Writing to a friend, he thus speaks of the principle that governed him:—
"What induced me more than any thing else to appear in public was to give the lie to 'negro serenaders' (minstrels), and to show to the world that colored men and women could sing classical music as well as the members of the other race by whom they had been so terribly vilified."
Nor would he ever yield to that mean and vulgar prejudice, once so prevalent, but now happily disappearing, which either sought to prevent colored persons from entering at all the public-amusement hall, or else to force them to occupy seats near the entrance, or away up in the gallery. All must be treated alike, or he would not sing. As illustrating this characteristic, I give the following incident connected with the concert tour in Canada:—
In Hamilton, a Dr. Brown purchased for himself and some friends six reserved-seat tickets, at a cost of one dollar each. After he had done so, Mr. Bowers's agent was informed by the proprietor of the hall in which the concert was to be held that "colored people were not admitted to first-class seats in Canada." This created much excitement. Our artist espoused Dr. Brown's cause; informed Col. Wood that he would not sing, if he refused to admit the doctor's party on the terms implied by his tickets; that if, after entering, there should be any attempt to oust them, he would assist them; and that he did not leave his home to encourage such mean prejudice. This noble stand against unjust discrimination resulted in granting to Dr. Brown the seats for which he had purchased tickets; and, after this time, no attempt was made to exclude colored persons from the concerts of the troupe.
Mr. Bowers, during his career, has sung in most of the Eastern and Middle States; and at one time he even invaded the slavery-cursed regions of Maryland. He sang in Baltimore, the papers of which city were forced to accord to him high merit as a vocalist.
When we consider the high ideal cherished from the very commencement of his career by our subject, it is not surprising that his musical performances have never been marred by the singing of other than classical or the best music. He does sing, at times, songs in the ballad form; but these are always of the higher class, and such as would be adopted by any first-class singer. His repertoire is composed of most all the songs for the tenor voice in the standard operas and oratorios. He sings with fine effect such gems as "Spirito Gentil," from "La Favorita;" "Ah! I have sighed," from "Il Trovatore;" and "How so Fair," from "Martha."
Mr. Bowers resides at present in Philadelphia, and is a little past forty years of age. He sings as well now as ever; some think better than ever. He appears occasionally in public, but only in company with the first artists, as he firmly believes in maintaining always for himself and others a high musical standard. His voice ranges within a semitone of two octaves.
He is a man of decidedly handsome form, and of graceful, pleasing stage appearance; is, indeed, an ideal tenor, and a real artist.
I append, from among the many press-notices that have appeared during his career, the few that follow.
"The Daily Pennsylvanian" of Feb. 9, 1854, after describing the Sansom-street Hall concerts, and alluding to some defects in the manner of his gestures, thus speaks of the performances of our subject:—