her generation, Dobbs had to first go to Europe to be recognized for her brilliance on stages in London, Geneva, Paris, Vienna, Hamburg and Stockholm. It wasn’t until after her 1953 performance at La Scala Opera House, that she made her American debut with the Little Orchestra Society in New York City.
In 1955, she became the first African-American to play a lead role at the San Francisco Opera. In 1956, she made her debut as Gilda in “Rigoletto” with the Metropolitan Opera – a year after contralto Marian Anderson broke the color barrier.
She became the first Black singer to be offered a long-term contract by the Met, where she sang 29 times in six roles during eight seasons.
But it was not until 1962, after worldwide acclaim, that she would perform in her hometown of Atlanta because she refused to sing in front of segregated audiences.
Roses and a key to the city
Born in 1925, she was the fifth of Dobbs’ six daughters, all of whom attended Spelman College.
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