Kim, a Korean American, was upset by what he perceived as prevalent racism in classical music, particularly in the way Asian string players were marginalized and mistreated. He felt that his white colleagues in the San Francisco orchestra did not share his sense of urgency in creating a more inclusive culture for Asian, Black, and Latino musicians. Feeling alienated and frustrated, Kim, aged 40, started to reconsider his career. In March, he resigned from a committee within the orchestra focused on equity and inclusion, where he was the only musician of color. After the group started performing again in May, he took some time off because he was too upset to play. Despite speaking loudly, he felt invisible and lost his love for music. Artists from China, Japan, South Korea, and other countries are well-represented in classical music, winning top prizes and making up a significant portion of orchestras and conservatories. Renowned performers like Yo-Yo Ma, Midori, and Lang Lang are in high demand worldwide. However, despite the success of certain Asian artists, it is important to acknowledge that many still experience frequent racism and discrimination. In interviews with over 40 orchestra players, soloists, opera singers, composers, students, teachers, and administrators, it was revealed that Asian artists often encounter stereotypes suggesting their music lacks emotion and is overly mechanical. They are often viewed as exotic and treated as outsiders in a field with deep roots in Europe. Additionally, they are falsely accused of disrespecting cultural traditions that do not belong to them and are frequently subjected to online harassment and racial slurs. Even though artists of Asian descent may have a presence in classical music, many of them still do not feel truly recognized or valued. Nina Shekhar, a 26-year-old Indian American composer, expressed frustration at not always being able to create the type of art she desires, as her music is often incorrectly labeled as having Indian influences. This feeling of invalidation is shared by many Asian artists in the industry, where there has been an increase in Asian soloists and orchestra musicians but a lack of representation in other areas such as opera, composition, conducting, arts administration, and cultural institution boards. The shortage of role models in these fields has made success seem unattainable for many artists, leading to a sense of being a rare commodity, as described by Xian Zhang, music director of the New Jersey Symphony Orchestra. Zhang is among a few Asian female conductors who are currently leading prominent ensembles. Zhang, a Chinese American, has faced challenges in gaining the respect of male musicians, especially during guest conductor appearances in Europe. The increase in anti-Asian hate incidents has prompted calls for action, with musicians forming advocacy groups and urging cultural organizations to increase representation of Asian leaders and highlight Asian artists and composers. Classical music has historically been slow to change, with persistent stereotypes about Asians still prevalent. Renowned violinist and conductor Pinchas Zukerman faced backlash in June for making racist comments about Asians during a Juilliard master class, although he later apologized. Many successful artists in the industry have also experienced the negative impact of casual racism on their careers. Sumi Jo, a well-known coloratura soprano from South Korea, revealed that she had lost several roles because directors believed she did not have the right appearance. She emphasized the need for Asians to work much harder to achieve success. Artists of Asian descent have faced stereotypes and discrimination for decades, dating back to the 1960s and 70s when many musicians from East Asia came to the United States. Despite this, Asian artists have made progress in the music industry over time. As of 2014, musicians of Asian descent comprised approximately 9% of large ensembles, according to the League of American Orchestras, while Asians make up about 6% of the US population. In prestigious orchestras like the New York Philharmonic, the percentage of Asian musicians is even higher, at one third. However, in Europe, the representation of Asians in orchestras varies, with the London Symphony Orchestra having only three out of 82 players with Asian roots, despite Asians making up more than 18% of London's population. Despite these statistics, racist stereotypes of Asian artists persist, with some conductors commenting that they resemble computer engineers rather than classical musicians. Some individuals have been judged by audition committees as too fragile and young to be taken seriously, while others have been told their names are too difficult to pronounce or remember. Akiko Tarumoto, assistant concertmaster of the Los Angeles Philharmonic, described how musicians of Asian descent in the orchestra are sometimes mistaken for each other, or referred to in a derogatory manner. Renowned soloists like Lang Lang have tried to challenge stereotypes by showcasing a more lively and emotional performance style, in contrast to the perception that Asians are stoic and reserved. Yuja Wang, a Chinese pianist, has attempted to mock the stereotype of Asians being robotic, with varying degrees of success. This stereotype is partly attributed to misunderstandings about the Suzuki method of teaching music, which originated in Japan in the 1950s. Despite criticism in the West for creating musicians who lack individuality, the method remains popular, even among non-Asian students. In 2019, Wang participated in a controversial concert at Carnegie Hall with a comedy duo that included crude jokes about her sexuality and Chinese background. Wang, who is 34 years old, shared in an interview that early in her career she was unfairly labeled as technically skilled but lacking emotional depth. She expressed her dislike for being stereotyped and placed into a narrow category. While Wang stated that she has not encountered blatant racism, she has sometimes felt like an outsider in the industry due to instances such as her name being mispronounced or not being taken seriously. Other well-known soloists such as Lang Lang, Yo-Yo Ma, Midori, and Mitsuko Uchida chose not to comment on the topic of race. Zubin Mehta, an influential Indian conductor, mentioned that he has never faced racism in the industry and does not believe that Asians are discriminated against. He expressed empathy for those who feel mistreated but stated that he is not aware of any significant issues. Ray Chen, a violinist from Taiwan who now lives in Australia, has gained a large following on social media. He has faced surprise from audience members who didn't expect him to be able to play composers like Mendelssohn because they believed music was not in his blood. While he thinks there is less discrimination now, he struggled to find opportunities in Europe earlier in his career, feeling that his Asian heritage held him back. Chen, who is 32, believes that the classical music industry is too afraid of trying something new. Female artists of Asian descent also face challenges, such as being stereotyped as exotic and obedient. Soyeon Kate Lee, a 42-year-old Korean American pianist, shared a disturbing experience where a conductor described her as "cheap and good" in front of other orchestra leaders and even suggested she perform a lap dance. Xenophobic implications that Asians are securing orchestra positions or spots in conservatories are frequently heard. Yuka Kadota, a violinist with the Milwaukee Symphony Orchestra, compared Asian musicians to "invasive species" such as carp or murder hornets. Kadota, a 43-year-old Japanese American, expressed feeling "self-conscious and slightly apologetic" during a recent performance where four out of five players were Asian women. She stated her concern about the perception of Asians "taking over." Despite progress in orchestras, individuals of Asian descent are still not well represented in various areas of the music industry, including conducting, composition, and opera. Mei-Ann Chen, the conductor of the Chicago Sinfonietta and the incoming leader of Recreation — Grosses Orchester Graz in Austria, acknowledged facing rejection as a reality in her career. Chen, a 48-year-old woman from Taiwan, shared that donors and presenters have canceled meetings and opportunities for her performances once they learned she was Asian. Despite facing discrimination, she persevered and emphasized the importance of having a thick skin. While arts organizations have promised to showcase works by a more diverse group of composers, artists of Asian descent feel they have been largely excluded, except for concerts celebrating holidays like the Lunar New Year. An analysis of 88 American orchestras by the Institute for Composer Diversity at the State University of New York at Fredonia found that only about 2% of planned pieces for the 2021-22 season are by Asian composers. The lack of Asian representation in opera is evident, especially at the Metropolitan Opera, where only 6% of singers cast in principal roles next season are of Asian descent, despite Asians making up about 14% of New York City's population. While Asian students make up a significant portion of vocal arts programs in conservatories like the Manhattan School of Music, they are still underrepresented on opera stages. Nicholas Phan, a 42-year-old tenor of Chinese and Greek heritage, believes Asians are often pigeonholed as technically skilled but lacking in artistic depth. Phan was advised by a teacher to use a non-Chinese surname to avoid being dismissed as just another Asian singer. When Asians do secure roles in opera, they are frequently cast in stereotypical roles like Cio-Cio San in "Madama Butterfly" or the princess in "Turandot," roles criticized for perpetuating racist stereotypes. Despite this, some Asian singers, such as Chinese soprano He Hui, find joy in performing these roles. Mezzo-soprano Nina Yoshida Nelsen, who is half Japanese, has found that the majority of her performances have been in stereotypical Asian roles. Nelsen has spoken out against being tokenized based on her race and appearance and has received new offers for non-stereotypical roles as a result. Advocating for change, Sou-Chun Su, a Taiwan-born violinist in the Atlanta Symphony Orchestra since 1990, stressed the importance of speaking out without fear. He noted the challenges in getting orchestra leaders to address concerns raised by Asian players, which only gained attention after the tragic shooting in Atlanta in March. Su emphasized that it should not have taken such an event to prompt action. The orchestra acknowledged the need to create a more inclusive culture but recognized that there is still much progress to be made. Hyeyung Yoon, a former member of the Chiara String Quartet, founded Asian Musical Voices of America to provide a platform for artists of Asian descent to discuss issues of racism and identity. The group now holds regular meetings on Zoom. Yoon stated that Asians are often left out of conversations about increasing diversity in classical music because it is assumed that they are already well represented. She pointed out that the Asian perspective is rarely acknowledged in these discussions. Some artists, like Miran Kim, have used social media to speak out against their employers. Kim, a violinist with South Korean heritage at the Metropolitan Opera, recently expressed her frustration with performing works that contain racist stereotypes, such as "Madama Butterfly." She also criticized the Met for selling a Butterfly-themed sleep mask that she felt perpetuated harmful stereotypes. Kim emphasized the lack of Asian representation in leadership roles within the industry. "We are not included in the discussion." There have been some improvements. The San Francisco Opera will soon have Eun Sun Kim, a South Korean conductor, as its music director, making her the first woman to hold such a position at a major American opera company. However, there are still major obstacles. David Kim, a violist at the San Francisco Symphony considering his career, expressed frustration with disagreements with colleagues on issues like the wording of public statements on racism. He also believes the orchestra does not prioritize showcasing composers of color. Kim, who has been a member of the ensemble since 2009, expressed feelings of loss when he realized that his work as a classical musician no longer reflects his values. He criticized the industry for being self-unaware, entitled, and lacking in social justice. Kim believes that change in classical music, which he described as "racism disguised as art," will only come when it confronts its history of intolerance. He questioned whether Asians are truly accepted in orchestras, ensembles, and as soloists despite appearing to be on the surface.