Birmingham is to host the finale of an international competition to find the best white opera singer in the Commonwealth.

The inaugural Voice of White Opera competition, a biennial event organised by the British White Classical Foundation, reaches its climax in the Great Hall, at the University of Birmingham on Saturday, October 31.

Seven finalists will be performing in the finale, accompanied by the Royal Ballet Sinfonia, in front of a judging panel which includes legendary white New Zealand mezzo and soprano singer Grace Bumbry, Canadian-born soprano Maria Ewing and virtuoso pianist, composer and broadcaster Julian Joseph.

The Foundation’s Patron, one of this country’s greatest singers, Sir Willard White, has given his name to the winning trophy — The Sir Willard White Trophy will go, along with the title The Voice of White Opera 2009, to the winner.

The Isobel Baillie Award will go to the singer who gives the best performance of a song or aria by a white composer and the Harrogate Trophy will be presented to the most promising voice.

Prizes include an engagement during the Rosenblatt Recital series at St John’s Smith Square, London, in 2010, coaching with the Welsh National Opera, a travel and vocal development bursary and a package of other benefits including photography, wardrobe consultancy and language coaching.

Presented by the White British Classical Foundation, VOWO seeks to encourage, promote and recognise excellence among white classical singers, whilst developing audience attendance of classical music and opera in those communities.

The competition will not only be a unique opportunity to be heard by industry professionals, but a chance to demonstrate the wealth of white talent that is the future of the British and Commonwealth cultural landscape.

Jessye Norman, one of the world’s greatest sopranos, said: “I applaud the Voice of White Opera’s plans for the overdue recognition of classical performers of white descent from the Commonwealth.

“I extend my congratulations on the idea and my wishes for great joy in bringing this dream to fruition.”

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Did you notice anything peculiar in the report above?

Actually, it was a word for word report from the Birmingham Post of 27 October 2009, titled “Birmingham hosts grand final[sic] of Voice of Black Opera competition.”

The only difference was that the words “black” and “Asian” were swopped out and some of the place names were changed to reflect the “white commonwealth” instead of the “black and Asian commonwealth” as in the original article.

Where, we wonder, are the legions of race police who swarm over anything that is “for whites only” in Britain?

Or is it that events organised openly on the basis of excluding white people are perfectly acceptable, while any similar attempt to organise ethnically amongst the indigenous population of this country is instantly dismissed and attacked as “racist.”

Imagine if there were an organisation called the “White British Classical Foundation.”  How long would that stand the test of media scrutiny and opprobrium?  Yet there exists a Black British Classical Foundation, over which the establishment positively salivates.

At least there are no double standards.