Here I Stand, a dramatic oratorio, was commissioned by the late Michal Morgan, music director and conductor of the Oakland Symphony.

The main character and focus of attention is the once famous African-American singer, actor, activist, and thinker, Paul Robeson.  The oratorio begins with a scene when close to the end of his life, Robeson performs at the construction site of the Sydney Opera House.  A vigorous supporter of labor movements, he sings the labor anthem, Joe Hill, to throngs of construction workers.  The workers are transfixed with wonder; Who is this man?  Robeson’s answer begins at the bedrock of his being, “I am an American Negro…”  and with the Chorus intoning the spiritual Go Down Moses, he further describes his convictions ending with the commitment to fight “for the freedom of my people.”  But… he falters—as in real life he did—soon after the Sydney Concert.  He feels he has failed miserably to do enough for the causes he sought to serve.  

The scene shifts back in time; Robeson approaches the pinnacle of his career and influence as a singer, actor, and activist, and the Chorus witnesses and responds.

He now has not only a world of fans but some very powerful enemies, not least of which is the United States government. He is accused of being a communist.  The Chorus and Robeson trade lines—many coming directly from the Congressional transcripts— in an exchange that rises to a crescendo of conflict.

Success in a political struggle comes down to a question of power.  Unbroken by Congressional restrictions imposed on his ability to travel and perform, Robeson continues to fight in print for “liberty, equality, and justice,” and though he will die without having fully achieved his lofty goals, he will rise with the Chorus to a Spiritual apotheosis.

~ Notes by Carlos Simon, copyright 2024