Kim, a Korean American, was upset by the perceived racism in classical music, particularly the marginalization of Asian string players whom he believed were treated like machines. He felt that his white colleagues in the San Francisco orchestra did not prioritize creating a more inclusive environment for Asian, Black, and Latino musicians. Kim, feeling isolated and frustrated, began to reconsider his career and ultimately resigned from his position as the only musician of color on an orchestra committee dedicated to equity and inclusion in March. After the ensemble began performing live again in May, he took a break because he was too upset to play. Kim said he felt ignored despite speaking loudly, which caused him to lose his love for music. Artists from China, Japan, South Korea, and other countries are well-represented in classical music, winning competitions and holding prominent positions in orchestras and conservatories. Renowned performers like Yo-Yo Ma, Midori, and Lang Lang are highly sought after worldwide. However, despite the success of certain Asian artists, it is important to recognize that many of them still experience routine 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 that suggest their music lacks emotion and is merely mechanical. They are often viewed as exotic and are treated as outsiders in a field that has traditionally been dominated by European influences. Additionally, they are accused of disrespecting cultural traditions that do not belong to them and are frequently subjected to online harassment and racial slurs. While Asian artists may be present in classical music, many of them feel invisible and unheard. 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 characteristics. The representation of Asian soloists and orchestra musicians has increased in recent years, while Black and Latino artists remain underrepresented. However, Asians are still lacking in areas such as opera, composition, conducting, arts administration, and on the boards of major cultural institutions. Many artists feel that a lack of role models is contributing to the problem, making success in these fields seem unattainable. Xian Zhang, the music director of the New Jersey Symphony Orchestra, described feeling like an endangered species in the industry. Zhang, a Chinese American conductor, is among a select group of Asian women who are leading prominent orchestras. She has faced challenges in gaining the respect of male musicians, particularly during guest conducting appearances in Europe. The increase in anti-Asian hate crimes has led to demands for more diversity and inclusion in the music industry, with musicians forming advocacy groups and urging cultural organizations to elevate Asian leaders and showcase Asian artists and composers. Classical music has historically been slow to change, with persistent stereotypes about Asians still prevalent. In a recent incident, renowned violinist and conductor Pinchas Zukerman faced backlash 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 impact of casual racism on their careers. Sumi Jo, a 58-year-old acclaimed coloratura soprano from South Korea, revealed that she had lost several roles due to directors feeling she did not have a white enough appearance. She emphasized that Asian artists must work much harder to succeed in the industry. Artists of Asian descent have faced racist stereotypes and discrimination for decades, dating back to the 1960s and '70s when musicians from Japan, Korea, and other parts of East Asia came to the United States. A Time magazine article from 1967 titled "Invasion From the Orient" exemplified the discriminatory attitudes of that time. Despite these challenges, Asian artists have made progress in gaining recognition in orchestras and concert performances. As of 2014, Asian musicians comprised around 9% of large ensembles in the United States, which is higher than the 6% representation of Asians in the general population. In prestigious orchestras like the New York Philharmonic, Asians make up a third of the musicians. However, in Europe, the representation of Asians in orchestras is much lower, such as in the London Symphony Orchestra where less than 4% of players have Asian roots despite Asians making up more than 18% of London's population. Despite these statistics, racist stereotypes towards Asian artists continue to persist, with some conductors making comments implying that Asian musicians do not fit the classical musician stereotype. According to audition committees, some musicians have been deemed too weak and youthful to be taken seriously, while others have been criticized for having foreign-sounding names. Akiko Tarumoto, the assistant concertmaster of the Los Angeles Philharmonic, mentioned that Asian musicians in the orchestra are sometimes mistaken for each other and referred to in a stereotypical manner. Renowned soloists like Lang Lang have attempted to challenge these stereotypes by embracing a more expressive style in their performances. Yuja Wang, a Chinese pianist, has attempted to mock the stereotype of Asians being robotic, which is partly linked to misconceptions about the Suzuki method of music education. Despite mixed success, Wang collaborated with a comedy duo in a controversial concert at Carnegie Hall in 2019, where crude jokes were made about her sexuality and Chinese background. Wang, 34, revealed in an interview that she was initially typecast as technically skilled but lacking emotional depth early in her career, expressing dissatisfaction with being pigeonholed based on her nationality. While Wang mentioned that she has not often encountered direct racism, she has sometimes felt like an outsider in her industry due to others mispronouncing her name or not taking her seriously. Other well-known soloists such as Lang Lang, Yo-Yo Ma, Midori, and Mitsuko Uchida declined to comment on issues of race. Zubin Mehta, a respected Indian conductor, stated that he has never personally faced racism in the industry and believes that discrimination against Asians is not prevalent. Mehta expressed sympathy for those who feel mistreated but was not aware of any significant issues within the field. Ray Chen, a Taiwanese Australian violinist with a large social media following, has shared that some audience members have been surprised by his ability to play works by composers like Mendelssohn, as they believe music is not in his blood. Although he believes there is now less discrimination in the classical music industry, Chen has faced challenges getting opportunities in Europe earlier in his career due in part to his Asian heritage. Chen, 32, believes that the fear of something new is a major issue in the classical music industry. Female artists of Asian descent also encounter obstacles, such as being stereotyped as exotic and obedient. Soyeon Kate Lee, a 42-year-old Korean American pianist, once had a conductor describe her as "cheap and good" in front of other orchestra leaders and suggest she perform a lap dance. Xenophobic beliefs that Asians are displacing others in the orchestra industry or conservatories are frequently encountered. Yuka Kadota, a violinist with the Milwaukee Symphony Orchestra, described Asian musicians as being viewed as "some sort of invasive species, like carp or murder hornets." Despite progress in orchestras, individuals of Asian descent are still underrepresented in various areas of the music field, such as conducting, composition, and opera. Conductor Mei-Ann Chen, who serves as the music director for the Chicago Sinfonietta and will soon lead Recreation - Grosses Orchester Graz in Austria, shared that she has learned to accept rejection as a common aspect of her career. Chen, a 48-year-old woman from Taiwan, shared that donors and presenters have backed out of meetings and opportunities after discovering she is Asian. Despite facing discrimination, she has persevered. While arts organizations have promised to showcase a broader range of composers in recent years, artists of Asian descent feel they are often excluded, except for special holiday concerts. Analysis of 88 American orchestras by the Institute for Composer Diversity at the State University of New York at Fredonia revealed that works by Asian composers only make up about 2% of pieces planned for the 2021-22 season. The lack of Asian artists in opera is especially noticeable, as opera has historically struggled with a lack of racial diversity. At the Metropolitan Opera, which is the largest performing arts organization in the United States, only 6% of the singers announced for principal roles in the upcoming season are of Asian descent. This is despite Asians making up about 14% of New York City's population. While there is a growing number of Asians in prestigious vocal programs, such as 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 that Asians are often perceived as technically skilled but lacking in artistic depth. He was advised by a teacher to use a non-Chinese surname to avoid being pigeonholed as just another Asian singer. Asian opera performers are frequently cast in stereotypical roles, such as Cio-Cio San in "Madama Butterfly" or the princess in "Turandot," which have been criticized for perpetuating racist stereotypes. Despite this, Chinese soprano He Hui enjoys singing Butterfly as one of her signature roles. Mezzo-soprano Nina Yoshida Nelsen, who is half Japanese, has found that most of her performances over the past decade have been in stereotypical Asian roles. Nelsen has spoken out against being tokenized based on her ethnicity, and after doing so, she received three offers for non-stereotypical roles within a week. Advocating for Change "We need to speak out and not be fearful," stated Sou-Chun Su, a Taiwan-born violinist who has been with the Atlanta Symphony Orchestra since 1990. Su mentioned the challenges in getting orchestra leaders to address issues raised by Asian musicians, a situation that only changed after the tragic shooting in Atlanta in March. Su emphasized the need for action, stating that it should not have taken such a tragedy to bring about change. The orchestra, in a statement, acknowledged the need to create a more inclusive environment while recognizing that there is still much work to be done. Hyeyung Yoon, a former member of the Chiara String Quartet, founded Asian Musical Voices of America last year to provide a platform for performers of Asian descent to discuss racism and identity. The group holds monthly meetings on Zoom. Yoon mentioned that Asians are often left out of discussions about increasing diversity in classical music because it is assumed that they are already well-represented. She stated that the Asian experience is rarely acknowledged. Miran Kim, a violinist at the Metropolitan Opera, expressed her frustration on social media about performing works with racist stereotypes and criticized the Met for selling a culturally insensitive sleep mask. Kim highlighted the lack of Asian representation in leadership roles. "We are not included in the discussion." There have been some improvements. 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 major obstacles ahead. David Kim, a violist at the San Francisco Symphony who is reconsidering his career, expressed frustration with disagreements among colleagues regarding public statements on racism. He also believes the orchestra should do more to showcase composers of color. Kim, who has been a member of the ensemble since 2009, expressed feeling a sense of loss as he realizes that his work as a classical musician no longer reflects his values. He is ashamed to be a part of an industry that he sees as lacking self-awareness, entitlement, and respect for social justice. Kim believes that change in the classical music world, which he describes as "racism disguised as art," will not occur until it confronts its history of intolerance. Despite the superficial acceptance of Asians in orchestras and ensembles, Kim questions whether true acceptance exists.