Sissieretta Jones, also known as the “Black Patti,” was a renowned African American soprano and the highest-paid Black performer of the late 19th century. Trained in classical music, she captivated audiences from the White House to the grand stages of Europe with her voice, which was described as “as clear as a mockingbird’s.”
Sissieretta Jones was born on January 5, 1868 in Portsmouth, Virginia, to parents who had endured the hardships of slavery. Her father, Jeremiah Malachi Joyner, was an African Methodist minister, and her mother, Henrietta Beale, was a singer and washerwoman. When Jones was six, her family moved to Providence, Rhode Island, where she began singing in her father’s church. Recognizing her talent, her parents supported her formal musical education, first at the Providence Academy of Music and later at the prestigious New England Conservatory in Boston.
These early years of rigorous training laid the foundation for a career that would take her to the world’s most prestigious stages.
In 1883, at the age of 15, Sissieretta married David Richard Jones, a news dealer and hotel bellman. David initially served as her manager, helping to guide her early career. However, their marriage was far from harmonious. Over time, David’s behavior became a source of significant strain. He struggled with alcoholism and was accused of mismanaging their finances, including gambling away money that Sissieretta had earned through her performances.
Despite these personal challenges, Sissieretta’s career began to flourish. She made her New York City debut at Steinway Hall in 1888, captivating audiences with her powerful soprano voice. Her performances soon caught the attention of Adelina Patti’s manager, who likened her to the famed Italian opera singer. This comparison led to the nickname “The Black Patti,” a title Sissieretta initially disliked but which would follow her throughout her career.
One of her greatest achievements was performing at the White House for President Benjamin Harrison in 1892. Over the years, she would sing for three more U.S. presidents—Grover Cleveland, William McKinley, and Theodore Roosevelt—as well as for the British royal family.
For three of her four presidential performances, Jones had to enter the White House through the back door, as was customary under Jim Crow laws which enforced racial separation in the United States. For her Roosevelt performance, she was allowed to come in through the main door.
That same year, she made history as the first Black woman to perform at New York’s Music Hall (which was later renamed Carnegie Hall). With a voice described as “as clear as a mockingbird’s,” she captivated audiences with classical arias, spirituals, and contemporary pieces. Her performance at the 1893 World’s Columbian Exposition in Chicago was another milestone—her reputation had grown so strong that the venue was packed an hour before her performance began.
As her fame grew, so did her earnings. In 1892, Jones signed a contract with Major James B. Pond, a manager who had represented renowned figures like Mark Twain. Her weekly salary of $150 (plus expenses) was a remarkable sum for a Black performer at the time.
By 1895, she had become the highest-paid Black entertainer in America, earning up to $2,000 for a week-long engagement. Jones’ financial success was unprecedented for a Black artist in the 19th century.
Despite her international fame, Jones was repeatedly denied access to the most prestigious American opera houses due to racism. In response, she created her own platform. In 1896, she founded the Black Patti Troubadours, a touring company featuring jugglers, comedians, dancers, and a chorus of 40 trained singers. Unlike minstrel shows, which often reinforced racist stereotypes, the Troubadours showcased Black talent in a variety of artistic forms.
The company quickly gained popularity, performing across the United States and Canada. Jones remained its star for nearly two decades, using the stage to demonstrate that Black performers were capable of more than just comedy and caricature. The troupe also launched the careers of future Black entertainment icons like Bert Williams.
Jones’ success in vaudeville allowed her to maintain a lavish lifestyle. She traveled in a custom Pullman car, wore elegant gowns, and earned over $20,000 a year (the equivalent of $750,000 today). Yet, despite her financial security, the doors to classical opera houses in America remained closed to her.
By 1898, Sissieretta’s marriage to David Richard Jones had deteriorated to the point where she filed for divorce, citing his drunkenness and lack of support. The divorce was finalized in 1899, marking the end of a tumultuous relationship that had lasted nearly 16 years. Despite the challenges she faced in her personal life, Sissieretta remained focused on her career, using her talent and determination to rise above adversity.
In 1915, after nearly 30 years of performing, Jones retired to Providence to care for her ailing mother. She had invested much of her fortune in property, but financial difficulties forced her to sell most of her assets. By the end of her life, she was living in poverty.
Despite her struggles, she remained active in her community, caring for homeless children and remaining involved in her church. However, her financial hardship grew so severe that she relied on assistance from the local NAACP chapter, which helped pay her bills and even provided coal and wood for her family.
On June 24, 1933, Sissieretta Jones passed away from cancer at Rhode Island Hospital. She was buried in Grace Church Cemetery in Providence in an unmarked grave.
For decades, Jones’ contributions were largely forgotten, overshadowed by the racism that had shaped her career. However, interest in her legacy was revived in 2012 when the now late Maureen Lee published her biography Sissieretta Jones: The Greatest Singer of Her Race, shedding new light on her achievements. A year later, she was inducted into the Rhode Island Music Hall of Fame. Then, in 2018, nearly a century after her passing, funds were raised to place a headstone on her grave, a long-overdue tribute to a woman whose artistry and perseverance paved the way for future generations of African American performers, leaving a lasting imprint on the world of music.
Sources:
http://www.browndailyherald.com/2013/04/17/local-event-honors-the-black-patti/
