Virginia Opera presents a 50th anniversary lineup that includes the groundbreaking premiere of Loving v. Virginia and a little something for everyone.
By Beth Blachman
People look to opera for classic romance, and the world premiere production that is the culmination of the Virginia Opera’s 50th anniversary season offers a homegrown love story.
A joint commission presented by the Virginia Opera and the Richmond Symphony, Loving v. Virginia tells the story of Richard and Mildred Loving, the couple who was the center of the 1967 Supreme Court case that overturned laws against interracial marriage.
Adam Turner, the Virginia Opera’s artistic director and chief conductor, says that the project has been three years in the making. It will premiere at the Harrison Opera House this April.
“We were brainstorming ideas that would meet the moment,” says Turner. “A monumental occasion for our 50th anniversary. And what better way to capture the enthusiasm and the spirit and honor our legacy than to commission a brand-new opera about a Virginia topic?”
Turner says that the new work shows that the Lovings’ epic story is a tale of love and determination and also that our state was a catalyst for civil rights—then and now. In addition to being groundbreaking in the 1960s, the case was cited in the 2015 Obergefell v. Hodges decision that made same-sex marriage legal in America.
And Adam Turner wants to make sure that audiences know that even though Loving v. Virginia is modern in sensibility, the music is harmonious.
“I just want to say very publicly, this music, this score, this libretto, it is beautiful. It is so accessible. It is luxurious in its romantic sweep and almost Hollywood-esque approach. You might think modern opera is scary and not for you, but this modern opera is beautiful.”
Loving v. Virginia is composed by Virginia native Damien Geter, with a libretto by Jessica Murphy Moo. Renowned mezzo-soprano Denyce Graves will direct the opera.
“It is an honor to be asked to join a team that is developing a project around one of the most important moments of social justice in the history of our country,” says Graves.
Peggy Kriha Miller, general director and CEO of Virginia Opera, says that the germination of Loving has been exciting to witness.
“It is such a rare opportunity to see art being created,” says Miller. “This project is truly homegrown—which is important to tell a uniquely Virginian story.”
This 50th anniversary year also marks the final one for Miller, who guided the opera company strategically and passionately through her tenure as CEO.
“It has been an honor to lead Virginia Opera during a pivotal moment in its history,” says Miller. “I am immensely proud of what we have accomplished together.”
Loving v. Virginia is not the only modern moment of the anniversary season. Turner says that the September production of Mozart’s Don Giovanni, which will open the season, is a timeless favorite, but this production will have a bold new spin.
“I like to think of it as Don Giovanni meets Eyes Wide Shut, Scarface and Cabaret.”
Turner says that the production is fully staged and costumed, and the orchestra will be taken out of the pit and featured front and center—almost a rock concert atmosphere.
“It captures the enthusiasm and spirit of the company, that we want to be here for another 50 years, attracting new audiences and giving the veteran operagoer something fresh.”
The season will also feature more traditional productions of opera classics Carmen and Così fan tutte. Turner says that even when presenting classic renderings, the Virginia Opera is excited to bring new voices to Virginia.
“I scout talent all over the country, looking for the up-and-comer, the latest voice that we want to feature at Virginia Opera so that we can say we got them before the Met got them, or we got them before La Scala got them, and that happens often.”
One distinctive aspect of Virginia Opera has been its staging of every performance in multiple locations: each production is offered locally at Harrison Opera House, but also at venues in Richmond and Northern Virginia. Turner says the company is used to the rhythm of travel.
“We just put it on a truck, load everyone up on a bus, and make some time to place each opera in a new venue,” he says.
The Virginia Opera has been touting the tagline “Old thinking holds no sway here,” which Turner says reflects the company’s commitment to showing that opera can be relevant and timely—an art form for everyone.
Earlier this year, they also unveiled a new logo, part of an official brand reveal in anticipation of their anniversary season.
“It’s not your grandmother’s opera company,” Turner says. “We don’t update everything we do. We try to honor the traditions of opera. But there are a lot of newcomers to opera, people who are kind of afraid of what ‘opera’ represents—that it’s elitist or not for them. And we’re just trying to dispel that myth—opera, while it might be about kings and queens and fantastical subjects, is so relevant and often features very timely connections.”
Despite the challenges of the performing arts in the post-COVID era, Turner is excited about the future of Virginia Opera.
“Out of that chaos and that disorder, often you uncover new ideas and new ways to produce and to excite audiences,” he says. “We’ve doubled down on trying to find fresh audiences and expand on the audience that we’ve had for a long time and that we love and cherish. While it’s been challenging, it’s been a real opportunity for creativity and identifying the future of the company. It’s showed us how we’ll continue to shepherd this art form into the next 50 years.”
For more information visit vaopera.org.
Photos by Dave Pearson Photography and Sandra Leigh Photography.
Beth Blachman
