NASHVILLE

WHAT HAPPENS WHEN 22,000 CHILDREN MEET OPERA EARLY ON? THEY LOVE IT!

NASHVILLE OPERA HEADS TO NEW YORK—AGAIN THREE WAY AT BAM JOIN US IN BROOKLYN JUNE 15 –18 CARMEN APRIL 6 & 8 CLOSING OUR 2016.17 SEASON WITH A BIG SPANISH BANG! SPRING 2017 SPRING 2014 NASHVILLE OPERA’S THREE WAY RECREATED IN NEW YORK THIS JUNE

Three Way’s world premiere in January had our audience talking. Nashville Opera and co-producer American Opera Projects will be recreating the acclaimed Three Way at the Brooklyn Academy of Music, June 15 –18. If you are interested in coming with us, seeing the show, and enjoying some exclusive Brooklyn experiences, make sure you are signed up to receive our email news - flashes. We will be announcing a travel package soon. SPECIAL THANKS TO ANN & FRANK BUMSTEAD WORLD PREMIERE SPONSORS

Right: Jordan Rutter, Melisa Bonetti, and Danielle Pastin in MASQUERADE. Below : Eliza Bonet and Matthew Treviño in SAFE WORD. Opposite: Samuel Levine, Danielle Pastin, and Wes Mason in THE COMPANION. Jordan Rutter, Melisa Bonetti, Eliza Bonet, Matthew Treviño, Danielle Pastin, Wes Mason, Courtney Ruckman, and Samuel Levine in MASQUERADE. P h o t o s

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“Such an outside-the-box and thought- A n t h o

provoking show...Made for a powerful n y

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discussion on the way home.” p o l o “Excellent all around!” “I really loved the entire performance... well-sung, witty and very innovative!” “Whatever John Hoomes directs, Nashville is deeply fortunate to have him at the helm of the Opera.” “Attending a world premiere was very exciting. This MUST continue if opera is to be a living art form and not a museum for ancient artifacts.”

- Audience members after Nashville Opera’s THREE WAY NASHVILLEOPERA.ORG ‘‘ “THANK YOU FOR YOUR COMMITMENT TO NEW WORK! WOULD LOVE TO SEE NASHVILLE BECOME MORE AND MORE KNOWN FOR ITS INCREDIBLE STRENGTH IN THIS ARENA. OUR CITY’ S ECONOMY IS FOUNDED ON NEW MUSIC!”

NASHVILLEOPERA.ORG

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Bizet’s fiery blockbuster heats up Jackson Hall April 6 & 8

Bizet’s Carmen has often been called the intense, tragic finale. In the novella, the appear in a theater which catered primarily most famous opera in the world. It cer - tale is told by the narrator in flashback to family audiences. Although they sug - tainly is one of the most performed form, while José waits to be executed for gested several changes to soften the operas in history and always attracts a his crime. story’s hard edges, Bizet resisted most of huge audience. Every major opera com - Although Mérimée was intensely proud them. Bizet argued, not untruthfully, that pany in the world has produced Carmen of his work and of his ability to capture the changes they were proposing made the and it is continually programmed every the truth of raw emotion on the printed libretto less powerful and emotionally year. The music is instantly recognizable, page, his novella was not embraced as he effecting. Bizet, from the beginning, was but, surprisingly, Bizet and his librettists expected. One reason was the violent and attracted to the story of Carmen because had nothing to do with the creation of the sensual nature of its story. At the time of he felt it would create an opera that would original story. the novella’s publication, Paris was experi - startle and impress the audience. Carmen was first published as a novella encing a surge in morality, and works that The changes that were made to the in 1845 by author Prosper Mérimée. did not reflect family values were frowned story flesh out Carmen’s world, creating While traveling through Spain a number upon. Thus, Carmen was deemed morally dramatic contrasts and intensity. In the of years before, Mérimée first heard the objectionable by those in power, and original novella, there is no additional story of love and revenge told by a count - decent bookstores and newspapers were male figure to attract Carmen and become ess at a dinner party. The countess’s ver - encouraged not to sell or advertise such a sion involved a Spanish gypsy girl who work. Still, the novella became an under - From the beginning, Carmen was was killed by her jealous lover after he dis - ground success, primarily among the peo - covers her unfaithfulness. ple that opposed government censorship met with fierce disapproval, even The story that Mérimée ended up writ - and book banning. Because of the for - by the people producing it. The ing is somewhat different than the one he bidden nature of the novella, its populari - music was roundly criticized as heard. At the center of Mérimée’s novella ty began to grow. It seems a scandal rarely “immoral,” “musically dissonant,” is the gypsy girl Carmen, a beautiful, hurts a book’s sales in some circles. and “a new low.” manipulative woman who leads men After many modest successes, Bizet astray by her gorgeousness and dancing. chose Carmen in 1874 as the subject for his Her lover José is a jealous, possessive man new opera. The story was then adapted by the focus of Don José’s jealousy. In the who falls totally in love with her. He librettists Ludovic Halévy and Henri opera’s libretto, however, this male figure deserts his regiment for her and is later Meilhac, who at the time were more is personified in Escamillo, the handsome accused of a crime that he has not com - famous than the composer. It was bullfighter. Another character, an inno - mitted. Carmen’s reluctance to commit to rumored that they did not approve of cent blonde girl named Micaela, was him forever after the sacrifices he has Bizet’s choice of material, which they felt added as Don José’s fiancé, to better bal - made for her leads him to kill her in an somewhat sordid for an opera that was to ance José’s character and offer contrast to

4 the dark beauty of Carmen. Also, being an opera, Bizet added many choruses for townspeople, soldiers, and crowds attend - ing the bullfight. One aspect that was not changed in the opera is the character of Carmen herself. Carmen is the same strong-willed, inde - pendent woman portrayed in the novella. There is a unusual power about her and a fierce passion that always wins an audi - ence to her side. She is brave and willful, even in the face of death itself. In fact, Carmen shows no fear of death, even when the end looks inevitable. This was DINE a different type of female character for the operatic stage. Carmen not only has no need to be saved by a man but feels BEFORE she doesn’t really need a man in her life at all unless she wants one. It’s little wonder audiences found the opera shocking and CARMEN out of their normal experience. From the beginning, the opera Carmen was met with fierce disapproval, even by NASHVILLE OPERA GUILD invites you the people involved in producing it. to dinner in the elegant Waller Penthouse on Union Rehearsals were sporadic at best. Several original cast members quit before the Street—just steps from the theater—Saturday, April 8, opening performance. The music, in before the performance of CARMEN. Cocktails and which Bizet did a fascinating job incorpo - rating Spanish flavor, was roundly criti - a Spanish-themed meal with wine will set the tone for cized as “immoral,” “musically disso - a grand operatic evening. Deb Tallent-Barcus is our nant,” and “a new low.” Though the gracious chair. The cost is $85 per person, and opera received a number of perfor - mances and some audience acclaim, Bizet complimentary parking is included. Come enjoy great himself felt the work was a flop. company and the incomparable city view! Today, however, Carmen is perhaps the most popular opera on the planet. The Please call 615.832.5242 to reserve. real strength of Carmen (besides Bizet’s stunning music) seems to be that the work does not impart a moral message or a lesson. Rather, it allows each character to move within his or her own moral uni - MAY WE SUGGEST OTHER WAYS verse and meet a unique destiny. The TO GET INTO THE CARMEN SPIRIT? opera is not afraid to present its charac - ters with all of their human flaws OPERA INSIGHTS BEFORE THE SHOW exposed, and it allows them to come to life in all of their glorious, messy, passion - Join CEO & Artistic Director John Hoomes for a pre-opera talk ate, realistic humanity. This approach one hour before the curtain rises right in Jackson Hall. You’ll may not please society’s moral watchdogs, hear historical information about CARMEN as well as fun facts but it certainly makes for a masterpiece of about Nashville Opera’s particular production of the classic. an opera. The talk is free with the purchase of your ticket. I always look forward to staging Bizet’s Carmen . We hope you will join us and our BACKSTAGE TOURS talented cast for Nashville Opera’s latest See the behind-the-curtain workings of Nashville Opera’s presentation of it , April 6 and 8 at TPAC. CARMEN on a guided backstage tour 30 minutes before the show. Space is limited, so please reserve early by emailing JOHN HOOMES Katie Arata at [email protected] or hitting the request CEO & Artistic Director button on the CARMEN web page of nashvilleopera.org.

NASHVILLEOPERA.ORG 5 BOVENDER PRINCIPAL ARTIST GINGER COSTA-JACKSON

Nashville Opera’s Carmen talks about her very musical upbringing in Italy, her professional debut at the Met (with Renee Fleming!), and what she would do if she weren’t an opera singer

What's your first memory of singing? My first memory of opera singing would be listening to my youngest sister, Miriam, practicing “Ch’il bel sogno di Doretta” Do you have any pre-performance rituals? [from Puccini’s La Rondine] . She has the ability to hit some of the Before going on stage for “Habanera,” I’m usually dancing a little prettiest, most soaring high notes you’ve ever heard. As I lis - waltz to the music of the cigarette girls. In general a lot of us tened to her practicing, I also caught the opera bug! I later goof off in the background behind the curtains, probably a way approached my mother about wanting to take voice lessons. She of handling stress. I’m normally itching to get on stage, so I’ve kindly told me that I had been blessed with many talents but got to have an escape valve for some of the energy before I maybe singing wasn’t one of them. I was, however, born with unleash it on the public. Other rituals before a show are getting Sicilian stubbornness and I wanted to sing like Miriam, so I per - plenty of rest, hydrating, and putting my hair in braids the night severed until I found my voice. before to achieve my typical Carmen wavy/curly hair. Singers tend not to do very much at all the day before a show—compa - What was growing up in Italy like? rable somewhat to someone resting up before a marathon. Growing up in Italy was bellissimo! It is such a rich and passionate culture and, not surprisingly, the birthplace of opera. You see, What's the most memorable moment from your career? Italians are talkers. We talk and talk and are expressive with our My first role, the servant Myrtale [in Thaïs at the Metropolitan hands, food, and emotions. I was born in Palermo, which is a Opera] , is my most memorable career moment thus far. The first coastal town in Sicily. I feel proud of this heritage; however, I performance is nerve racking, but it helps to have principals who was also raised in the States. I feel very fortunate to have lived in are confident. My leading lady was Renee Fleming. I learned so both countries and grown up bilingual. Italian is my first lan - much watching her throughout the rehearsal processes and espe - guage and English, my second. It has helped me develop a fac - cially on stage. She is such a great artist, but I also was grateful ulty for language that has been invaluable during my operatic that she was a kind person, too; it makes it much easier for the education. younger artists to find their own artistic voice and feel comfort - able in a challenging situation. Standing on a stage for the first What is it like to be Carmen on stage? time in front of thousands is sometimes a scary experience, and Being on stage, and especially being Carmen on stage, is very lib - scary experiences tend to be memorable experiences as well. erating. Whether she decides to pluck a cigarette from a man’s lips, start a fight, or steal an orange from a passing cart, she is What music do you like to listen to? authentic. I think Bizet really cared for Carmen, since he wrote Really there isn’t one genre I can target as the music that defines her as someone so fiery and fun-loving. She is someone every - me or that I listen to the most. It depends on my mood and the one wants to be around because she lights up a room. For me, playlist on my phone or other electronic device. If you pressed there’s no greater freedom than living through her thoughts, me to name some artists I listen to I could respond by saying emotions, temperament, etc. Bing Crosby, Barbara Streisand, Bruno Mars, The Platters,

6 NASHVILLEOPERA.ORG NOAH STEWART Don José LAURA WILDE Micaela EDWARD PARKS Escamillo

Meet the full cast on the CARMEN page ARTISTS at nashvilleopera.org.

Michael Jackson, The Beatles, Andrea Bocelli, opera, Disney on these great ideals: life, liberty, and the pursuit of happiness. tunes, The Mormon Tabernacle choir...The list goes on and on. Some of the basic yet most fundamental rights of a human being. Each production you learn from the people who are If you were not a singer, what would you be doing? involved in the production. Singers, costume designers, the If I were not a singer, I would be probably be a high school director, the conductor, and many people all contribute to bring teacher like my father. He has the opportunity to sculpt young the most realistic and profound experience to the audience. minds and influence their lives for good. I admire his ability to Energy plays off energy. I might be playing Carmen, but it is the continue to encourage thought and growth on a consistent long- chorus who supports Carmen. In a very real way, they imbue the term basis. Every day in the classroom would be a performance, main character with the power to move the audience. The goal so that would still be in my blood, albeit a different venue. is for the audience to have been moved to a new place, new real - izations, to experience a night of powerful illuminating theater. What is your favorite part of the role of Carmen? If this is the case, then the production is a success. Every place I have two favorite moments in Carmen . The fight in Act 2, when I perform this opera I learn something new, something she has Don José hears the trumpets summoning him to role call, and I to teach me in terms of musicality and liberty. I’m excited to throw a lover’s tantrum, because I was mid-dance and he dares to learn what Nashville and Carmen will teach me. leave! I also adore the minutes right before the grand finale. I won’t spoil it, but that can be the most poignant part of the night. What would you tell the audience to look for or listen for in this opera? What’s it like to perform the role of Carmen so often? I would simply tell an audience to sit back and enjoy. If you How do you make changes to keep it interesting? know someone considering seeing an opera for the first time, I’m glad to have had so many opportunities to play Carmen. I Carmen is a great choice. The story is riveting. I promise you feel I get to know her more with each production. The role stays won’t get bored and I hope you come away moved and reflecting interesting because the truths of Carmen are both universal and in some way on life in a manner you hadn’t thought of before the eternal. Many of the great masterpieces in human history reflect curtain rises. Interviewed by KATIE ARATA

7 Your support matters.

World premieres, New York premieres, and commercial recordings mean Nashville Opera is achieving many of the same artistic milestones as companies twice our size. We are about to reveal our exciting new season. Your support now impacts the future and momentum of Nashville Opera. There are many ways you can help:

• Make a gift with your subscription. • Go online and become a monthly, sustaining donor. • Become an Impresario Council member. This giving society comprises 75% of our individual gifts. Donor benefits include special receptions, preferred valet parking at each show, and intimate concerts and dinners with the artists. • Ensure the Opera’s future with a gift to the endowment. • Name the grand staircase or the opera studio for your legacy.

For information, please call Kristin Starling at 615.832.5242.

Left, soprano Rebecca Sjöwall records Nashville Opera’s first commercially released recording, THE MAN WHO MISTOOK HIS WIFE FOR A HAT, at Belmont’s Ocean Way Nashville Recording Studios, May 2014. CD available now on Naxos.

THE JUDY AND NOAH SUE AND EARL GUARDIAN LIFF FOUNDATION SWENSSON

PRODUCER DIRECTOR MARY C. RAGLAND THE THREE OF US FOUNDATION FOUNDATION

MIDDLE TENNESSEE The production of THREE WAY received funding OPERA SUPPORT FUND from OPERA America’s Opera Fund.

PLATINUM

PRODUCTION SPONSORS ANN AND FRANK BUMSTEAD PATRICIA AND RODES HART THREE WAY World Premiere Sponsors

IN-KIND

Official Print Sponsor Electronic Media Sponsor Seiler Pianos and Samick Music Corp.

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NOAH LIFF OPERA CENTER HONORED

The Noah Liff Opera Center was awarded with the Wedding Wire Couples Choice Award for 2017. Recipients of this award represent the top 5% of wedding professionals on Wedding Wire who demonstrate excellence in quality, service, responsiveness, and professionalism. This is our fourth time being recognized with this award.

Book your next event at noahliffoperacenter.com.

3 CURIOUS? A FEW DETAILS...

soprano Jennifer Rowley, baritone Luis Ledesma, baritone Weston Hurt, soprano Chelsea Basler

NASHVILLE OPERA 2O17.18 Season Revealed May 1

8 Nashville Opera and abrasiveMedia are partnering for an ARTCRAWL event, May 6. Visual art, aerial dance, music by Opera Ensemble members, and other activities combine in this unique collaboration.

JOIN US

SAT, MAR 18 Artists arrive for CARMEN rehearsals. SAT, MAY 6 ART CRAWL AT ABRASIVEMEDIA 6 p.m., Houston Station SUN, MAR 26 IMPRESARI O COUNCIL Artist Sponsor Dinner & Concert SAT, JUN 3 OPERA ON THE MOUNTAIN Richland Country Club OPERA@ DYER OBSERVATORY * 6 p.m., Vanderbilt Dyer Observatory WED, APR 5 NASHVILLE OPERA GUILD BOARD MEETING Tickets on sale soon. 10 a.m., Noah Liff Opera Center * WED, JUN 7 NASHVILLE OPERA GUILD BOARD MEETING THU, APR 6 CARMEN 10 a.m., Noah Liff Opera Center 7 p.m., TPAC Jackson Hall THU, JUN 15 –18 NASHVILLE OPERA’S SAT, APR 8 THE GUILD’S PREMIERE DINNER THREE WAY at BAM 5:30 p.m., Waller Penthouse * with American Opera Projects BAM Fisher, Fishman Space CARMEN Brooklyn, New York 8 p.m., TPAC Jackson Hall

WED , JUL 10 Single tickets go on sale to the public. SUN, APR 30 OPERA CLUB 2 p.m., Noah Liff Opera Center TUE , JUL 25 NASHVILLE OPERA GUILD’S ITALY TRIP MON, MAY 1 2017.18 SEASON ANNOUNCED Traveling through August 2 (SOLD OUT)

WED, MAY 3 THE BIG PAYBACK SUN, JUL 16 OPERA@ FRANKLIN THEATRE 12:01 a.m.–11:59 p.m., thebigpayback.org SEE & SING A MOVIE 3:30 p.m., Franklin Theatre NASHVILLE OPERA GUILD Tickets on sale soon. * ANNUAL MEMBERSHIP LUNCHEON 10:30 a.m., Noah Liff Opera Cente*r

* Reservations at 615.832.5242 or nashvilleopera.org. Opera@ is powered by

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MORE PHOTOS AT LABELLANOTTE.ORG THIS IS THE NIGHT. IT’S A BEAUTIFUL NIGHT, AND THEY CALL IT “BELLA NOTTE!”

MUSIC FOR A LIFETIME was the chosen theme for 9 10 Nashville Opera Guild’s vibrant fundraiser benefiting Nashville Opera’s education programs. Chairs Janet Weaver and Helen Brown planned for music from the start as the Nashville Children’s Choir filled the Hilton lobby with song as guests arrived. Peyton Hoge captured some of the evening’s lively moments.

1. CEO & Artistic Director John Hoomes and Guild President Anne Pennington present the 2017 Francis 11 12 Robinson Award to Nancy Coleman and Andy Valentine. 2. Bob and Pat Hairston. 3. John and Jessica 13 14 Rich, Alex and Isse Waddey, Luis Fernandez and Viviana Lavin. 4. Chairs Janet Weaver and Helen Brown. 5. The Nashville Children’s Choir. 6. Opera Board President Cara Jackson and Immediate Past President Carolyn Schott. 7. Auction Chair Esther Swink, right, with her team of tech-savvy assistants from Trevecca. 8. Dirk and Rachael Melton. 9. Jonathan and Susannah Berry, Corinne Bergeron, Emilio Pardo and Julissa de la Cerda. 10. Mary Ragland Young Artist Melisa Bonetti sings. 11. Marilyn Shields-Wiltsie peruses the auction. 12. Fred and Susan Williams. 13. Beautiful arrangements by Decor Chairs Dancey Sanders and Kathleen Evers. 14. Kathleen P

h Evers and Deb Tallent-Barcus. 15. At o

15 t o evening’s close, all sing “La Bella s

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y Notte” and lift glasses of bubbly.

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Bella 13 NASHVILLE OPERAGuild

Nashville Opera recognizes the generous support of its education program and productions through contributions to this year’s Nashville Opera Guild events.

LA BELLA NOTTE 2017 Janet and Jonathan Weaver Helen and Clyde Brown Jeff’s Fine Rugs & Tapestries Walton’s Jewelers UNDERWRITERS Patron Party Ann and Frank Bumstead Johnny Haffner Barbara and Joel Warren Janet and Jonathan Weaver Ann and Gerald Calhoun J. Haynes Interiors Janet and Jonathan Weaver Linda and James Marler Anita and Larry Cash The Estate of Howard Harvey Westin Peachtree Atlanta HCA TriStar Health Wine-tasting Party Delek Marion Pickering Couch Morel Enoch Harvey Westin Nashville Sandra and Richard Frank Diana Hemingson Anne Whetsell Vanderbilt University Marion Pickering Couch Morel Enoch Harvey Henig Furs Judy Williams DVL Seigenthaler Underwriter, Francis Robinson Award Travelink, American Express Travel Jackson National Life Insurance Co. R. Higgins Interiors Arlene Wilson Melissa Mosteller and Patrick Clark Brian Jackson and Roger Moore Sam Holihan The Wine Chap, Richard Payne Underwriter, Auctioneer Linda and James Marler Sherry Hooten LA BELLA NOTTE 2017 Ann Marie and Martin McNamara Mildred Jarrett GIFTS IN MEMORY PATRONS Empire Diamonds Shelley and Harry Page Joyce Jeffords Joe and Judy Barker Geny’s Flowers, Joan Presley Dancey Sanders and Judy Williams Audrey Jones Edward A. Cook by Robert Beck Graceful Tables Molly and Richard Schneider Daisy King Sheila Turk Melissa and Rob Beckham Lipman Brothers Esther and Jeffrey Swink Terry Lapidus Cynthia Vernardakis by June and Boyd Bogle The Wine Chap Betty and Edward Thackston Brenda Lee Dr. George and Roxane Vernardakis Ronnie Boling Nancy Coleman and Lure Intimates online M. Andrew Valentine Rachel Lawhead Claire Boling Mr. E. Howard Harvey by LA BELLA NOTTE 2017 Isse and Alexander Waddey Michael Lax Helen Brown LADIES’ COMMITTEE Anita Greenwood Cash Ann and Frank Bumstead Janet and Jonathan Weaver Evan Levine Anita Cash Carolyn Amiot Susan and Fred Williams Linda and Jim Marler Lt. Cmdr. Alan A. Patterson, USN by Doreatha and Andre Churchwell Judy Barker Marilyn Shields-Wiltsie and Marmi Shoes Drs. Teresa and Phillip Patterson Patrick Clark Laura M. Bearden Theodore E. Wiltsie Gus Mayer Daniel Coen, Jr. Colleen Conway-Welch Anne McNamara Dr. Mario Perez-Reilly by Sandra Frank Mednikow Jewelers Dr. Elizabeth Perez-Reilly Laurie and Steven Eskind LA BELLA NOTTE 2017 Antoinette and Byron Haitas Carrie Hininger Mere Bulles AUCTION DONORS Mrs. Jean Eskind by Morel Enoch Harvey Judith Hodges Leanne Merrick June and Boyd Bogle Carrie and Damon Hininger Mari-Kate Hopper 360 Bistro Midtown Corkdorks Sen. Douglas Henry Doris and Dan Hixon Jocelynne McCall Alcott Interiors Wine, Spirits & Beer, Paul Patel Dr. Morel Enoch Harvey Judith Hodges and Jan van Eys Elizabeth Papel Joe Allen Photography Nashville Ballet Patty and Jimmy Marks Jeffrey Cox Hooper Dancey Sanders J. Alexander’s Nashville Opera Judith Hodges Linda and James Marler Elaina Scott Olga Alexeeva Nashville Opera Guild Joan B. Shayne American Pearl Company Nashville Symphony, Missy Hubner Jocelynne McCall Dr. Joe Allen by Anne Shepherd Amerigo’s Oak Hall, Chris Levy Ann Marie and Martin McNamara The Schneider Family Melissa Mosteller Judy Simmons Belmont Mansion Old Natchez Country Club Shelley Page Janet Weaver Belle Meade Dance Club Olive Oil Store Dr. Robert T. Cochran by Elizabeth and Laurence Papel Judy Williams Bennett Galleries Owl’s Hill Sanctuary June and Boyd Bogle Anne and Neiland Pennington Representative Marsha Blackburn P. J. Murray Designs Carol Penterman Boardroom Salon for Men Judson Newbern LA BELLA NOTTE 2017 June and Boyd Bogle Cano Ozgener GIFTS IN HONOR Elizabeth Perez-Reilly GENTLEMEN’S COMMITTEE Mary and David Rollins Edwana Boucher Tim Ozgener Marion Couch by Dancey Sanders Joe Barker Bria Bistro Shelley Page Shelley Page Jane Marie Schlater Richard Frank Brentwood Jewelers Parnassus Books Elizabeth D. Papel Elaina Scott Damon Hininger Bricktops Anne and Neiland Pennington Anne Shepherd Laurence Papel Bricks Carol Penterman Dr. Morel Enoch Harvey by Sheila Turk and Frank Stevens Jan van Eys Charles Brindley J. R. and Joy Roper Jo Ann and Maxwell Horkins, Jr. Esther Swink Jonathan Weaver Brooks Brothers Mary Ellen and Tom Rodgers Betty and Edward Thackston Buckhorn Inn Bill Sanders Shelley Page by Laura Anne Turner Ann and Gerry Calhoun Anita Schmid Ms. Lori Emery LA BELLA NOTTE 2017 Dr. Barton Campbell Kendra Scott Nancy Coleman and ADDITIONAL GIFTS and Audrey Campbell Marc Simmons Interiors Michael Saint by M. Andrew Valentine Cordia Harrington Isse and Alexander Waddey Linda and David Anderson Anita and Larry Cash Gary Slaughter Barbara and Joel Warren John Auston Bridges Chef’s Market J.J. Sneed Janet and Jonathan Weaver by Janet and Jonathan Weaver Sue and Bob Claxton Chemin de Fer by Ironware Speakeasy Distillery, Judy and Joe Barker Patsy Weigel Charles J. Conrick III Ted Clayton Tommy Bernard Anne and William O. Whetsell, Jr. Patricia and Charles Hampton Sue Claxton Irma and Bob Spies Nancy Coleman and Andy Valentine by Mrs. John Warner White Barbara W. Love Nancy Coleman Jeanie Stephenson Jeffrey Hooper Judy Williams Mimi and Sokrates Pantelides Marion Couch Jim Stokes Marilyn Shields-Wiltsie Kathryn Walker Carmen Cowden Stones River Orchids Dr. and Mrs. Thomas Duncan by and Theodore E. Wiltsie Patricia W. Wallace Ruth Y. Cox StorPlace Dr. and Mrs. Marshall Millman Shirley Zeitlin Martha Ann Woodmore Empire Diamonds Esther Swink Elaine Youngblood Etch Restaurant Table 3 Dr. G. Helen Brown by K Evers Interiors Travelink, Sandy Schadler Patricia M. Wallace LA BELLA NOTTE 2017 Franklin Wine & Spirits, Dave Clark Irina Trenary HOSTS AND CONTRIBUTORS LA BELLA NOTTE 2017 Vince Gill and Amy Grant Tom Turnbull TABLE HOSTS Jessica and Johnny Rich Gibson Guitars M. Andrew Valentine Helen Brown Bradley Gossage Jewelers W Hotel Atlanta Midtown Table Host Party June and Boyd Bogle Green Pea Salon William Wallace

14 NASHVILLEOPERAGUILD.ORG OPERA GOLD

The mound of daffodils at the Noah Liff Opera Center was absolutely glowing on a stormy March 1 morn - ing thanks in part to the recent care given by Sandra Frank. Nashville Opera Guild volunteers and Gardening Chair Molly Schneider planted the bed in 2008 and it has been a spring joy ever since. Our thanks to Sandra who generously bought and buried 100 new bulbs to enliven the sunny display this year.

MET CONTENDER THE OPERA FROM OUR DISTRICT GUILD SPRING Alasdair Kent from Perth, Australia, will LUNCHEON represent the Middle/East Tennessee District in the Metropolitan Opera Mark your calendars for May 3 Audition Semi-finals March 12 in New and plan to attend Nashville York City. (And hopefully the Finals, Opera Guild’s Annual Spring March 19!) The 29-year-old tenor Membership Luncheon at the Noah dazzled at the Southeast Regional Liff Opera Center. Chairs Audrey Finals in Atlanta this February singing Jones and Dancey Sanders are arias from LA CENERENTOLA and THE planning this year’s event which starts PEARL FISHERS. Kent is a graduate of at 10:30 with a special season preview Western Australian Academy of by John Hoomes. Current, new, and Kent with Nashville Opera Guild’s Performing Arts with a Masters from prospective members are welcome. Met Audition Chair Jocelynne McCall and her Knoxville Opera Queensland Conservatorium. He is Please call Margaret Carpenter at counterpart Phyllis Driver after his completing studies at The Academy 615.832.5242 for an invitation or to win in Atlanta, February 12. of Vocal Arts in Philadelphia this spring. reserve your spot.

2016 YOUNG ARTIST WEDS IN BEAUTIFUL COSTUME FROM COSÌ FAN TUTTE

Mezzo-soprano Katherine Sanford, a 2016 Mary Ragland Young Artist, starred as Dorabella in Nashville Opera’s COSÌ FAN TUTTE last January. Part of the excitement of that appearance was getting to wear couture gowns generously donated by Sandi and Raymond Pirtle. The hand- beaded, full-length gown from the opera’s wedding scene was so memo - rable, the artist asked to borrow it for her wedding to Jamie Schrock at the U.S. Naval Academy Chapel in Annapolis, Maryland, last December. Of course the Opera said yes, and costumer Pam Lisenby boxed it up and sent it to the artist for her special day. Our thanks to the Pirtles for their memorable gift to Nashville Opera and its extended artist family.

15 OPERA ED FOR ALL AGES!

Tenor and voice teacher Jason Ferrante leads a masterclass for Nashville Opera’s Mary Ragland Young Artists, February 13. Above he helps mezzo- soprano Melisa Bonetti refine an aria as Stephen Variames accompanies on piano. Bass Makoto Winkler plays Wolfgang Bigbad in THE THREE LITTLE PIGS as Opera ON TOUR kicks off its 6-week run at the Noah Liff Opera Center, February 6. Inset, THE THREE PIGS plays to a full house! Opposite, Makoto and cast pose with young audience members after the sneak preview. Inset: tenor Zachary Devin as Don Giovanni Pig in his stick house.

OUR TOUR REACHES YOUNG ARTISTS singers talked candidly about their 22,000 KIDS & FAMILIES! AT AUSTIN PEAY unique experiences which illustrated how different the paths to success can The Nashville Opera ON TOUR pro - It’s easy to see the excitement on be. Topics discussed included how to duction of John Davies’ The Three Little the faces of our youngest opera enthu - find the right graduate school, whether Pigs has delighted students throughout siasts at our family concerts, and I am or not to move to a big city, and how Middle Tennessee. This year we wel - proud to report that our impact reach - to support your dreams financially comed record numbers of enthusiastic es local university students as well. between performing jobs. It was evi - audience members at our community During the first week of the tour, dent that not only are the 2017 Mary performances. From the sneak pre - our Mary Ragland Young Artists made Ragland Young Artists extremely tal - view at the Noah Liff Opera Center a stop at Austin Peay University’s ented, but their kind personalities are on February 6 to our final perfor - music school to perform Opera Out capable of winning over any audience. mances March 16, we have given Loud , a program of opera arias and One Austin Peay student wrote the young people the chance to experience ensembles. An in-depth Q&A after - next day, “Thank you so very much for the magic of live opera, while helping ward provided a unique opportunity taking the time to bring the Young teachers relate it to the core curriculum for voice majors to ask our young pro - Artists to Austin Peay. Their perfor - in their classrooms. The tour has fessionals questions about the next mances were amazing and reached over 50 venues including 13 step in an operatic career. Of special inspiring...Hearing the Young Artists’ community performances, many of interest was successfully navigating the comments about life, the performance which were completely free! phase directly after college. Our industry, and how they got there, was

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something I needed to hear as I will be YoungArts Miami. Mr. Ferrante gave Forest: A Choose-Your-Own-Adventure graduating in May.” our singers individual voice lessons Opera. Audiences will cast the show at followed by an amazing masterclass. the top of the performance to learn With a small invited audience, the about the different operatic voices and MASTERCLASS WITH singers honed their technical skills as see how their decisions affect the out - JASON FERRANTE Opera patrons caught a fascinating come of the show. The piece features glimpse of the intense training and well-known operatic music by com - Part of our mission as an opera concentration that goes into profes - posers Bizet, Mozart, Verdi, and company is fostering the growth and sional singing. Gilbert and Sullivan. It is meant to feel talent of young artists. With the sup - like an improvised piece with audience port of the Nashville Opera Guild, we participation but is carefully designed were able to invite critically acclaimed A BRAND NEW OPERA to guarantee a great show every time. tenor and educator Jason Ferrante to FOR CHILDREN At a workshop of the piece, February work with our singers. A student of 25 at the Noah Liff Opera Center, the the legendary voice teacher Beverly Each year, we take special care in Mary Ragland Young Artists had the Johnson at Juilliard, he has sung over selecting a children’s show that not audience in stitches and response has 70 operatic roles around the world; has only entertains but also educates our been very positive. Stay tuned! taught voice at Wolf Trap, Arizona audiences. I am excited to announce Opera and Florida Grand Opera; and that I have written a new opera for ANNA YOUNG is the head of classical voice for young people called The Enchanted Director of Education and Outreach

NASHVILLEOPERA.ORG 17 NOT JUST VANITY! DID YOU KNOW THAT BUYING ANY SPECIALTY LICENSE GIVING TO NASHVILLE OPERA PLATE HELPS FUND THE ARTS? CAN BE QUITE CATHARTIC!

Each time you choose a custom plate for your car, vital funds are raised to help area arts groups. Your own Nashville Opera benefits from these sales. Consider putting specialty plate on your car! Ask at the county clerk’s office or learn more online at tn4arts.org/specialty-plates.

Get ready to give May 3!

GENEROUS IN-KIND GIFT PUTS NASHVILLE OPERA UP IN LIGHTS!

Longtime Opera Guild member Dancey and John Sanders’ in-kind gift to Nashville Opera P

h is a dramatic one—face time on The o t o

Nashville Sign, their family’s iconic (and now b y

B digital) billboard at the Broadway/West End l a c k

b split. Cutting through the din in a boomtown i r d

M like Nashville can be daunting, and the e d i

a Sanders family gift helps us do just that.

NASHVILLE OPERA MAGAZINE

Editor/Designer, Cara Schneider Contributors: CEO & Artistic Director John Hoomes Anna Young, Kristin Starling, Claudia McCauley, Katie Arata, Margaret Carpenter, Annmarie Mizzoni, Nashville Opera Guild

Noah Liff Opera Center, 3622 Redmon Street, Nashville 37209 615.832.5242 • nashvilleopera.org

18 NASHVILLEOPERAGUILD.ORG URTAIN CCALL

MEET FELLOW OPERA FAN KATYA KOVALCHUK, NASHVILLE OPERA’S BOARD INTERN AND NEW CHAIR OF FORTE

Nashville Opera’s dedicated board of directors welcomed a beautifully fiery spirit as our board intern this year. Katya Kovalchuk— a jet-setting, arts-loving gal—is as brilliant a businesswoman as she is a person. Having lived the majority of her life in Russia, she grew up with a sincere appreciation for the arts, frequenting any creative performance available. Today she channels her devotion into service, and because of her wonderfully evident passion for the arts, we are really excited to introduce Katya as the new chair of Forte—Nashville Opera’s outlet for young creatives and professionals. She’s the perfect magnet to attract and engage a desired demographic and spearhead a group that aims to foster interactions and connections through Nashville Opera and its productions.

On a Friday night we can find you at… The Belcourt or Nashville Airport or hanging with my friends in East Nashville, depends on the week. You love to travel. Where's your favorite place to frequent? I frequently go to NYC; this city heals and fills me. My favorite and the most mind-blowing place I have ever traveled to is Petra, Jordan—one of the Seven Wonders of the World. What's on your current playlist? I love folk rock and indie rock. Currently playing Kaleo, My Morning Jacket, and Brandi Carlile on repeat and my forever loves of Russian rock: Zemfira and Splin. Drink of choice or favorite cocktail? Anything sweet. Sparkling wine with a drop of St. Germain. Katya in Winter Palace (Just one.) Square, St. Petersburg, Russia How did you get interested in opera? I grew up in Moscow; every single weekend we went to see a What do you do for a living? play, ballet, an opera, exhibit, you name it. My mom planted I work for a big finance company here in town as a business the love and appreciation for art in me at a very young age. analyst. No, I know nothing about programming and coding. When I moved to Nashville from Los Angeles, I instantly Yes, I go to the Apple store to restart my iPhone. became a fan of Nashville Opera. What brought you from Russia to the States? What are you looking forward to as the chair of Forte? I came to study economics. It was supposed to be for one I look forward to engaging more young people. I want to semester, but it will be nine years in March. break the common stigma that opera means boring, and I want the younger community to realize that art has no age, that Where is your favorite hang in Nashville? opera can be contemporary and thought-provoking. I want I love Virago’s patio on a steaming summer evening and Old people in Music City to see and appreciate all forms of art. Glory. Taco Mamacita has been my all-time favorite place to (Looking for more about Forte? Visit nashvilleopera.org.) hang with friends since my Belmont years.

Interviewed by KATIE ARATA

19 NASHVILLE Nonprofit

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s US Postage Paid h PERA v O i Nashville TN l l

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