William Pearson came to Cologne in 1956. He was one of the first black singers to emigrate artistically because racist barriers in the USA prevented them from pursuing an artistic career on the stages of serious music. In Germany, doors soon opened for him in the niche of New Music. Bussotti, Kagel and Ligeti wrote works for him. Henze composed the recital El Cimarrón for him based on the autobiography of a Cuban slave. Pearson gradually made a name for himself, became a sought-after baritone and conquered stages in Germany, Europe and overseas. This volume brings together letters, essays, photos and documents. They can be read as a reflection of a time when new music was just beginning to emerge, when encrusted morals were barely beginning to loosen and racism in this country was only somewhat more covert. Pearson knew how to compensate for this social and cultural tension and, despite his success, also knew why he was denied classical opera roles despite his outstanding singing qualities and the praise he received for them. Franz-Josef Heumannskämper is a director, performer and set designer. He met William Pearson on September 25, 1976. They remained a couple until Pearson’s death. Joint projects (Mix. Hommage á Max Ernst, dadzuerich, or Violet) established Heumannskämper’s directorial activity, which continued in international collaborations with Robert Wilson, Mauricio Kagel, Heiner Müller or the Ensemble ­Modern. He manages William Pearson’s estate, which has been housed in the Historical Archives of the City of Cologne since 1995.weiterlesen