A Gift to Opera: Anne Wallace’s Passion for
Music and Modern Storytelling
Interview by Jess Hess
In December of 2023, Anne Wallace made a landmark gift to Charlottesville Opera to explore new initiatives. The result is Wallace Worx. Join us March 28th & 29th for the first installment, Derrick Wang’s Scalia/Ginsburg, a comic opera.
Anne Wallace sat down with Jess Hess to discuss opera, why she moved to Charlottesville, and what she's hopes Wallace Worx can do.
Anne Wallace sat down with Jess Hess to discuss opera, why she moved to Charlottesville, and what she's hopes Wallace Worx can do.
Let me introduce you to my dog, her name is Tosca.
Is there a reason that you named your dog Tosca specifically?
Isn’t it obvious?
Was it self-evident when you got Tosca, what she was going to be, or do you think she's grown into her name?
Oh, she was always like this, a diva.
So you've been living here in Charlottesville for seven or eight years? Why here?
Yes. I mean, I was living in D.C. and I wanted to get out of the city. I always liked the country. I knew two people here, one couple. That was it. It seemed like a good idea. I found this property and I just really liked it.
And you grew up in Manhattan?
Yes, I grew up in Manhattan.
Your parents moved there from Ireland?
Yep, my parents immigrated in the 1930s. They didn't know each other in Ireland, but they got married [here].
What was that like growing up in New York City?
Oh, I loved it.
I went to Fordham University in the city and then decided to go to law school.
It’s funny that when came down here and people say, “What did you do?” I was a lawyer, and they said, “oh, you went to UVA,” and I'd say “No because they weren’t admitting women when I applied in 1970. I never got a response.” And I thought, oh, you know, it must have gotten lost in the mail. It never occurred to me that they didn't admit women. I thought that maybe it got lost from New York to Virginia. It wasn't until I came down here that I realized that they didn't start admitting women until 1972. And so, no, I didn't go [to UVA]. I went to Boston University instead.
Is there a reason that you named your dog Tosca specifically?
Isn’t it obvious?
Was it self-evident when you got Tosca, what she was going to be, or do you think she's grown into her name?
Oh, she was always like this, a diva.
So you've been living here in Charlottesville for seven or eight years? Why here?
Yes. I mean, I was living in D.C. and I wanted to get out of the city. I always liked the country. I knew two people here, one couple. That was it. It seemed like a good idea. I found this property and I just really liked it.
And you grew up in Manhattan?
Yes, I grew up in Manhattan.
Your parents moved there from Ireland?
Yep, my parents immigrated in the 1930s. They didn't know each other in Ireland, but they got married [here].
What was that like growing up in New York City?
Oh, I loved it.
I went to Fordham University in the city and then decided to go to law school.
It’s funny that when came down here and people say, “What did you do?” I was a lawyer, and they said, “oh, you went to UVA,” and I'd say “No because they weren’t admitting women when I applied in 1970. I never got a response.” And I thought, oh, you know, it must have gotten lost in the mail. It never occurred to me that they didn't admit women. I thought that maybe it got lost from New York to Virginia. It wasn't until I came down here that I realized that they didn't start admitting women until 1972. And so, no, I didn't go [to UVA]. I went to Boston University instead.
“In October [of 1969], under court order, the [UVA Board of Visitors] resolves to admit 450 women in 1970 and 550 in 1971, and to adopt full coeducation—admitting students without regard to gender—by 1972.” – UVA Magazine, “It was about time: A timeline of women at UVA”
It was really hard to get work in Boston, in 1973, but I got a position in D.C. with the Board of Governors of the Federal Reserve System. It actually worked out really well because I got into consumer protection legislation. I wrote the regulations under the Equal Credit Opportunity Act. And this is the 50th anniversary
The Equal Credit Opportunity Act is a law enacted on October 28, 1974 that makes it illegal to discriminate against any credit applicant based on race, religion, national origin, gender, marital status or age.
So, what was the first show that you ever saw? Do you remember the first time you saw an opera?
Honestly, I don’t remember. You know, I grew up in Manhattan.
Did you go to the Met?
Standing room. My father really liked classical music, so there was always classical music playing. It was WQXR in New York. I love plays. I love theatre, but there's something about the combination of, you know, the story and the music and the music is always so…that intensity of, you know the heights and the scary parts and the drama. It takes the emotions, and it ratchets them up.
It really does. So, I really loved it.
Honestly, I don’t remember. You know, I grew up in Manhattan.
Did you go to the Met?
Standing room. My father really liked classical music, so there was always classical music playing. It was WQXR in New York. I love plays. I love theatre, but there's something about the combination of, you know, the story and the music and the music is always so…that intensity of, you know the heights and the scary parts and the drama. It takes the emotions, and it ratchets them up.
It really does. So, I really loved it.
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When you came to this area did you know that there was an opera company here?
No, I really didn't. I looked it up and I remember going to a reception, but I didn’t know anybody. In fact, when I moved down here I asked, “so who's doing good work down here?” I wanted to get involved, so I asked the executive director of Legal Aid Justice Center at the time, “What do you want to do about immigration?” And I said, “How much do you need?” And I gave them like $150,000.what they needed and i It's one of the best things I ever did. |
Anne with Cynthia Neff at Charlottesville Opera's 2022 Gala
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...Music raises the soul, it enlightens everything.
When did you learn more about Charlottesville Opera? Did you come to see a show?
I remember meeting Gail Kitch she is a fellow opera lover and very enthusiastic. We started talking and she said “you should come (to the opera).” I think that was one of the first real introductions to Charlottesville Opera.
And you and Gail hit it off?
Yes! I remember I was having a drink with her, and she said I have to go because I'm meeting one of the candidates. That was Leanne. So it was that year that they hired Leanne. She was so enthusiastic about Leanne. When I met Leanne, I was like, “Oh yeah, she's the real thing.”
I remember going to a board meeting after I had become a board member and Leanne talking about the future. She seemed so in charge, that it was going to happen. Leanne is capable of creating the future of Charlottesville Opera. She has a vision and she can see where she is going. She has connections within the opera world and the visions and drive. I come from a business world and you can recognize that kind of person and know you should support them.
What made you donate for the work that we're doing?
Well, I think if you don't know opera, you may not realize that it’s about life. Opera has always been about the problems that are timely. But some of them are so old that (you) don't realize that they're really talking about politics in many of these things. Major composers were censored and they had to make changes to get it by the censors because they were offending the monarch or whoever was in power.
There's all this politics and stuff that's going on, but the age of the opera, the costumes, the foreign languages are barriers to seeing what it really is. Which is life’s challenges, life’s joys and sorrows. So maybe we need newer other ways to show people how wonderful opera is, what it can do. Because music raises the soul, it enlightens everything.
We tend to be so separated. You go to this because you're conservative or liberal or whatever. It's nice to be able to think that you can have people explore issues that aren't black and white, aren't so segregated.
And you think opera is a way of doing that, of exploring differences?
I do. Music has been human since there were humans and it is such an expression of our inner selves.
I mean, I saw Grounded, an opera that the Met put on this year, the Live in HD performance.
It's a story about a woman who’s a fighter pilot. She meets this wonderful man, and she gets pregnant and she can't fly anymore. Who would have thought that was a likely subject for an opera? It was interesting.
I remember meeting Gail Kitch she is a fellow opera lover and very enthusiastic. We started talking and she said “you should come (to the opera).” I think that was one of the first real introductions to Charlottesville Opera.
And you and Gail hit it off?
Yes! I remember I was having a drink with her, and she said I have to go because I'm meeting one of the candidates. That was Leanne. So it was that year that they hired Leanne. She was so enthusiastic about Leanne. When I met Leanne, I was like, “Oh yeah, she's the real thing.”
I remember going to a board meeting after I had become a board member and Leanne talking about the future. She seemed so in charge, that it was going to happen. Leanne is capable of creating the future of Charlottesville Opera. She has a vision and she can see where she is going. She has connections within the opera world and the visions and drive. I come from a business world and you can recognize that kind of person and know you should support them.
What made you donate for the work that we're doing?
Well, I think if you don't know opera, you may not realize that it’s about life. Opera has always been about the problems that are timely. But some of them are so old that (you) don't realize that they're really talking about politics in many of these things. Major composers were censored and they had to make changes to get it by the censors because they were offending the monarch or whoever was in power.
There's all this politics and stuff that's going on, but the age of the opera, the costumes, the foreign languages are barriers to seeing what it really is. Which is life’s challenges, life’s joys and sorrows. So maybe we need newer other ways to show people how wonderful opera is, what it can do. Because music raises the soul, it enlightens everything.
We tend to be so separated. You go to this because you're conservative or liberal or whatever. It's nice to be able to think that you can have people explore issues that aren't black and white, aren't so segregated.
And you think opera is a way of doing that, of exploring differences?
I do. Music has been human since there were humans and it is such an expression of our inner selves.
I mean, I saw Grounded, an opera that the Met put on this year, the Live in HD performance.
It's a story about a woman who’s a fighter pilot. She meets this wonderful man, and she gets pregnant and she can't fly anymore. Who would have thought that was a likely subject for an opera? It was interesting.
Anne with Tory Blackford (center) & Sandra Thomas (left) at Charlottesville Opera's 2022 Artist Sponsorship Event
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Because we think of opera as very classic rather than modern.
Yeah, I think there's something to that. If a story is modern, it doesn't mean it's less dramatic or less worthy. How many stories are there really? The issues are universal wherever you are. You know it's fear, love, hate, desire, anger. I mean, it's just…stories are kind of universal, aren't they? Scalia/Ginsburg is recent. But it’s more of a story about being together rather than examining divides? Yes, yes, it is. It's funny. People will laugh and hopefully see the humanity in these Justices. It’s compelling in its own way. Everything doesn’t have to be dramatic in order to be valuable. |
It’s a really interesting thing that culturally people really love musicals, but most people are not like, “wow, I love opera” immediately. How do you think we can get people to associate them with each other?
It's so much a cultural dividing line.
They're the same thing. They're just different. They’re packaged differently.
They're all singing. It’s a good, interesting story.
Lin Manuel Miranda's works like Hamilton. What? That's an opera, isn't it? Yeah, it's an opera. It's not an opera, it's opera, it’s a crossover. It’s hard to define where opera and musical separate. I mean, who cares?
It's a night out.
That's true. What are you hoping that we achieve with Wallace Worx?
I’m hoping that doing different works will bring in a wider audience and emphasize that this work is for everybody. It’s such a big community and the population here is growing. That's part of my hope is that doing different works will attract more new customers and bring them not our audience.
It feels good to be saying that we're expanding our programming, we're doing more. We are not just doing the same thing we've always done. Which you’ve given us the ability to do. Thank you for your gift and thank you for letting me interview you. I appreciate it.
Oh, my pleasure.
It's so much a cultural dividing line.
They're the same thing. They're just different. They’re packaged differently.
They're all singing. It’s a good, interesting story.
Lin Manuel Miranda's works like Hamilton. What? That's an opera, isn't it? Yeah, it's an opera. It's not an opera, it's opera, it’s a crossover. It’s hard to define where opera and musical separate. I mean, who cares?
It's a night out.
That's true. What are you hoping that we achieve with Wallace Worx?
I’m hoping that doing different works will bring in a wider audience and emphasize that this work is for everybody. It’s such a big community and the population here is growing. That's part of my hope is that doing different works will attract more new customers and bring them not our audience.
It feels good to be saying that we're expanding our programming, we're doing more. We are not just doing the same thing we've always done. Which you’ve given us the ability to do. Thank you for your gift and thank you for letting me interview you. I appreciate it.
Oh, my pleasure.
2025 News & Highlights
March 28, 2025
Scalia, Ginsburg families already have their tickets for comic opera about revered justices
Charlotteville, VA (The Daily Progress) - This weekend the Charlottesville Opera puts on "Scalia/Ginsburg," and family of both Supreme Court justices will be in attendance.
At a time when political polarization is making the metaphorical aisle between right and left feel more like a chasm, a modern opera offers a reminder that friendship, and a shared love for art, can transcend differences and help bring people back together.
A deep passion for opera was one of the drivers behind the unexpected friendship that late Supreme Court justices Antonin Scalia and Ruth Bader Ginsburg enjoyed over the years. Although their views of how the law should be interpreted could not have been more different in many ways, both jurists believed in the power of respect and friendship to strengthen American democracy.
This weekend, Charlottesville Opera’s production of “Scalia/Ginsburg,” composer-librettist Derrick Wang’s one-act comic opera about the unlikely but enduring friendship between the two justices, will give its audience a chance to learn more about the longtime colleagues and friends during panel discussions after each performance.
At a time when political polarization is making the metaphorical aisle between right and left feel more like a chasm, a modern opera offers a reminder that friendship, and a shared love for art, can transcend differences and help bring people back together.
A deep passion for opera was one of the drivers behind the unexpected friendship that late Supreme Court justices Antonin Scalia and Ruth Bader Ginsburg enjoyed over the years. Although their views of how the law should be interpreted could not have been more different in many ways, both jurists believed in the power of respect and friendship to strengthen American democracy.
This weekend, Charlottesville Opera’s production of “Scalia/Ginsburg,” composer-librettist Derrick Wang’s one-act comic opera about the unlikely but enduring friendship between the two justices, will give its audience a chance to learn more about the longtime colleagues and friends during panel discussions after each performance.
2024 News & Highlights
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July 10, 2024
Review: The Elixir of Love
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Charlottesville, VA (Today y Mañana) - Looking for an escape from this brutal summer heat? Look no further than the Paramount Theater of Charlottesville this weekend for the Charlottesville Opera’s production of “The Elixir of Love,” by Gaetano Donizetti. This witty, and nostalgic treatment of a timeless classic will be fun for kids, parents, and a remarkable introduction into the world of opera. You will be guaranteed to laugh, smile, and hear some of opera’s greatest moments sung by opera stars and upcoming artists in the genre.
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LEADS: Victor Starsky and Sarah Coburn crown the production as Nemorino and Adina, the first a bumbling fool whose love for the “cruel” Adina, leads him to seek the help of Dr. Dulcamara, a traveling con man played by Efraín Solís, in the hopes that the doctor can secure him a love potion to ensure Adina’s love for him before she marries the dashing Sergeant Belcore, played by Sidney Outlaw. All of the principles truly mastered their roles before coming to Charlottesville.
Victor Starsky’s “Una Furtiva Lagrima” was brilliantly performed, touching and soulful, a perfect contrast to Nemorino’s bumbling presence on stage, which Victor was able to capture without losing himself in the comedy of the part. The audience feels for the heartfelt sincere lover.
Sarah Coburn was stunning as Adina, her notes were crisp and beautiful and she played the role with seeming ease, though I can only imagine how difficult it is to convince the audience that she secretly loves Nemorino while acting the opposite. Sidney Outlaw and Efraín Solís really round out the rest of their opera with their performances, with Outlaw commanding the perfect amount of charm to channel Belcore and Solís comically and invigoratingly inhabiting a persona such as Dr. Dulcamara.
PRODUCTION: Director Cara Consilvio deserves a round of applause for accomplishing so much with so little, and that isn’t to imply that the production skimped, but rather with a few pieces, animations, and backdrops, she brought a small village in Italy to Charlottesville Virginia. Together with her husband, Cara Consilvio created some drawings that were projected onto the stage that make me reminisce of small towns in Italy. The drawings invoked the artisan craftsmanship of generations of men and women living la dolce vita and combined with the beautiful but rustic clothing, made for a perfect production! The animations also will be useful for children to follow along with the story who may struggle listening to an opera in Italian. Genius concept that is perfectly executed by Director Consilvio.
EMERGING ARTISTS: Another quick shoutout we should give is to the Emerging Artists who filled the chorus for this production, and in particular Laura Corina Sanders whose Giannetta was expressive, hilarious, and beautifully sung. A round of applause for the chorus and young artists whose acting, singing, and professionalism help drive the energy of the opera into the audience and fulfill the simply Italian vision that filled out Donizetti’s work.
Let’s also not forget to mention conductor Brian DeMaris who captures the joviality of the score in his baton and brings the charming and plucky score to life.
SUMMARY: All together, this year’s production of the “L'elisir d'amore” by Gaetano Donizetti by the Charlottesville Opera is another beautiful collaboration of talent and energy that Virginians of all ages will find irresistible not to leave the theater smiling and humming! Special thanks to Dr. Leanne Pettit Clement and Dr. Caroline Worra, the General Director and Artistic Director of the Charlottesville opera through whom these wonderful performances are, the General Director and Artistic Director of the Charlottesville opera through whom these wonderful performances are Caroline Worra made possible!
READ FULL REVIEW
Victor Starsky’s “Una Furtiva Lagrima” was brilliantly performed, touching and soulful, a perfect contrast to Nemorino’s bumbling presence on stage, which Victor was able to capture without losing himself in the comedy of the part. The audience feels for the heartfelt sincere lover.
Sarah Coburn was stunning as Adina, her notes were crisp and beautiful and she played the role with seeming ease, though I can only imagine how difficult it is to convince the audience that she secretly loves Nemorino while acting the opposite. Sidney Outlaw and Efraín Solís really round out the rest of their opera with their performances, with Outlaw commanding the perfect amount of charm to channel Belcore and Solís comically and invigoratingly inhabiting a persona such as Dr. Dulcamara.
PRODUCTION: Director Cara Consilvio deserves a round of applause for accomplishing so much with so little, and that isn’t to imply that the production skimped, but rather with a few pieces, animations, and backdrops, she brought a small village in Italy to Charlottesville Virginia. Together with her husband, Cara Consilvio created some drawings that were projected onto the stage that make me reminisce of small towns in Italy. The drawings invoked the artisan craftsmanship of generations of men and women living la dolce vita and combined with the beautiful but rustic clothing, made for a perfect production! The animations also will be useful for children to follow along with the story who may struggle listening to an opera in Italian. Genius concept that is perfectly executed by Director Consilvio.
EMERGING ARTISTS: Another quick shoutout we should give is to the Emerging Artists who filled the chorus for this production, and in particular Laura Corina Sanders whose Giannetta was expressive, hilarious, and beautifully sung. A round of applause for the chorus and young artists whose acting, singing, and professionalism help drive the energy of the opera into the audience and fulfill the simply Italian vision that filled out Donizetti’s work.
Let’s also not forget to mention conductor Brian DeMaris who captures the joviality of the score in his baton and brings the charming and plucky score to life.
SUMMARY: All together, this year’s production of the “L'elisir d'amore” by Gaetano Donizetti by the Charlottesville Opera is another beautiful collaboration of talent and energy that Virginians of all ages will find irresistible not to leave the theater smiling and humming! Special thanks to Dr. Leanne Pettit Clement and Dr. Caroline Worra, the General Director and Artistic Director of the Charlottesville opera through whom these wonderful performances are, the General Director and Artistic Director of the Charlottesville opera through whom these wonderful performances are Caroline Worra made possible!
READ FULL REVIEW
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June 28, 2024
Letter: A round of applause for the Charlottesville Opera
Charlottesville, VA (The Daily Progress) - Last weekend, I had the supreme pleasure of attending "The Music Man" presented by the Charlottesville Opera (formerly Ash Lawn Opera) at the Paramount Theater.The truly outstanding performance — with fabulous, professional-level singing, a huge chorus and beautiful dancing — was met with a well-deserved standing ovation.
Lindsay Ohse, who earlier this season sang the part of Papagena in Mozart's "Magic Flute" with the Metropolitan Opera, sang the role of Marian the Librarian exquisitely. Daniel Belcher, a Grammy Award-winning baritone who has sung many leading roles with professional opera companies around the world, played an irresistible Professor Harold Hill. All of the smaller parts — even one-liners — were sung strongly and beautifully.
We are very lucky to have the Charlottesville Opera here entertaining us with top-notch live music every summer. I am looking forward to their production of Donizetti's light opera "The Elixir of Love" July 12 and 14.
I know I will not be disappointed.
Clover Carroll
Crozet
Lindsay Ohse, who earlier this season sang the part of Papagena in Mozart's "Magic Flute" with the Metropolitan Opera, sang the role of Marian the Librarian exquisitely. Daniel Belcher, a Grammy Award-winning baritone who has sung many leading roles with professional opera companies around the world, played an irresistible Professor Harold Hill. All of the smaller parts — even one-liners — were sung strongly and beautifully.
We are very lucky to have the Charlottesville Opera here entertaining us with top-notch live music every summer. I am looking forward to their production of Donizetti's light opera "The Elixir of Love" July 12 and 14.
I know I will not be disappointed.
Clover Carroll
Crozet
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June 22, 2024
Letter: The Charlottesville Opera has a hit on its hands
Charlottesville, VA (The Daily Progress) - I wanted to inform all readers that the Charlottesville Opera is performing “The Music Man” this weekend and it’s complete riot! It’s tremendous fun, filled with catchy tunes, great heartfelt moments and a world of fun for children of all ages, including yours truly.
The leads were charismatic, the children adorable and the supporting cast full of enthusiasm.
The whole production from start to finish is brimming with nostalgic fun, and you’d be hard-pressed to find anyone leaving the theater without humming one of the many melodies that tickled their ears for the last two hours!
Ten of 10 stars, and I hope to see a packed house Sunday from my fellow Virginians!
Nickolas Urpi
Albemarle County
The leads were charismatic, the children adorable and the supporting cast full of enthusiasm.
The whole production from start to finish is brimming with nostalgic fun, and you’d be hard-pressed to find anyone leaving the theater without humming one of the many melodies that tickled their ears for the last two hours!
Ten of 10 stars, and I hope to see a packed house Sunday from my fellow Virginians!
Nickolas Urpi
Albemarle County
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June 1, 2024
Charlottesville Opera's new season is about letting the public engage with a 'living art'
Charlottesville, VA (The Daily Progress) - Charlottesville Opera’s upcoming 47th season at the Paramount Theater will feature Meredith Willson’s “The Music Man” on June 22 and 23 and Gaetano Donizetti’s “The Elixir of Love” on July 12 and 14. But there’s no need to wait for the house lights to go down on the Downtown Mall to hear the singers in action.
Between now and the productions’ opening nights, opera and musical theater will be presented in a variety of settings, with two coming up in the week ahead.
Starting at 11 a.m. Tuesday, the Master Class Series offers free weekly opportunities to explore the potential of sopranos, mezzo-sopranos, tenors and baritones at First Presbyterian Church. The Opening Night Aria Concert is next, at 7 p.m. Thursday in Grisham Hall at St. Anne’s-Belfield School, giving fans a chance to hear the Ader Emerging Artists.
Also on tap will be KidsFest events focusing on “The Music Man” on June 20 and “The Elixir of Love” on July 9, both at the Paramount; the Arts for All FestivALL on June 29 at Ting Pavilion; a new one-act opera by Michael Ching on July 3 at Vault Virginia; and a recital of art songs on July 9 at First Presbyterian Church, for which singers will be joined by coach and accompanist Jeremy Thompson.
For Leanne P. Clement, who’s in her third year as Charlottesville Opera’s general director, it’s a moment to reflect on the strength of the area’s arts community and the support its members receive from fellow ensembles and local residents alike.
“I appreciate so much how closely the community, especially the arts community, is tied together,” Clement told The Daily Progress. She is grateful for audience members who “want to be challenged by some new things and appreciate the classics as well. These other series are taking hold; they’re built to help the community.”
The Master Class Series, for instance, will give audience members deeper insights into how the singers develop and nurture their instruments.
“You get to see what it takes to build an operatic voice,” Clement said. As the singers open up the master class training process to listeners, “it takes a lot of vulnerability for the singers to do this.”
READ FULL ARTICLE
Between now and the productions’ opening nights, opera and musical theater will be presented in a variety of settings, with two coming up in the week ahead.
Starting at 11 a.m. Tuesday, the Master Class Series offers free weekly opportunities to explore the potential of sopranos, mezzo-sopranos, tenors and baritones at First Presbyterian Church. The Opening Night Aria Concert is next, at 7 p.m. Thursday in Grisham Hall at St. Anne’s-Belfield School, giving fans a chance to hear the Ader Emerging Artists.
Also on tap will be KidsFest events focusing on “The Music Man” on June 20 and “The Elixir of Love” on July 9, both at the Paramount; the Arts for All FestivALL on June 29 at Ting Pavilion; a new one-act opera by Michael Ching on July 3 at Vault Virginia; and a recital of art songs on July 9 at First Presbyterian Church, for which singers will be joined by coach and accompanist Jeremy Thompson.
For Leanne P. Clement, who’s in her third year as Charlottesville Opera’s general director, it’s a moment to reflect on the strength of the area’s arts community and the support its members receive from fellow ensembles and local residents alike.
“I appreciate so much how closely the community, especially the arts community, is tied together,” Clement told The Daily Progress. She is grateful for audience members who “want to be challenged by some new things and appreciate the classics as well. These other series are taking hold; they’re built to help the community.”
The Master Class Series, for instance, will give audience members deeper insights into how the singers develop and nurture their instruments.
“You get to see what it takes to build an operatic voice,” Clement said. As the singers open up the master class training process to listeners, “it takes a lot of vulnerability for the singers to do this.”
READ FULL ARTICLE
2023 News & Highlights
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July 14, 2023
Review: Tosca
Charlottesville, VA (Today y Mañana) - The Charlottesville Opera’s production of Puccini’s masterpiece, Tosca, is a team masterclass of artists and singers whose attention to detail and execution add so much depth to the experience as to leave you breathless to the last note! My wife and I could hardly clap due to the tension and sheer shock value. Even I, who knew how the opera would end, was not expecting the amount of tension being in the audience rather than watching a recording on television.
Our conversation following our exit from the theater covered such a wide range of topics as its hard to encapsulate in one review, but that testifies to the great range and depth of the performers, production team, and of course, the music.
The Production:
I have nothing but praise for the classic and yet inspired production, especially the work of Alek Shrader, the director of this production. From the start, the use of projections and on-stage effects blended in a believable and immersive manner. That’s exactly what helps set the stage for Puccini’s penetrating score.
The use of colored lights to highlight important scenes reminded me heavily of composer Aleksander Scriabin’s theories of blending color and music to achieve a heightened sense of drama and it was in perfect effect here. Act II and III certainly stand out as the choice of art behind the scenes did not distract, but enhanced and engaged with the action on stage. I don’t want to spoil the events of the opera, but I will mention that the Act III projection of St. Michael the Archangel with his sword on top of the Castel Sant’Angelo, which is the location of the event in the opera, has a powerful dialogue with the events of Act II regarding Tosca. Masterfully done.
Last but not least, Brian DeMaris’ baton extracted the best and most beautiful parts of Puccini’s music. I’ve always compared Puccini to a rich pastry, full of beauty and yet light and simple in execution. Maestro DeMaris handles the orchestra with great grace, allowing those moments where Puccini is the most luscious to hesitate, almost for a moment, so that the audience is suspended in this great beauty.
READ FULL REVIEW
Our conversation following our exit from the theater covered such a wide range of topics as its hard to encapsulate in one review, but that testifies to the great range and depth of the performers, production team, and of course, the music.
The Production:
I have nothing but praise for the classic and yet inspired production, especially the work of Alek Shrader, the director of this production. From the start, the use of projections and on-stage effects blended in a believable and immersive manner. That’s exactly what helps set the stage for Puccini’s penetrating score.
The use of colored lights to highlight important scenes reminded me heavily of composer Aleksander Scriabin’s theories of blending color and music to achieve a heightened sense of drama and it was in perfect effect here. Act II and III certainly stand out as the choice of art behind the scenes did not distract, but enhanced and engaged with the action on stage. I don’t want to spoil the events of the opera, but I will mention that the Act III projection of St. Michael the Archangel with his sword on top of the Castel Sant’Angelo, which is the location of the event in the opera, has a powerful dialogue with the events of Act II regarding Tosca. Masterfully done.
Last but not least, Brian DeMaris’ baton extracted the best and most beautiful parts of Puccini’s music. I’ve always compared Puccini to a rich pastry, full of beauty and yet light and simple in execution. Maestro DeMaris handles the orchestra with great grace, allowing those moments where Puccini is the most luscious to hesitate, almost for a moment, so that the audience is suspended in this great beauty.
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July 13, 2023
Silent treatment: Jay Yñiguez in the HotSeat
Charlottesville, VA (C-VILLE Writers) - When the curtain goes up at the opera, it’s easy to get swept up in the glamorous costumes, impressive sets, and sweeping high notes. Perhaps less noticeable, but equally worthy of attention, are the supernumeraries. They move silently throughout the production, playing important, non-speaking roles, filling out crowds, and adding to the grandeur of the opera’s constructed world. In Charlottesville Opera’s Tosca, supers play critical roles like the cardinal, the bishop, and Roberti the Torturer. Jay Yñiguez is one of these supers, and he dishes on his dream role, proudest accomplishment, and more. See Tosca July 14 and July 16.
Name: Julian “Jay” Yñiguez.
Age: 46.
Hometown: Chicago, Illinois.
Jobs: Air Force officer, program manager.
Worst thing about living here: No Chicago pizza.
Best thing about living here: Mountains and all the camping.
Favorite restaurant: 106th Street.
Where do you start and end a night out: Starr Hill in Crozet, O’Barrio’s (my basement bar).
Who is your hero: My Dad.
Best advice you ever got: “Do it right the first time, so you don’t have to do it again!”
Proudest accomplishment: Every time my daughter makes a good decision, and retiring from the Air Force after 20 years.
Describe a perfect day: Hitching up our Airstream and heading to the mountains, setting up camp and fishing with my wife and daughter, a campfire with a dram of Colonel EH Taylor Single Barrel Bourbon.
What’s something about yourself that people would be surprised to learn: I gave the graduation speech at my college graduation.
If you could be reincarnated as a person or thing, what would you be: Apologies, but life doesn’t get much better than this. I’m so grateful for my family, friends and life experiences so far … Tosca is yet another cherry on top!
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Name: Julian “Jay” Yñiguez.
Age: 46.
Hometown: Chicago, Illinois.
Jobs: Air Force officer, program manager.
Worst thing about living here: No Chicago pizza.
Best thing about living here: Mountains and all the camping.
Favorite restaurant: 106th Street.
Where do you start and end a night out: Starr Hill in Crozet, O’Barrio’s (my basement bar).
Who is your hero: My Dad.
Best advice you ever got: “Do it right the first time, so you don’t have to do it again!”
Proudest accomplishment: Every time my daughter makes a good decision, and retiring from the Air Force after 20 years.
Describe a perfect day: Hitching up our Airstream and heading to the mountains, setting up camp and fishing with my wife and daughter, a campfire with a dram of Colonel EH Taylor Single Barrel Bourbon.
What’s something about yourself that people would be surprised to learn: I gave the graduation speech at my college graduation.
If you could be reincarnated as a person or thing, what would you be: Apologies, but life doesn’t get much better than this. I’m so grateful for my family, friends and life experiences so far … Tosca is yet another cherry on top!
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July 12, 2023
For first time in history, Charlottesville Opera presents 'Tosca'
Charlottesville, VA (The Daily Progress) - For the first time in its 46-year history, Charlottesville Opera will be presenting a production of Giacomo Puccini’s “Tosca.” The new production, which will be presented at 7:30 p.m. Friday and 2 p.m. Sunday at the Paramount Theater, will be bringing a tale of passion, political turmoil, devotion and loyalty to a stage many believed was too small for the story.
“I’m very excited. A lot of people said it would be impossible to do ‘Tosca’ here because of the limitations of the space,” said Leanne Clement, producer and Charlottesville Opera’s general director.
Leading the cast are soprano Marsha Thompson as Floria Tosca, tenor Adam Diegel as Mario Cavaradossi and baritone Todd Thomas as Baron Scarpia. Together, they’ll invite audience members into an intense story of lovers in Rome who clash with a police chief who wants to arrest Cavaradossi’s close friend, an escaped political prisoner, and move in on the beautiful Tosca while her beloved Cavaradossi is wrongly imprisoned.
Tosca and Cavaradossi are deeply in love. Cavaradossi also is devoted to his friend Angelotti and has no intention of revealing his whereabouts to the dastardly Baron Scarpia.
“They’re caught up in the political turmoil, and it really informs the relationship,” Clement said. “What I see in this is these two individuals who are so hopeful and so optimistic. They are so in love with each other that they almost have blinders on.”
Tender, small details shaping the relationship between Tosca and Cavaradossi will ring true with audience members. Puccini’s writing makes it clear that “love and life are about these moments, and not just the big events in life,” Clement said.
If you’re hoping to persuade someone who’s new to opera to attend with you, Clement said “Tosca” is “a great first opera — for adults.”
“I think this is the quintessential opera,” Clement said. “It is what everyone expects an opera to be. It’s a tightly written show with great music and a great story. There’s death. There’s love.
“There’s no other opera that really does it better and does it more succinctly. Puccini doesn’t waste any notes. Each note is important and perfectly placed.”
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“I’m very excited. A lot of people said it would be impossible to do ‘Tosca’ here because of the limitations of the space,” said Leanne Clement, producer and Charlottesville Opera’s general director.
Leading the cast are soprano Marsha Thompson as Floria Tosca, tenor Adam Diegel as Mario Cavaradossi and baritone Todd Thomas as Baron Scarpia. Together, they’ll invite audience members into an intense story of lovers in Rome who clash with a police chief who wants to arrest Cavaradossi’s close friend, an escaped political prisoner, and move in on the beautiful Tosca while her beloved Cavaradossi is wrongly imprisoned.
Tosca and Cavaradossi are deeply in love. Cavaradossi also is devoted to his friend Angelotti and has no intention of revealing his whereabouts to the dastardly Baron Scarpia.
“They’re caught up in the political turmoil, and it really informs the relationship,” Clement said. “What I see in this is these two individuals who are so hopeful and so optimistic. They are so in love with each other that they almost have blinders on.”
Tender, small details shaping the relationship between Tosca and Cavaradossi will ring true with audience members. Puccini’s writing makes it clear that “love and life are about these moments, and not just the big events in life,” Clement said.
If you’re hoping to persuade someone who’s new to opera to attend with you, Clement said “Tosca” is “a great first opera — for adults.”
“I think this is the quintessential opera,” Clement said. “It is what everyone expects an opera to be. It’s a tightly written show with great music and a great story. There’s death. There’s love.
“There’s no other opera that really does it better and does it more succinctly. Puccini doesn’t waste any notes. Each note is important and perfectly placed.”
READ FULL ARTICLE
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June 20, 2023
Charlottesville Opera season opener is nicely, nicely chosen
Charlottesville, VA (The Daily Progress) - If summer travel isn’t in the cards this year, relax. Charlottesville Opera’s new production of “Guys and Dolls” offers destinations that are sure to please.
“The set is really exciting. People are going to feel transported to New York and Havana,” Leanne P. Clement, Charlottesville Opera’s general director, told The Daily Progress.
“Guys and Dolls,” the first production of the season, will be presented at 7:30 p.m. Friday, 2 and 7:30 p.m. Saturday and 2 p.m. Sunday at the Paramount Theater. Based on a story and characters by author Damon Runyon, the musical features music and lyrics by Frank Loesser and book by Jo Swerling and Abe Burrows.
The show is filled with familiar songs, including “Luck Be a Lady,” as well as songs that people often don’t realize are in the show, such as “I’ve Never Been in Love Before” and “A Bushel and a Peck.”
Leading the cast are Keith Phares as suave gambler Sky Masterson, Elise Quagliata as urban missionary Sister Sarah Brown, Chauncey Packer as Nathan Detroit and Cree Carrico as Detroit’s long-suffering fiancée, Miss Adelaide. Clement said audience members can expect to see plenty of chemistry at play in the depictions of the story’s main couples.
“Our leads, Elise Quagliata and Keith Phares, have worked together quite a bit in the past,” Clement said.
Quagliata was a natural choice, because “she’s a master of creating characters, and we thought she would embody Sister Sarah Brown so well,” Clement said. As for Phares, “he’s such a beautiful singer,” she added. “He’s suave, he’s calm, and he’ll really embody this character of Sky Masterson. There really is nobody else.”
Playing Nathan Detroit, who runs an illegal floating craps game, is Packer, whose schedule is getting packed with Metropolitan Opera dates.
“Chauncey’s last two contracts have been at the Met, and he has another one coming up this fall,” Clement said. “He has always been so dynamic on stage.”
Carrico, who plays his love interest, Miss Adelaide, “is probably, of the entire cast, our most seasoned musical theater performer,” Clement said. “She is spot on. The audience is going to adore her.”
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“The set is really exciting. People are going to feel transported to New York and Havana,” Leanne P. Clement, Charlottesville Opera’s general director, told The Daily Progress.
“Guys and Dolls,” the first production of the season, will be presented at 7:30 p.m. Friday, 2 and 7:30 p.m. Saturday and 2 p.m. Sunday at the Paramount Theater. Based on a story and characters by author Damon Runyon, the musical features music and lyrics by Frank Loesser and book by Jo Swerling and Abe Burrows.
The show is filled with familiar songs, including “Luck Be a Lady,” as well as songs that people often don’t realize are in the show, such as “I’ve Never Been in Love Before” and “A Bushel and a Peck.”
Leading the cast are Keith Phares as suave gambler Sky Masterson, Elise Quagliata as urban missionary Sister Sarah Brown, Chauncey Packer as Nathan Detroit and Cree Carrico as Detroit’s long-suffering fiancée, Miss Adelaide. Clement said audience members can expect to see plenty of chemistry at play in the depictions of the story’s main couples.
“Our leads, Elise Quagliata and Keith Phares, have worked together quite a bit in the past,” Clement said.
Quagliata was a natural choice, because “she’s a master of creating characters, and we thought she would embody Sister Sarah Brown so well,” Clement said. As for Phares, “he’s such a beautiful singer,” she added. “He’s suave, he’s calm, and he’ll really embody this character of Sky Masterson. There really is nobody else.”
Playing Nathan Detroit, who runs an illegal floating craps game, is Packer, whose schedule is getting packed with Metropolitan Opera dates.
“Chauncey’s last two contracts have been at the Met, and he has another one coming up this fall,” Clement said. “He has always been so dynamic on stage.”
Carrico, who plays his love interest, Miss Adelaide, “is probably, of the entire cast, our most seasoned musical theater performer,” Clement said. “She is spot on. The audience is going to adore her.”
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Education Initiative: Storytelling through Opera
with The Boys and Girls Clubs of Central Virginia
Charlottesville, VA – In February and March of 2023, Charlottesville Opera began a new education initiative aimed at storytelling through opera. The initiative took place in conjunction with The Boys and Girls Clubs of Central Virginia, specifically the Journey and Cherry Avenue locations. Students took part in a 6 week series of sessions during which they
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- learned about opera,
- wrote their own stories,
- created costumes,
- built sets,
- worked with singers to discover characters' emotions, and
- presented the opera to the rest of their club members.
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Two Classics Make Their Debut at Charlottesville Opera
(Charlottesville, VA) – Charlottesville Opera has announced plans to present two shows in the 2023 season that have never been produced in the company’s 45-year history: Frank Loesser’s Guys and Dolls and Giacomo Puccini’s Tosca. “We are excited to present these classic productions for our audience here in Charlottesville. Both shows exemplify what we all love about musical storytelling, great characters and captivating melodies,” says General Director Dr. Leanne Clement.
Guys and Dolls was the winner of the 1950 Tony Award for Best Musical and the 1951 Pulitzer Prize for drama. The show follows the unlikely love story of Sister Sarah Brown, a missionary trying to evangelize the wicked of New York City, and Sky Masterson, a high stakes gambler who has a hard time turning down any bet. Leading the cast of Guys and Dolls is Keith Phares as Sky Masterson. Opera News calls Phares’ voice a “fine lyric baritone” with “velvety beauty,” making him the perfect choice for the suave crooner. Mezzo-soprano Elise Quagliata stars alongside Phares as Sister Sarah Brown. The New York Times praised her performance with New York City Opera as “vocally and physically nuanced… vividly conveying the evolution of the character.”
Tosca is one of the top five most popular operas in the repertoire today. Puccini’s beautiful melodies permeate the story of a deadly love triangle set in Rome during the tumultuous time of Napoleon’s invasion. Mario Cavaradossi’s loyalty to his friends and country threatens his life. His love, Floria Tosca, attempts to obtain his freedom from the manipulative Baron Scarpia, who wants Tosca as his own. Veteran singing actor Todd Thomas appears as Baron Scarpia, a role he is also scheduled to sing for Florida Grand Opera earlier in 2023. Tenor Adam Diegel takes on the role of Cavaradossi, which he has previously sung with Seattle Opera, Palm Beach Opera, and most recently Opera Santa Barbara. Operawire.com describes Diegel’s voice as a “bright and shimmering lyric tenor.” In the title role, soprano Marsha Thompson leads the cast. A winner of the prestigious Licia Albanese-Puccini Foundation Award, and a student of the Marilyn Horne, Opera News praised her for singing “with a cascade of refined yet plush Italianate sound.”
Local performers will also be featured. Dr. Caroline Worra, Charlottesville Opera’s Artistic Director, comments, “The success of our last season was made possible by the incredible local singers who joined us as choristers. We are excited to once again offer opportunities for these individuals to work alongside world class professionals from across the country.”
Tosca and Guys and Dolls appear as the centerpiece of Charlottesville Opera’s 46th festival season that also offers concerts and semi-staged performances in various venues throughout June and July 2023. Performances will be held at The Paramount Theater. Dates and times to be announced.
Guys and Dolls was the winner of the 1950 Tony Award for Best Musical and the 1951 Pulitzer Prize for drama. The show follows the unlikely love story of Sister Sarah Brown, a missionary trying to evangelize the wicked of New York City, and Sky Masterson, a high stakes gambler who has a hard time turning down any bet. Leading the cast of Guys and Dolls is Keith Phares as Sky Masterson. Opera News calls Phares’ voice a “fine lyric baritone” with “velvety beauty,” making him the perfect choice for the suave crooner. Mezzo-soprano Elise Quagliata stars alongside Phares as Sister Sarah Brown. The New York Times praised her performance with New York City Opera as “vocally and physically nuanced… vividly conveying the evolution of the character.”
Tosca is one of the top five most popular operas in the repertoire today. Puccini’s beautiful melodies permeate the story of a deadly love triangle set in Rome during the tumultuous time of Napoleon’s invasion. Mario Cavaradossi’s loyalty to his friends and country threatens his life. His love, Floria Tosca, attempts to obtain his freedom from the manipulative Baron Scarpia, who wants Tosca as his own. Veteran singing actor Todd Thomas appears as Baron Scarpia, a role he is also scheduled to sing for Florida Grand Opera earlier in 2023. Tenor Adam Diegel takes on the role of Cavaradossi, which he has previously sung with Seattle Opera, Palm Beach Opera, and most recently Opera Santa Barbara. Operawire.com describes Diegel’s voice as a “bright and shimmering lyric tenor.” In the title role, soprano Marsha Thompson leads the cast. A winner of the prestigious Licia Albanese-Puccini Foundation Award, and a student of the Marilyn Horne, Opera News praised her for singing “with a cascade of refined yet plush Italianate sound.”
Local performers will also be featured. Dr. Caroline Worra, Charlottesville Opera’s Artistic Director, comments, “The success of our last season was made possible by the incredible local singers who joined us as choristers. We are excited to once again offer opportunities for these individuals to work alongside world class professionals from across the country.”
Tosca and Guys and Dolls appear as the centerpiece of Charlottesville Opera’s 46th festival season that also offers concerts and semi-staged performances in various venues throughout June and July 2023. Performances will be held at The Paramount Theater. Dates and times to be announced.
2022 News & Highlights
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'Merry Widow' offers lighthearted fun in operetta setting
CHARLOTTESVILLE, Va (The Daily Progress) - If you’re still trying to shake pandemic doldrums, nothing fuels a can-do spirit quite like a can-can.
When Charlottesville Opera opens its second production of the season, Franz Lehar’s “The Merry Widow,” on Friday at Paramount Theater, audience members will see plenty of dancing. There’s a vibrant cast of internationally lauded performers, a team of up-and-coming singers from the company’s Ader Emerging Artists ranks and a chorus filled with Charlottesville-area children and adults.
And its stars bring a rare spark that blends their skills at singing and comedy. Caroline Worra, Charlottesville Opera’s new artistic director, stars as Hanna Glawari — the “merry widow” of the title — and Richard Troxell is Count Danilo. They’ve performed the roles together before.
“The two of them have this great comedic chemistry,” said Leanne Pettit Clement, Charlottesville Opera’s general director.
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When Charlottesville Opera opens its second production of the season, Franz Lehar’s “The Merry Widow,” on Friday at Paramount Theater, audience members will see plenty of dancing. There’s a vibrant cast of internationally lauded performers, a team of up-and-coming singers from the company’s Ader Emerging Artists ranks and a chorus filled with Charlottesville-area children and adults.
And its stars bring a rare spark that blends their skills at singing and comedy. Caroline Worra, Charlottesville Opera’s new artistic director, stars as Hanna Glawari — the “merry widow” of the title — and Richard Troxell is Count Danilo. They’ve performed the roles together before.
“The two of them have this great comedic chemistry,” said Leanne Pettit Clement, Charlottesville Opera’s general director.
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Opinion/Letter: Opera brings smiles, laughter
CHARLOTTESVILLE, Va (The Daily Progress) - I'd recommend this to all my girlfriends,” my wife said to me as we exited the theater last night, still smiling and humming the charming melodies and reminiscing the hilarious moments from the Charlottesville Opera’s English language production of Franz Lehar’s toe-tapping, hilarious comedy, “The Merry Widow.”
A small group of children laughed to the left of us, having just been rewarded with a tour of our historic Paramount Theater just minutes before by Dr. Leanne Clement, general director of the Charlottesville Opera. It was easy to understand why they were laughing as well. Their top-notch production incorporated layers of comedy for all ages. The zany acting by the cast appealed to children without interfering with the witty verbal comedy that adults enjoy. My wife and I were both rolling in the balcony with laughter and jumped to our feet, swelling with adrenaline from the whirlwind energy at the finale.
Having been weaned on opera since I was a child, I felt at home with “The Merry Widow,” but it was refreshing to hear my wife, a newcomer to the genre, say that she could not only find laughter, but also appreciation for what opera promises to operagoers: the refined beauty of the human voice in music.
Every member of the cast from Dr. Caroline Worra, Richard Troxell, Katie Henley, to Andrew Stenson shined in their roles. Dr. Caroline is a veritable star whose voice could fill your soul with music as easily as it filled the theater.
It was a special evening and I recommend it to everyone in our greater Charlottesville area. Please consider seeing “The Merry Widow” this weekend, you will laugh, cheer, and experience beauty at its best.
Nickolas Urpi
Charlottesville
A small group of children laughed to the left of us, having just been rewarded with a tour of our historic Paramount Theater just minutes before by Dr. Leanne Clement, general director of the Charlottesville Opera. It was easy to understand why they were laughing as well. Their top-notch production incorporated layers of comedy for all ages. The zany acting by the cast appealed to children without interfering with the witty verbal comedy that adults enjoy. My wife and I were both rolling in the balcony with laughter and jumped to our feet, swelling with adrenaline from the whirlwind energy at the finale.
Having been weaned on opera since I was a child, I felt at home with “The Merry Widow,” but it was refreshing to hear my wife, a newcomer to the genre, say that she could not only find laughter, but also appreciation for what opera promises to operagoers: the refined beauty of the human voice in music.
Every member of the cast from Dr. Caroline Worra, Richard Troxell, Katie Henley, to Andrew Stenson shined in their roles. Dr. Caroline is a veritable star whose voice could fill your soul with music as easily as it filled the theater.
It was a special evening and I recommend it to everyone in our greater Charlottesville area. Please consider seeing “The Merry Widow” this weekend, you will laugh, cheer, and experience beauty at its best.
Nickolas Urpi
Charlottesville
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'Sound of Music' brings 'butterfly feeling' back to the Paramount
CHARLOTTESVILLE, Va (The Daily Progress) - Audiences expect stirring moments in “The Sound of Music” — everything from humor to loyalty to love. But since the pandemic began stirring feelings of isolation and fear, the timeless Richard Rodgers and Oscar Hammerstein II musical has a way of bringing out a different emotion with its message of freedom.
“It’s very liberating,” said Leanne P. Clement, the new general director of Charlottesville Opera. “After being kept in a cocoon and coming out of the cocoon, there’s a butterfly feeling.”
“The Sound of Music” will be presented at 7 p.m. Thursday, Friday and Saturday and 2 p.m. Sunday to open Charlottesville Opera’s new season at the Paramount Theater. The 127-member opera company will be back at the Paramount for the first time since the pandemic began.
For Clement and her team, “there’s a lot of gratitude. People are passionate, but overall, people are grateful to be back in the space doing the things we love."
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“It’s very liberating,” said Leanne P. Clement, the new general director of Charlottesville Opera. “After being kept in a cocoon and coming out of the cocoon, there’s a butterfly feeling.”
“The Sound of Music” will be presented at 7 p.m. Thursday, Friday and Saturday and 2 p.m. Sunday to open Charlottesville Opera’s new season at the Paramount Theater. The 127-member opera company will be back at the Paramount for the first time since the pandemic began.
For Clement and her team, “there’s a lot of gratitude. People are passionate, but overall, people are grateful to be back in the space doing the things we love."
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Auditions are underway for Charlottesville Opera
CHARLOTTESVILLE, Va. (WVIR) - If you love to sing and act, there’s a perfect opportunity for you: Charlottesville Opera is gearing up for auditions!
“This summer we will be producing the Sound of Music and the Merry Widow as part of our 45th season, and we want you. It’s audition season. If you’re interested in our emerging artist program - being a part of the chorus, an acting role, one of the children’s roles 5 to 16 - we want to hear from you,” Artistic Director Caroline Worra said.
The audition deadline for emerging artists is February 14. All of the others are due by February 16.
“This summer we will be producing the Sound of Music and the Merry Widow as part of our 45th season, and we want you. It’s audition season. If you’re interested in our emerging artist program - being a part of the chorus, an acting role, one of the children’s roles 5 to 16 - we want to hear from you,” Artistic Director Caroline Worra said.
The audition deadline for emerging artists is February 14. All of the others are due by February 16.
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Charlottesville Opera Announced the Appointment of Caroline Worra as Artistic Director
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Charlottesville, VA (October 13, 2021) — David Newkirk, Chair of Charlottesville Opera’s Board of Directors and Christina Deaton DeMarea, General Director, today announced that Caroline Worra has been named Artistic Director of the nonprofit company, effective immediately.
Hailed by Opera News as “one of the finest singing actresses around,” Worra has sung over 90 roles, from over 70 operas, including 20 world, American and regional premieres. She has worked with over 80 different opera companies including The Metropolitan Opera, The Lyric Opera of Chicago, Boston Lyric Opera. She performed six seasons at both Glimmerglass Opera and New York City Opera. Worra also performed on two U.S. National Tours with San Francisco’s Merola/Western Opera Theatre singing Violetta in La Traviata and Rosalinda in Die Fledermaus. She also has excelled as an outstanding vocal coach known for her emphasis on superior technique. |
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Said Worra, “I am thrilled to accept this new position as Artistic Director especially after having served as Director of Charlottesville Opera’s Emerging Artist Program in 2021. I know first hand the high quality of the company’s performances with professionals from across the country.”
Said Newkirk, “Having a world acclaimed artist of Caroline’s stature committed to Charlottesville Opera is a tribute to the quality of this company and our community. We look forward to the leadership she will bring.”
Said DeMarea, “Having known Caroline for many years, I am thrilled that she has accepted this important position. She contributed immeasurably to last season’s incredible success in the midst of a pandemic and will bring extraordinary artistry to our exciting 2022 season.”
Worra will work closely with the Charlottesville Opera Board of Directors to advance the company’s artistic vision, build the artistic team, contribute to its position in the opera industry and continue the high quality of the company's musical performances to enrich the Charlottesville community.
Said Newkirk, “Having a world acclaimed artist of Caroline’s stature committed to Charlottesville Opera is a tribute to the quality of this company and our community. We look forward to the leadership she will bring.”
Said DeMarea, “Having known Caroline for many years, I am thrilled that she has accepted this important position. She contributed immeasurably to last season’s incredible success in the midst of a pandemic and will bring extraordinary artistry to our exciting 2022 season.”
Worra will work closely with the Charlottesville Opera Board of Directors to advance the company’s artistic vision, build the artistic team, contribute to its position in the opera industry and continue the high quality of the company's musical performances to enrich the Charlottesville community.
2021 News & Highlights
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Charlottesville Opera marks the city's return to live theatre
image via CBS19.com
CHARLOTTESVILLE, Va (CBS19 News)--After nearly 18 months away from the stage, live theatre is back in town.
The Charlottesville Opera opened their production of "La Boheme" Thursday night at the Ting Pavilion.
According to the opera, this is the first theatrical production ever on the pavilion stage.
They say it's one of the first live theatre performances to come back anywhere in the country.
One actress says she’s overjoyed.
"Just having a moment together, ya know, that's what we're here for in a live performance. to create this beautiful moment and allow ourselves to dive into some emotions and things that I think we all need to do together as a community,” said Jessica E. Jones, singing the lead role of Musetta.
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Charlottesville Opera prepares for return to stage with historic performance
image via NBC29.com
CHARLOTTESVILLE, Va. (WVIR) - For the first time ever, an opera is coming to Charlottesville’s Ting Pavilion and for many performers, it’s the first time they’ve been on stage in front of a crowd in over a year.
Charlottesville Opera is turning the page from pandemic to performance.
“Just enjoying making art again has meant so much to us,” said Stephanie Havey, the director.
In front of a small ‘rehearsal’ audience on Wednesday, the Opera prepared for its first showing of La Bohème on Thursday, which will be performed in front of a larger crowd at the Ting Pavilion.
“That vibrancy of having an audience and understanding that shared experience is unlike anything else,” said Jessica E. Jones, who plays the role of Musetta.
The audience on Thursday, and for the second show on Saturday, will be watching these opera singers in the pavilion’s first-ever theatrical performance.
“There’s just that added energy,” said Charlottesville Opera General Director Christina DeMarea. “There would already be energy in such a cool space and being outdoors, but it’s just heightened up that much more.”
The opera is set in Paris just before the 1968 protests. Havey says the similarities between the show and our current world make this performance really timely.
“This is a joyful story that centers on a love story, but it’s also within the context of unrest in the world,” she said. “We hope that audiences will be able to connect directly into the story that we’re telling.”
That story is soon to be shared together with an audience after over a year of separation.
“Being able to connect to people, and to be able to hopefully change their lives in some small way for a minute, for a night, for a moment, maybe for a longer time than that, and to create a little beauty in their lives,” Jones said.
Charlottesville Opera says it has used the new technology, like the pavilion’s LED screens, to create an atmosphere and setting that connects Paris in the ‘60s to our current world.
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Charlottesville Opera launches 43rd season by singing in IX Art Park
In years past, Charlottesville’s opera fans spent summer evenings settling into seats among the boxwoods at James Monroe’s Highland estate. They listened to stirring arias as stars began shimmering in the sky behind the stars on the stage. And, if you were lucky, you might hear a peacock shrieking its approval of a coloratura soprano’s sparkling turn.
This weekend, Charlottesville Opera is heading back outdoors to open its 43rd season, keeping pandemic safety precautions in mind while offering a fond nod to tradition. Performances of “Broadway in the Park” will begin at 7 p.m. Friday and Saturday at IX Art Park, and although listeners will hear some ambient traffic sounds, no peacock feathers will be ruffled in the making of the music.
For listeners, it’s an opportunity to get outside and spend a summer evening revisiting favorite musical theater songs and soaking in new-to-you Broadway tunes.
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CBS19 News
Thank you to Sarah Robinson of CBS19 News: Charlottesville News First for this article highlighting love at the opera!
CHARLOTTESVILLE, Va. (CBS19 NEWS) -- The pandemic has affected everyone, and has made life harder in numerous ways, but love is one thing that keeps people going, even through hardship.
Bob Bennetta and his partner Diana have been together now for 15 years. He says her support in all of his endeavors is so special to him. "I played right around the corner at Fellini's for 16 years. I'm a pianist. And, she was there for almost every gig for almost 15 years. So, that's pretty good,” said Bennetta. They chose to keep it simple this year, but he was on the hunt for one special gift for his number one person. “One beautiful rose, you know, with greenery and baby's breath all around it like that," he said.
Another couple, Sanjin and Alex, are celebrating four years spent together. They shared what makes them a perfect match for each other. "Her ability to smile in all sorts of situations,” said Sanjin. “I really appreciate his humor, and his commitment to his goals, and his values," added Alex. Alyssa and Skyler are relatively new to each other, but their love for one another runs deep. "We're actually in law school together so we met through our law school classes. I love how amazingly supportive he is in all of the things that I do,” said Alyssa. “She is incredibly kind and patient," added Skyler.
Tascha Anderson and Michael Gray have a unique story as well. They met through the Charlottesville Opera in 2019.
Their love of the performing arts created a special bond. “We were hired to do the Tragedy of Carmen. I was Carmen, the title role, and he was Don Jose, my opposite. So, we were both the leads,” said Anderson. They tried to keep their relationship strictly professional. The chemistry between them had other plans. Within weeks, they were in love and this past Christmas Eve, they got engaged. While Anderson had a hunch a proposal might be coming, her unique ring was a surprise.
"Michael actually made my ring. It's a piece of silver that he made into a ring. His mother, an amazing mother, gifted me her engagement ring as well, so I have that on my other hand," she said. Since creativity brought them together, he thought it was only fair to bring a creative flair to the proposal, so he followed a tutorial on YouTube. Anderson and Gray recently made a video with the Charlottesville Opera to celebrate their love. Watch it here.
Bob Bennetta and his partner Diana have been together now for 15 years. He says her support in all of his endeavors is so special to him. "I played right around the corner at Fellini's for 16 years. I'm a pianist. And, she was there for almost every gig for almost 15 years. So, that's pretty good,” said Bennetta. They chose to keep it simple this year, but he was on the hunt for one special gift for his number one person. “One beautiful rose, you know, with greenery and baby's breath all around it like that," he said.
Another couple, Sanjin and Alex, are celebrating four years spent together. They shared what makes them a perfect match for each other. "Her ability to smile in all sorts of situations,” said Sanjin. “I really appreciate his humor, and his commitment to his goals, and his values," added Alex. Alyssa and Skyler are relatively new to each other, but their love for one another runs deep. "We're actually in law school together so we met through our law school classes. I love how amazingly supportive he is in all of the things that I do,” said Alyssa. “She is incredibly kind and patient," added Skyler.
Tascha Anderson and Michael Gray have a unique story as well. They met through the Charlottesville Opera in 2019.
Their love of the performing arts created a special bond. “We were hired to do the Tragedy of Carmen. I was Carmen, the title role, and he was Don Jose, my opposite. So, we were both the leads,” said Anderson. They tried to keep their relationship strictly professional. The chemistry between them had other plans. Within weeks, they were in love and this past Christmas Eve, they got engaged. While Anderson had a hunch a proposal might be coming, her unique ring was a surprise.
"Michael actually made my ring. It's a piece of silver that he made into a ring. His mother, an amazing mother, gifted me her engagement ring as well, so I have that on my other hand," she said. Since creativity brought them together, he thought it was only fair to bring a creative flair to the proposal, so he followed a tutorial on YouTube. Anderson and Gray recently made a video with the Charlottesville Opera to celebrate their love. Watch it here.