Kim, a Korean American, was upset by what he perceived as pervasive racism in classical music. He felt that Asian string players were being marginalized and dehumanized, likening them to cattle or mechanical robots. Despite his efforts to promote diversity and inclusion, Kim felt that his white colleagues in the San Francisco orchestra did not share his sense of urgency. Feeling isolated and frustrated, Kim, who is 40 years old, started to doubt his career and eventually resigned from a committee focused on equity and inclusion within the orchestra. After the group started performing again in May, he took a break because he was too upset to play. Despite speaking loudly, he felt ignored and lost his love for music. Artists from China, Japan, South Korea, and other countries are prominent in classical music, winning competitions and being well-represented in orchestras and conservatories. Famous performers like Yo-Yo Ma, Midori, and Lang Lang are highly sought after worldwide. The achievements of certain Asian artists may overshadow the reality that many of them experience regular racism and discrimination, as revealed in interviews with over 40 individuals in the music industry. Asian musicians often confront stereotypes that their performances lack emotion and are overly technical. They are often viewed as exotic and marginalized in a field that traditionally stems from European roots. Additionally, they are unfairly criticized for allegedly disrespecting cultural customs that do not belong to them, and they are frequently subjected to online abuse and racial insults. Despite some representation in classical music, many Asian artists feel invisible. 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 mislabeled as having Indian influences. She finds this invalidating. While there has been an increase in the number of Asian soloists and orchestra musicians, the representation of Black and Latino artists remains low. Asians are particularly scarce in fields such as opera, composition, conducting, arts administration, and on the boards of major cultural institutions. Many artists feel that a lack of role models has made success in these areas seem unattainable, leading them to feel like endangered species. Xian Zhang, the music director of the New Jersey Symphony Orchestra, echoed this sentiment. Zhang is among a few Asian female conductors who are heading major ensembles. As a Chinese American, she has faced challenges in gaining respect from male musicians, especially during her guest conducting stints in Europe. The increase in anti-Asian hate incidents has prompted calls for action, with musicians forming advocacy groups and urging cultural organizations to include more Asian leaders and showcase Asian artists and composers. Classical music has historically been resistant to change, with persistent stereotypes about Asians still present. In a recent incident, renowned violinist Pinchas Zukerman faced criticism for using racist stereotypes about Asians during a Juilliard master class. Despite his apology, many successful artists in the industry feel that casual racism has impacted their careers. Sumi Jo, a 58-year-old highly acclaimed coloratura soprano from South Korea, shared that she had lost several roles because stage directors believed she did not look white enough. Jo emphasized the need for Asians to work much harder to achieve success in the industry. Artists of Asian descent have faced stereotypes and discrimination for decades, dating back to the 1960s and 1970s when many musicians from Japan, Korea, and other parts of East Asia came to the United States. A Time magazine report from 1967, titled "Invasion From the Orient," exemplified the prevalent attitudes of the time, describing Asians as physically suited for musical instruments due to their dexterity in various crafts. Despite these challenges, Asian artists have gradually made their mark in orchestras and the concert scene. By 2014, data from the League of American Orchestras showed that musicians of Asian descent made up approximately 9% of large ensembles in the United States, despite Asians representing only about 6% of the population. In prestigious groups such as the New York Philharmonic, this percentage is even higher, with Asians now comprising a third of the orchestra. In contrast, in Europe, the representation of Asians in orchestras is much lower, such as in the London Symphony Orchestra where only three out of 82 players have Asian roots, despite Asians making up more than 18% of London's population. Despite these numbers, racist stereotypes towards Asian artists persist, with some conductors making comments implying that Asians are more suited for careers in technology rather than in classical music. Akiko Tarumoto, assistant concertmaster of the Los Angeles Philharmonic, shared how some musicians of Asian descent have been unfairly judged by audition committees for being too weak or youthful to be taken seriously, or having names too foreign to remember. She also mentioned how Asian musicians in the Philharmonic are sometimes mistaken for each other, and in other ensembles, they have been referred to simply as "Chinese girls." Renowned soloists like Lang Lang have tried to challenge stereotypes by embracing expressive styles in their performances in response to perceptions that Asians are cold and reserved. Yuja Wang, a Chinese pianist, has attempted to mock the stereotype of Asians as robotic, with varying levels of success, which some scholars attribute in part to misunderstandings about the Suzuki method of music education. This method, originating in Japan in the 1950s, has been criticized in the West for creating musicians who lack individuality, but it is still widely used, even among non-Asian students. In 2019, Wang participated in a controversial concert at Carnegie Hall with a comedy duo, where crude jokes were made about her sexuality and Chinese background. Wang, who is 34 years old, stated in an interview that early in her career she encountered assumptions that she was technically skilled but lacked emotional depth. She expressed displeasure at being stereotyped and placed in a narrow category. Wang stated that she has rarely encountered direct racism, but has sometimes felt like an outsider in the industry due to others mispronouncing her name or not taking her seriously. Some other well-known soloists like Lang Lang, Yo-Yo Ma, Midori, and Mitsuko Uchida chose not to comment on the issue of race. Zubin Mehta, an Indian conductor, stated that he personally had never faced racism in the industry and did not believe that Asians were discriminated against. He expressed sympathy for those who felt mistreated but was not aware of any significant problems in the industry. Ray Chen, a Taiwanese Australian violinist with a strong social media following, has encountered surprise from audience members who doubt his ability to play composers like Mendelssohn, claiming music is not in his blood. Despite improvements in discrimination, he struggled to find opportunities in Europe due to his Asian heritage. Chen, 32, believes the classical music industry is hindered by a fear of new ideas. Female Asian artists face even more challenges, such as being seen as exotic and submissive. Soyeon Kate Lee, a 42-year-old Korean American pianist, recalled a conductor making inappropriate comments about her in front of other orchestra leaders. Suggestions that Asians are stealing orchestra jobs or spots at conservatories are frequently heard and can be considered xenophobic. Yuka Kadota, a violinist with the Milwaukee Symphony Orchestra, likened Asian musicians to an invasive species like carp or murder hornets. She expressed feeling self-conscious and apologetic during a recent performance where the majority of the players were of Asian descent. Despite progress in orchestras, Asians are still underrepresented in areas such as conducting, composition, and opera. Conductor Mei-Ann Chen, music director of the Chicago Sinfonietta and incoming leader of Recreation — Grosses Orchester Graz in Austria, has learned to accept rejection as part of her reality. Chen, a 48-year-old woman from Taiwan, shared that donors and presenters have canceled meetings and performance opportunities upon discovering her Asian background. Despite facing discrimination, she has persevered. While arts organizations have pledged to showcase a more diverse range of composers, artists of Asian descent feel neglected, with only a small percentage of works by Asian composers being featured in American orchestras' plans for the 2021-22 season. An analysis of 88 orchestras by the Institute for Composer Diversity at the State University of New York at Fredonia revealed that works by Asian composers make up about 2% of the pieces scheduled. The lack of Asian representation in opera is especially noticeable, as the Metropolitan Opera, the largest performing arts organization in the United States, only has 6% of its principal roles next season being filled by Asian singers. This is despite Asians making up about 14% of New York City's population and a significant presence in vocal arts programs. Nicholas Phan, a 42-year-old tenor of Chinese and Greek descent, spoke about the perception of Asians in the opera world. He mentioned that Asians are often seen as technically skilled but lacking in artistic depth. Phan shared an experience where a teacher suggested he change his surname to avoid being stereotyped as a "dumb Asian singer" by competition judges and casting directors. He also mentioned how Asians are often typecast in certain roles in opera productions, which have been criticized for their racist portrayals. Despite this, some Asian singers, like soprano He Hui, find joy in singing these roles. Mezzo-soprano Nina Yoshida Nelsen, who is half Japanese, expressed frustration over being tokenized and called on others to see beyond her race and heritage when casting roles. After her plea, she received three offers for non-stereotypical roles within a week. Advocating for change, Sou-Chun Su, a violinist in the Atlanta Symphony Orchestra, emphasized the importance of speaking up and overcoming fear. He noted the challenge of getting orchestra leaders to address concerns of Asian players until the tragic events in Atlanta in March. Su expressed disappointment that it took such a significant event to prompt action. The orchestra acknowledged the need for a more inclusive culture but recognized there is still much work to be done. Additionally, 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 holds monthly meetings on Zoom. Yoon stated that cultural institutions often overlook Asians in discussions about increasing diversity in classical music because they assume they are already well-represented. She noted that the Asian experience is rarely acknowledged. Some artists, like Miran Kim, a violinist at the Metropolitan Opera, have used social media to challenge their employers. Kim recently expressed her exhaustion and frustration playing works with racist elements, such as "Madama Butterfly," and criticized the Met for selling a Butterfly-themed sleep mask that she found offensive. The mask was later removed and the Met issued an apology. Kim, 31, highlighted the lack of Asians in leadership roles, stating, "We're not included." "We are not included in the discussion." There have been some positive developments. San Francisco Opera is set to appoint Eun Sun Kim, a South Korean conductor, as its music director next month, making her the first woman to hold this position at a major American opera company. However, there are still significant obstacles to overcome. David Kim, a violist in the San Francisco Symphony who is reevaluating his career, expressed frustration with disagreements among colleagues regarding public statements on racism. He also believes that the orchestra does not adequately showcase composers of color. Kim, who has been a member of the ensemble since 2009, expressed feelings of loss upon realizing that his work as a classical musician no longer reflects his values. He is ashamed to be part of an industry that he believes lacks self-awareness, is entitled, and disregards social justice. Kim believes that classical music, which he described as "racism disguised as art," must confront its history of intolerance before meaningful change can occur. Despite superficial acceptance of Asians in orchestras and ensembles, Kim questions whether true acceptance exists in these circles.