By Kate Stow

Until Barbara Louise Smith walked into the University of Texas at Austin, she had only known segregation as a way of
life. She was raised in Center Point, a Freedman community outside of Pittsburg, Texas, that was founded by former
slaves. Her father was principal of two small negro schools – Shady Grove and Honey Grove – in Cass County, and her
mother was the teacher. Each week they came from Center Point to teach the younger children, and Barbara attended
high school in Queen City with the local teenage African-Americans. On the weekends they stayed home and attended
Center Point Baptist Church, where she honed her mezzo soprano singing voice.

In the Fall of 1956, Barbara learned about integration, and unfortunately, she also learned about a harsher kind of
discrimination than segregation ever meant to her. She was one of the “Precursers,” the very first class of African-
Americans to attend and integrate the University. In the Spring of 1957 she auditioned for, and won, the lead female
role in “Dido and Aeneas.” At first she was thrilled to have won, but soon realized that the world of college theatre
wasn’t yet ready for integration. It had only been two years since African-American contralto Marian Anderson had
broken the color barrier at the Met Opera.

Texas State Representative Joe Chapman, ironically from Barbara’s district, discussed the issue with the University
President. Soon the Dean of the College of Fine Arts informed her that she would be replaced- But not before she had
been thoroughly harassed by many white students on campus. Barbara was quoted at the time as saying that
administrators were “trying to achieve the most harmonious fulfillment of integration at the university.”

But outward appearances belied the true feelings she kept hidden.

“I felt such pain,” she told a University of Texas alumni magazine in 1998. “Inside I cried for years. You rarely saw a tear.
And it was swallowing those tears that I think was the most costly for me. It would have been better if I would have
screamed and ranted and raved.”

After a brief hiatus from college, and an offer from celebrity Harry Belafonte to pay for her schooling at any other
college, Barbara returned to UT to finish her studies. Not long after graduation in 1959, she finally found herself
appearing on the stage of the Met, and Opera houses overseas.

Belafonte had invited Barbara to audition in New York. The trip was financed by Eleanor Roosevelt, who as first lady in
1939 had arranged for Marian Anderson to sing on the steps of the Lincoln Memorial after the Daughters of the
American Revolution turned her away from Constitution Hall because of her race.

By 1965, she was appearing with the New York City Opera in the lead female role of George Gershwin’s “Porgy and
Bess,” an opera to which she would return throughout her career. Barbara also sang with leading symphonies around
the world, as well as at the White House and, in 1995, before Pope John Paul II when he visited New York City.

After graduating from UT-Austin, she kept her distance from the university for over 20 years before she accepted an
invitation by administrators to return. She eventually received recognitions from the state legislature as well as the
school and donated her personal archive to the university’s Dolph Briscoe Center for American History. Don Carleton,
the center’s director, was the executive producer of a documentary about her life, “When I Rise.”

Her story was shared with millions through the award-winning documentary. The film premiered at the 2010 South by
Southwest Film Festival and aired nationally on the PBS series “Independent Lens.” It has since been distributed globally.
“When I Rise” includes a scene of Conrad singing beneath the dome of the Texas Capitol during the 2009 legislative
session immediately after state lawmakers passed a resolution honoring her and giving her the Texas Medal of Arts
Award for Lifetime Achievement and the History-Making Texan Award in 2011.

She was appointed to the Butler School of Music as a visiting professor and artist-in-residence in 2012, and she spoke at
the commencement ceremony for the College of Fine Arts that year. Prior to that, she returned to give master classes
and to coach opera students in the 1990s, and she performed in two concerts in the school in 2011.

“Music is a great healer and a great bonder,” Barbara said in 1998. “It just transcends everything. When I first
discovered Bach preludes and fugues, I had to think about who I was talking to. You had to be reminded in those
moments who was white, who was black, who was Asian, who was whatever. It was somebody who was struggling with
the same issues you were struggling with, who was so passionately in love with the art form.”

Barbara’s great trailblazing career ended when she died on May 22, 2017. Her funeral was held at Center Point Baptist
Church – the only building left in the old Freedman town that was absorbed into the Pittsburg city limits.

“Barbara Conrad was a trailblazer — from her Precursor days at UT in 1956 and throughout her distinguished opera
career,” said Gregory L. Fenves, president of UT Austin, upon learning of her death. “Her accomplishments and tenacity
represent an important chapter in the university’s history. We will miss her talents and presence on the Forty Acres and