Today we’d like to introduce you to Aleta Braxton.
Hi Aleta, we’re thrilled to have a chance to learn your story today. So, before we get into specifics, maybe you can briefly walk us through how you got to where you are today?
Native of Los Angeles, I attended LAUSD public schools when arts were part of the regular curriculum. I joined the elementary school chorus and then orchestra on beginning cello. Continued cello into John Burroughs Junior High (now middle school), but switched to the viola as it was easier to transport on the public bus. (I went from last chair cello to first chair viola).
I stayed on viola through my years at Fairfax High. I also learned flute so that I could join marching band. And, I found time to join the before-school madrigal group. Note: Both schools were predominantly white at the time. I joined the youth choir at Wilshire Presbyterian Church from 7th-thru 12th grade. The church had a community theatre where I had lead roles in “Brigadoon” and “Carousel.” Also, a predominantly white congregation, but our choir director, Dr. Robert Tusler, a professor of music at UCLA, saw no color and encouraged me to continue singing and cast me in those lead roles. While at L.A. City College, my choir teacher, Bob Altheuser, encouraged me to practice choral conducting. So, from there, I moved to Orange County and transferred to Cal State Fullerton to continue my studies in choral conducting and music education with Howard Swan. (I was the only black woman in the music department for a few years). It was at Cal State Fullerton where I was physically dragged, kicking and screaming, into the opera workshop class. I wound up loving it! Post Cal State Fullerton, I sang with the Disneyland Dickens Carolers for five years, my first professional singing job. Tiring work, but lots of fun.
After moving back to Los Angeles, I started singing with Bel Air Church Choir where the choir director Maurita “Bunny” Thornburgh, recommended me to world-famous choral conductor Roger Wagner. I was accepted to his Roger Wagner Chorale as a soloist for the U.S. and Japan tours. As a part of The Roger Wagner Chorale, I was added to the roster of the Los Angeles Master Chorale. In the inauguration year of L.A. Opera (formerly-known as Music Center Opera), the Los Angeles Master Chorale became the official opera chorus. So, I’ve been with the organization since its inception. In the mid-80’s I also joined the McNeil Jubilee Singers, touring U.S., Israel and Europe. This group specializes in promoting Negro Spirituals, folk songs and gospel. Almost every member of the group has solo opportunities, especially the tours. When Paul Salamunovich took over leadership of the L.A. Master Chorale, we began being hired to sing on film soundtracks. I had already earned my SAG-AFTRA union card from already having sung on a few soundtracks prior.
My most-recent soundtrack participations have included “Mulan” (Live action version), “Frozen” and “Frozen 2,” “Star Wars: Rogue One,” “Star Wars: The Last Jedi,” and “Star Wars: The Rise of Skywalker.” As a member of L.A. Master Chorale, my solo work has included the alto solos in “Messiah” sing-along, solos Christmas concerts and solos in the “It’s A Wrap” concert (music from the movies). I currently teach the Vocal Fundamentals and sight-singing classes at the Los Angeles County High School for the Arts (LACHSA). In addition, I am the music director at New Hope Lutheran Church in Agoura Hills. As for L.A. Opera, well…. Yes! I’m proud and honored to be part of this company and to have reached over 150 productions. My favorite productions include “Oklahoma!,” “Carmen,” “Porgy and Bess,” “Candide” and “Marriage of Figaro” and more!
I’m sure you wouldn’t say it’s been obstacle free, but so far would you say the journey have been a fairly smooth road?
Never a smooth road, but that’s how we learn. I knew there would be obstacles being a black woman in America. Many folks, even my dear friends, didn’t believe that I would get to where I am. There’s still an idea that black women are not to be taken too seriously. If we say something, then we are considered trouble-makers or not being realistic. In high school, I wasn’t given a lead role because I wasn’t seen as a leading lady playing opposite a white Jewish leading man. (Thank goodness that changed shortly after). Then there was also the challenge of other black kids calling me an Uncle Tom because I loved to sing classical music. (Thank goodness that doesn’t seem to happen anymore either). I am sure that I wasn’t hired for some gigs because it was thought that I could only sing “black music.” In fact, I can sing Early English as well as opera, folk and, my favorite, musical theatre. Having talented bi-racial kids with a non-supportive white partner is extremely challenging.
Thanks – so what else should our readers know about your work and what you’re currently focused on?
I am very proud to be a teacher at LACHSA. I love my students and I love this school. Both of my sons attended LACHSA: One as a vocal major, one as theatre major. I am most proud of performing with LA Opera and LA Master Chorale. Although I’ve always sung and love to sing, I never thought I would be singing solos at The Dorothy Chandler Pavilion. My goal was to be a great choral conductor. I guess I’m pretty good at that. I’ve also directed about four operas with the now-disbanded Lyric Opera of Los Angeles. (“Abu Hassan,” “Die Feen,” “The Telephone” and “La Voix Humane.”) One cool bit about my father: Frank Braxton. He was the first black animator in Hollywood. We really did grow up in a household where cartoon-watching was a requirement. (He started at Warner Bros., not Disney). He was the main animator of the first few years of Cap’n Crunch” commercials and directed the animated series “George of the Jungle.”
I am on the Advisory Board for the Young Artists Academy. And, I’m on the National Board of Governors for AGMA (American Guild of Musical Artists), the union for LA Opera, LA Master Chorale, NY Metropolitan Opera, Alvin Ailey Dance Theatre, San Francisco Opera, and other professional performing companies.
Are there any important lessons you’ve learned that you can share with us?
It’s okay to make mistakes. It’s okay to not be perfect each time. Don’t turn down an audition just because you’re afraid you might make a mistake or someone won’t like you. Go to every audition that you can. Be kind to the folks around you. Do as much good as is possible without losing who you are. Practice!
Maybe a bit of added advice for performers (or anyone): Take an eclectic mix of classes — Dance (tap, folk, ballet, jazz, etc), fencing, sewing, cooking, languages, a sport (I love to play volleyball), etc.
Image Credits
The photos are from my private collection from LA Opera productions. La Traviata Satyagraha Pear Fishers Eugene Onegin Madama Butterfly Ghosts of Versailles Nabucco Carmen, The first solo picture is from the “pirate” scene from “Candide.”
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