Recital Honors Robeson And Recalls Glory Days Of Greenwich Village

In a stirring homage to Paul Robeson, the renowned bass-baritone, actor, and activist, baritone James C. Martin and pianist Lynn Raley brought to life a multifaceted recital titled “Let Freedom Sing” on September 27, 2026. The performance took place at St. Mark’s Church-in-the-Bowery, one of Manhattan’s oldest church buildings, as part of The Village Trip festival—a ten-day celebration showcasing the artistic and activist heritage of Greenwich Village.

While Robeson’s primary residence in New York was Harlem rather than Greenwich Village, the spirit of his career and convictions resonated deeply with the neighborhood’s legacy of artistic freedom and social advocacy. The concert itself evoked a bygone era when Village performances thrived outside formal concert halls, embracing an informal yet polished approach that honored both Robeson’s repertoire and his enduring impact.

Greenwich Village’s history as a crucible for cultural innovation is well documented. Long before its transformation into a high-rent district, the Village was a haven for artists, political radicals, and social movements, including Beat poetry, mid-century folk music, LGBTQ+ rights activism, feminism, and various leftist causes. The Village Trip festival, inaugurated in 2018, was designed to revive and celebrate this vibrant community spirit amid ongoing gentrification pressures.

The recital interwove narration and song to recount key chapters of Robeson’s extraordinary life. Born in 1898 to a former slave who became a preacher, Robeson excelled academically and athletically at Rutgers University, becoming the institution’s first Black student and class valedictorian. Despite initial ambitions in law, systemic racism impeded his legal career, prompting him to pursue music and theater—a path encouraged by his wife, a scientist whose support was pivotal.

Robeson’s breakthrough came with playwright Eugene O’Neill’s discovery, which led to his theatrical debut and an international career anchored in London. His global travels and artistic achievements unfolded alongside a steadfast commitment to civil rights and political activism, including his controversial support for Soviet communism. Despite political backlash and scrutiny, including testimony before the House Un-American Activities Committee, Robeson remained a vocal advocate against racial and social injustice.

The program featured seventeen songs from Robeson’s extensive repertoire, complemented by two poignant spoken texts: the final monologue from Shakespeare’s Othello and Robeson’s 1956 HUAC testimony. As historical photos accompanied the performance, Martin’s commanding baritone navigated a diverse selection ranging from early slave songs and spirituals to recital pieces, culminating in a powerful rendition of “Ol’ Man River,” notably transposed to accommodate his vocal range.

Following intermission, the concert transitioned to “Project 2026: Let America Be America Again,” a contemporary musical cycle inspired by Langston Hughes’s 1935 poem and developed in response to recent controversies surrounding the Kennedy Center. This segment showcased new compositions by a spectrum of American composers, including emerging talents and seasoned figures such as David Amram, who at 95 remains a guiding force behind The Village Trip.

The musical interpretations varied stylistically but consistently prioritized clear enunciation of Hughes’s text, a universal appeal for justice extending beyond racial lines to encompass all marginalized groups. Notably, Augusta Read Thomas’s contribution offered an a cappella chant, while Amram’s finale introduced rhythmic optimism. The concert concluded with Martin’s stirring vocalization of Beethoven’s “Ode to Joy,” followed by an audience-led rendition of the spiritual “Jacob’s Ladder,” evoking communal solidarity and the Village’s activist ethos.

“Let Freedom Sing” presented not only a compelling portrait of Paul Robeson’s multifaceted legacy but also reaffirmed Greenwich Village’s historical role as a nurturing ground for artists and advocates committed to societal transformation. The event underscored the enduring relevance of Robeson’s artistry and ideals, bridging past and present through music and memory.