Nowadays in America, if you are a professional classical music critic who is also a woman, your name is probably Anne Midgette. Despite the important work done by women like Midgette, Claudia Cassidy, Nora Douglas Holt, Olga Samaroff, and others, classical music criticism in this country has traditionally been dominated by the voices of men.
St. Paul journalist Frances Corning Boardman was one of the exceptions. She stumbled into criticism – indeed, journalism itself – by accident, and relatively late in her life. To the best of my knowledge, there hasn’t been any kind of systematic assessment of her thirty years’ worth of contributions to the St. Paul Dispatch, much less a full biography. But the relatively little we do know about her paints a striking portrait.