NEW FALL FUNDRAISER!

A MAD MEN AFFAIRHOSTED BY LEXUS OF NASHVILLE

DIVE INTO THE2O13.14 SEASON!

THE PEARL FISHERSAN EXOTIC TREAT FROM BIZET

COMPOSER OF CARMEN

COMPANY PREMIERE

THE MAN WHOMISTOOK HIS WIFE

FOR A HAT

$100K GRANT AWARDFROM THE NEA

FALL 2013

OOne of the great pleasures working for this opera company isconnecting what we do in ways that are diverse, compelling, andmeaningful to people. With its complexity, it’s easy for those out-side the opera-loving community to imagine opera as having a lim-ited audience and impact. However, when we dig deeper, we canshow that producing opera in a community really has remarkablebenefits for everyone–especially our next generation.

Our education and outreach programs serve students who areotherwise marginalized and may not experience the arts. Studiesshow that students of low socio-economic status with high artsparticipation have lower dropout rates, and those who take fouryears of arts courses in high school have higher SAT scores, whichhelp them compete for college placement and jobs.

An Americans for the Arts report shares that “even thoughresearch proves the arts are a good investment for low socio-eco-nomic status students…schools are not utilizing the arts as a tool toreach their neediest students. Those who could use the academicbenefits of arts education themost are receiving it theleast.”

Nashville Opera bringsbeneficial arts programsdirectly into the schools andprovides curricular guidanceto include arts-based lessonsin classes. This year, we are one of only ten organizations to part-ner with Metro Nashville Public Schools, the Academies ofNashville, and the PENCIL Foundation to provide teacher extern-ships and year-long support to teachers and students. Our part-ners at Antioch Academy of Hospitality spent three days at ouroffices preparing lesson plans with Nashville Opera staff. Theselessons will culminate in a winter fundraising event designed to tapskills that will equip Academy students for job shadowing andcareer enhancement programs. We are proud that our programscan make a tangible impact and improve students’ lives.

We are also working to increase access to the opera for English-as-a-Second-Language students and their families. To start, withthe help of a grant from Metro Nashville Arts Commission,Nashville Opera will be translating our study guides into Spanish.After students experience our programs, they can haveconversations at home with their parents guided in part by Spanishlanguage materials.

We cannot expect our arts community to reflect the community atlarge if access to arts education is limited to a narrow demographic. Inhis recent post for Americans for the Arts “ARTSblog” Abe Flores

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BRIDGESNASHVILLE OPERA’S OUTREACH MAKES A DIFFERENCE

NOAH E. SPIEGELChief Operating Officer

Nashville Opera Guild’s generousannual gift to Nashville Opera goes

to vital education and outreach pro-grams. President Ingrid Kessler and

Treasurer Barbara Barton presentCOO Noah E. Spiegel with a checkat the Guild’s Spring Membership

Meeting, May 9.

writes: “The arts are about connection and help us create meaning out ofour world; without individuals who come from all of our diverse com-munities, many great art forms will remain in a cultural silo.”

Nashville Opera’s innovative staff designs programs that respondto the ways Nashville continues to evolve. We invite you to partici-pate with us in building strong bridges into our community. Pleasekeep in touch with us and help us keep doing the things that makeNashville Opera your opera. We thrive when Nashville thrives, andwe are proud to build bridges within our community.

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Attending the Artist Sponsor Dinner for The Magic Flute: 1. Barbara and Jack Bovender with theBovender Principal Artist, soprano Jennifer Zetlan, Matthew Hargis, Divya Schroff, and Mary Ellen

Rodgers. 2. Tom Rodgers and Felix Allen. 3. Martin and Ann Marie McNamara, Jason andCorrine Bergeron, Cara Jackson, and soprano Denisha Ballew.

SHOW CO-SPONSORSThe extraordinary generosity of Nashville Opera showco-sponsors has helped the company achieve signif-icant milestones and become stronger than ever.We thank them for their steadfast support and forbeing ambassadors of opera in Middle Tennessee.In addition to Impresario Council membership bene-fits, co-sponsors are invited to cast meet-and-greets,dress rehearsals, and the cast party of their chosenproduction. If you are interested in becoming a2013.14 show co-sponsor, please contact KristinMurphy at 615.986.3567.

The Pearl FishersThe Patricia and Rodes Hart Production

Crystal and Jere BrassellJudy and Joe Barker

Mr. and Mrs. William H. CammackAllis Dale and John GillmorMary Ellen and Tom Rodgers

The Barber of SevilleDr. Joseph H. Allen

Ann and Sykes CargileAnita and Larry CashDr. George F. Gray

Dr. and Mrs. Richard Schneider Dr. Jan van Eys

Janet and Jonathan Weaver

The Man Who Mistook His Wife for a Hat

Judy and Joe Barker & Jessica and Zach Liff Co-production Sponsors

Dr. Jan Lewis BrandesMr. and Mrs. Frank M. Bumstead

Eleanor and Gary ParkesSue and Earl Swensson

OtelloMr. and Mrs. Jack O. Bovender, Jr.

Mrs. James C. BradfordMr. and Mrs. Kenneth Leiser

Mr. Raymond Pirtle, Jr.

IMPRESARIO COUNCILARTIST SPONSOR DINNERThe stellar cast of Nashville Opera’s The Magic Flutewas made possible in part by our artist sponsors,shown here at a dinner and special concert in theirhonor March 24 at the Richland Country Club.

Our 2013.14 Impresario Council is supported by

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THE PEARL FISHERSSri Lanka (formerly Ceylon) has been the setting for a variety of

creations by artists from beyond these shores. Myriad novels,poems, paintings and photographs, documentary and featurefilms...and a wonderful but rarely performed opera, Georges Bizet’sThe Pearl Fishers. Known today primarily for his opera Carmen,Bizet gave us another exotic treat full of sensual music, searingdrama, and stunning beauty and passion.

Georges Bizet was born in France in 1838. A child prodigy, he wasadmitted to the renowned Paris Conservatoire at the tender age ofnine. It seemed natural that he achieved great distinction as a musicstudent, yet his professional career did not begin promisingly. Hereceived no commissions and later disowned his earliest operaticwritings.

Leon Carvalho, opera manager of the distinguished Theatre-Lyrique in Paris, however, was one person who did recognize Bizet’stalent. In the spring of 1863, Carvalho asked the 24-year-old com-poser to complete a three-act opera set in an exotic location thatwould go into rehearsal in August with an anticipated premiere inmid-September. Despite the fact that Bizet was upset at the shortperiod of time made available to him, he had little option but toaccept this all-important first commission.

From the very beginning of operatic history in the 17th century,opera stories were set in far-off lands and faraway times. The

French in particular were notorious for choosing exotic locationsduring the 19th century. So important was this element that Frenchopera composers had no say in the question of setting. The com-poser was at the mercy of the opera producer, who was, in turn, atthe mercy of audiences. And they demanded to see something lav-ish and out of the ordinary.

The famous playwright and critic George Bernard Shaw oncedescribed what always seemed to transpire when an opera producerin France brought together librettists to discuss a project: “Theopera producer would insist that they include in the opera:

a. one noble slave b. one vestal virgin

(with an option of a chorus of vestal virgins)c. one scene in India and/or South Americad. one massacree. one high priest of a religious cult, and (most importantly)f. one pair of ill-fated lovers.”

In this instance, Carvalho brought together his two favoritelibrettists–Michel Carre and Eugene Cormon–to write a story usinga very similar formula. They came up with a typical overheatedromance set in Mexico around a pearl-fishing community. Thecharacters were originally American Indians, but in the end that wasdeemed to be too unbelievable.  So the setting was transposed to

VESTAL VIRGIN: MANDATORYJOHN HOOMESGeneral & Artistic Director

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Ceylon (presumably because it actually hada pearl fishery) and the American Indiansbecame itinerant divers from India.

The libretto also included a virgin pearlgoddess who prays for safety while thedivers are swimming, searching for pearls.This bit of the story is somewhat based onfact. In ancient Ceylon, divers were suppos-edly given protection from “the demons ofthe deep” by so-called “shark charmers,”who would recite incantations on the shorewhile they worked. Usually these sharkcharmers were men, but this is obviouslyone liberty the librettists took in their story.

To meet the tight schedule, Bizet had toborrow music from severalof his earlier works, includ-ing Ivan IV, which he hadcomposed the year before.Furthermore, there is also atheory that he cannibalizedmost of his early one-actopera, La Guzla du L’Emir.

Although rehearsals beganas planned in early August1863, the libretto remainedunfinished until a few daysbefore the opening. Thelibretto (a rushed and some-what overly fanciful endeav-or) is considered by some tobe the weakest aspect of thepiece. However, Bizet’smusic is masterful. Full ofthe same type of melodiesthat would later makeCarmen soar, the music isfully the reason for theopera’s survival and recentrevivals and interest. Later,one of the librettists candid-ly remarked that had he andhis co-writer realized Bizet’stalent, they would neverhave given him “that whiteelephant of a libretto.”

The Pearl Fishers had itspremiere September 30, 1863, at the TheatreLyrique and ran for 18 performances, whichwas respectable for a debut work. Theopera’s critical reception, though, was large-ly negative. The critics decried the music’s“noisiness” and overtly exotic flavor. Therewas little doubt that portions of The PearlFishers are indebted to other composers.Apart from the influence of Wagner, criticsof the period cited the influence ofGounod, Halevy, and Verdi, among others.One critic even described it as a misdirected

search for originality. To top it off, Bizetaroused much indignation among the fra-ternity of critics for having the audacity toappear onstage for a curtain call.

Some critics, however, had unstintingpraise. One such was the eminent compos-er Hector Berlioz, who saw the opera threetimes. He realized that The Pearl Fisherswas, in its own way, a masterpiece. In hislast critique before his death Berlioz wrote: “The score of this opera had a real success.It includes a considerable number of beau-tiful expressive pieces full of fire and richcoloring. The rhythms are one of the thingsone doesn’t dare write nowadays. The score

of The Pearl Fishers does M. Bizet the great-est honor, and he will have to be recognizedas a composer.”

Another well-known composer, Halevy,was similarly impressed: “The score is ofsuperior quality. There is in this work anassurance, a calm, an uneasy, powerful han-dling of the choruses and the orchestra,which certainly announce a composer. Thescore is greatly criticized, widely discussed.After listening to this work three times, Ipersist in finding in it the rarest virtues.”

In 1867, much after the fact, Bizet himselfreferred to his debut work as “an honorable,brilliant failure.” 

Yet despite the score’s unevenness, its lyri-cal beauty and unforgettable moments havewon it a place back in the standard reper-toire, especially in Europe. Bizet neverregretted The Pearl Fishers’ lack of popular-ity, as he went on to compose perhaps thefinest opera of all time in 1874–Carmen.The initial response to Carmen was disap-pointing too, though. Its violent plot,based around a girl working in a cigarettefactory, caused much controversy and itplayed to half-empty houses when it

opened in 1875. Bizet’s col-orful orchestration anddirect tunes started to causea stir, however, and soonthe opera took off, becom-ing a worldwide hit overthe next twenty years. Oneof the great paradoxes ofmusical history is that theshy, gentle, bespectacledBizet was the creator ofCarmen, the story of thesensuous and tempestuousgypsy woman whose life,riddled with crime and vio-lence, ended in one of themost dramatic of all stagemurders.

Bizet had the unfortu-nate knack of doing whatcomposers especially seemto do best: write master-pieces which are ignoredand then, just as the publicbegins to recognize theirgenius, die prematurely.His death at the age 36, justthree months after the firstperformance of Carmen,was a tragedy for bothParisians and the history ofopera. But it did mean that

demand was created for revivals of his earli-er works, in particular The Pearl Fishers.

There have been several Europeanrevivals of The Pearl Fishers in recent years,and we are thrilled now to give Nashville achance to experience this early work by thecomposer of Carmen.

Opposite: soprano Diane Alexander and tenor Richard Drews as Leila and Nadir inNashville Opera’s The Pearl Fishers, 2002.

(Photo by Marianne Leach)

THEPEARL FISHERSThursday, October 10, at 7 p.m.Saturday, October 12, at 8 p.m.Jackson Hall, TPACThe Patricia and Rodes Hart Production

Get tickets! 615.832.5242 nashvilleopera.org

OPERANASHVILLE

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the artists

the story

Nadir

HAROLD MEERStenorNashville Opera: Madame Butterfly

Amarillo Opera, Sarasota Opera, OperaCharleston, Des Moines Metro Opera

Zurga

CRAIG VERM *baritoneLyric Opera of Chicago, Florentine Opera,Pittsburgh Opera, Des Moines Metro Opera

Leila

HEATHER BUCK *sopranoPittsburgh Opera, Santa Fe Opera, Virginia Opera, Spoleto Festival USA

Nourabad

BEN WAGER *bassKentucky Opera, Opera Delaware, OperaCompany of Philadelphia, Dallas Opera

Accompanist & Chorusmaster

AMY TATE WILLIAMSNashville Opera Accompanist, 1998–present

Nashville Opera: Elmer Gantry, Romeo and Juliet, Don Giovanni, La Bohème, Tosca,Rigoletto, Andrea Chénier, The Girl of theGolden West, The Difficulty of Crossing a Field

Conductor

WILLIAM BOGGSNashville Opera: Iolanthe, Elmer Gantry, The Fall of the House of Usher, The Marriage of Figaro, Pagliacci, Madame Butterfly

Florentine Opera, Mississippi Opera,Indianapolis Opera, Capitol Opera

Stage Director

JOHN HOOMESNashville Opera General & Artistic Director,1995–present

Nashville Opera: Don Giovanni, Elmer Gantry,Samson and Delilah, Salome, Tosca, The Fall ofthe House of Usher, Andrea Chénier, The Girlof the Golden West, The Difficulty of Crossing aField, The Magic Flute

Arizona Opera, Florentine Opera, Lyric Opera BaltimoreOpera, Florentine Opera,

* Nashville Opera debut

Zurga is made chief of a tribe of pearl divers. He welcomes the return of hisboyhood friend, Nadir, who left many years before to make his living as a hunter.Nourabad, the high priest, brings in a veiled priestess from another island. Herprayers and singing will drive evil spirits away from the fishing boats. Nadirinstantly recognizes her as Leila, a Brahman priestess with whom both he andZurga had been in love and whom Nadir has been seeking in all his wanderings.Leila also recognizes Nadir. The two secretly meet later that night at the ruins ofthe temple. Nourabad discovers them together. The tribe condemns them todeath for blasphemy. Zurga refuses to help them. Then he recognizes the necklaceLeila is wearing. It is the same necklace Zurga had once given a young girl for sav-ing his life from an angry mob. He realizes that in turn, now he must save her. In spite of his feelings of love, Zurga helps Leila and Nadir to escape.

THEPEARL FISHERS

Above: tenor Richard Drews as Nadir in Nashville Opera’s The Pearl Fishers, 2002.(Photo by Marianne Leach)

Production Sponsors

Season Sponsors

Guardian Sponsors

NASHVILLEOPERA.ORG

Seiler Pianos and Samick Music Corp.

PATRICIA AND RODES HART

THE JUDY AND NOAHLIFF FOUNDATION

FROM OPRY TO OPERAVanderbilt celebrates Francis Robinson

Vanderbilt University First Lady Lydia Howarth hosted guestsfor “Cocktails in the VU Library” June 1, offering tours of theFrancis Robinson Collection. Vanderbilt graduate, Ryman usher,Banner theater reporter, and Metropolitan Opera showman forover 30 years, Francis Robinson’s story is also a story of Nashville’sunique place in the history of American music. Experts fromNashville Opera, the Blair School faculty, and the MetroNashville Arts Commission were on hand to share their apprecia-tion through a distinctive tour of the singular collection housed atthe university. In 1995, Nashville Opera Guild established anaward in Francis Robinson’s name to honor individuals who servethe art form of opera.

1. James Gooch, Jennie Smith, and Tim Kaltenbach. 2. & 3. Vanderbilt’s StevenTepper and Joy Calico serve as tour guides. 4. Lydia Howarth and Judy Fisher.5. “Mr. Metropolitan,” Francis Robinson (photo by McKague The Francis RobinsonCollection of Theatre, Music, and Dance Vanderbilt University Special Collections).

Angela C

anestrari

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NASHVILLE OPERASEASON SPONSORS

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UPCOMING EVENTS

A RUM AND TEQUILA TASTINGJoin us at the Noah Liff Opera Center Thursday, September 19, for cocktails and light appetizers. We’ll be bringing out the spicy and sweet flavors ofCeylon–setting of our season opener, The Pearl Fishers! Lipman Brothers is graciously providing Cielo Tequila, Mt. Gay Rum, Corsair, Cabana Cachaca,Milagro, and Cabo Wabo. Tickets are $35 per person, and the event runs from5:30–7:30 p.m. Reserve online at nashvilleopera.org or call 615.832.5242.

SWEET & HOT

NIGHT OUT AT THE OPERANashville Opera and the Nashville GLBTChamber of Commerce are co-hostinganother Night OUT September 25, from5:30–7:30p.m. at the Noah Liff OperaCenter. Complimentary wine and light horsd’oeuvres will be served followed by a lookbehind the scenes during a rehearsal of ThePearl Fishers. Reserve online at nashville-opera.org or call 615.832.5242.

MEET THE MAESTROIf you’re a 3- or 4-opera season ticket holder or donor, join us September 28for refreshments and conversationwith Maestro William Boggs, one ofNashville Opera’s favorite conductors,and General & Artistic Director JohnHoomes. Then stay and watch theprincipals and chorus in rehearsal forThe Pearl Fishers. Call 615.832.5242 to reserve.

PLAY GOLF? SUPPORT THE OPERA WHILE YOU DO!Please support Nashville Opera by joining the #1 fundraising golf tournament inTennessee! The Delek Tournament for Hope Charity Invitational is being heldOctober 2–4 at Gaylord Springs Golf Links. Visit delekhope.com and chooseNashville Opera as your charity!

Besides choosing us as your charity, if you go through the Opera developmentstaff to provide auction items, purchase a hole sponsorship ($500), or sign upfor a team ($3,000 for four), 100% of your funds will come to Nashville Opera!

If you go...Please contact Kira Florita or Kristin Murphy at 615.832.5242 or development@nashvilleopera.org to designate all your fees to Nashville Opera.

ARTOBER MEANS ARTS. EVERYWHERE.Artober Nashville is a month-long celebration of arts and culture designed toinform and inspire the community’s awareness of and participation in the artsduring October. Held in conjunction with National Arts and Humanities Month,it is designated by Americans for the Arts and the National Endowment for theArts. The Metro Nashville Arts Commission and NowPlayingNashville partnerwith hundreds of organizations to highlight the depth and breadth of artsactivities with official Artober Nashville events. Nashville Opera is proud totake part by offering Bizet’s The Pearl Fishers during Artober!

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OPERA IN UNEXPECTEDPLACES!

Opera@ Franklin Theatre: Over 500 lively greasersand Pink Ladies turned out for Sing Along Grease!July 21. Nashville OperaDirector of Education andOutreach ChandraMcKern emceed the twosold-out screenings, whichincluded a live operaticwarm-up and a spiritedcostume contest.

Opera@ Vanderbilt Dyer ObservatoryHCA TriStar Health presented the fourth annual Opera on theMountain, which sold outwith record attendanceJune 4. Baritone JonathanCarle, soprano MelissaShippen, and tenorStephen Smith offered arias and show tunesaccompanied by AmyTate Williams on piano.

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ADD YOUR VOICETO OURS ANDJOIN THE CHORUS...BY SUPPORTINGOUR ANNUALCAMPAIGN!

Over the past 33 years, NashvilleOpera has proven to be excellentstewards of your investment. Andwe will continue to accomplish greatthings with your help as we have thispast year:

Nashville Opera received theNEA’s lead grant for “Our Town,” acreative placemaking program forthe Music City Opera Project slatedfor 2015.16.

John Hoomes is a finalist for theCenter for Nonprofit Management’s2013 Salute to Excellence award inthe SunTrust Business Acumen inthe Arts category for the Liff Centerseries. The event is on October 8.

Nashville Opera continues to raisethe bar for artistic excellence! Ourreputation allowed us to hire our topchoices for all roles cast in the 2013.14season including the young artists inour residency program.

Historically and internationally,ticket sales cover only 1/3 the cost ofproducing opera. Whether you cangive a single dollar, a dollar a month,a dollar a week, a dollar a day, ormore! Every dollar counts.

Give online at nashvilleopera.org,by mail at Noah Liff Opera Center,3622 Redmon Street, Nashville,Tennessee 37209, or by phone at615.832.5242. Nashville Opera is acharitable organization and yourannual gift is fully tax-deductible.

For press releases on these mile-stones visit nashvilleopera.org/news .

Nashville Opera’s radiant stagingof The Magic Flute in April featuredBovender Principal Artist soprano

Jennifer Zetlan as Pamina, baritone Levi Hernandez as

Papageno, Keith Miller as Sarastro,and Mary Ragland Young ArtistKristina Bachrach as Papagena.

Would you give $1 tocreate great opera?

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OPERADATES

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* Call 615.832.5242 or visit nashvilleopera.org for informationor to reserve. All events are subject to change.

Oct. 26 Artists arri ve for THE MAN WHO MISTOOK HIS WIFE FOR A HAT rehearsals.

Nov. 6 NASHVILLE OPERA GUILD BOARD MEETING10 a.m., Noah Liff Opera Center

Nov. 8 OPERA INSIGHTS PREVIEW TALK7 p.m., Noah Liff Opera Center

THE MAN WHO MISTOOKHIS WIFE FOR A HAT8 p.m., Noah Liff Opera CenterTALK BACK with cast and audience after the opera

Nov. 9 OPERA INSIGHTS PREVIEW TALK7 p.m., Noah Liff Opera Center

THE MAN WHO MISTOOKHIS WIFE FOR A HAT8 p.m., Noah Liff Opera CenterTALK BACK with cast and audience after the opera

Nov. 10 OPERA INSIGHTS PREVIEW TALK1 p.m., Noah Liff Opera Center

THE MAN WHO MISTOOKHIS WIFE FOR A HAT2 p.m., Noah Liff Opera CenterTALK BACK with cast and audience after the opera

Nov. 16 A MADMEN AFFAIR7 p.m., Lexus of Nashville *

Nov. 17 OPERA CLUB2:30 p.m., Noah Liff Opera Center

Dec. 4 NASHVILLE OPERA GUILD BOARD MEETING10 a.m., Noah Liff Opera Center

Dec. 23 Opera offices close for holidays through Jan. 2.

Jan 4 Nashville Opera Guild hostsMETROPOLITAN OPERA AUDITIONS11 a.m., Lipscomb University, Collins Auditorium

Jan. 8 NASHVILLE OPERA GUILD BOARD MEETING10 a.m., Noah Liff Opera Center

Jan. 9 Artists arrive for BARBER OF SEVILLE rehearsals.

LA BELLA NOTTE PREVIEW PARTY6–8 p.m., Tiffany & Co. *

Jan. 25 LA BELLA NOTTENashville Opera Guild’s sparkling gala evening6:30 p.m., Hilton Nashville Downtown *

Sept. 19 SWEET & HOT:a rum and tequila tasting5:30–7:30 p.m., Noah Liff Opera Center *

Sept. 22 Artists arri ve for PEARL FISHERS rehearsals.

Sept. 25 NIGHT OUT AT THE OPERA Co-hosted by Nashville GLBT Chamber of Commerce5:30–7:30, Noah Liff Opera Center *

Sept. 28 MEET THE MAESTRO Event for Ticket Holders & Donors2 p.m., Noah Liff Opera Center *

Sept. 29 IMPRESARIO COUNCILArtist Sponsor Dinner & ConcertRichland Country Club *

Oct. 1 begins.

Oct. 2 NASHVILLE OPERA GUILD BOARD MEETING10 a.m., Noah Liff Opera Center

DELEK TOURNAMENT FOR HOPEGaylord Springs Golf Links, through Oct. 4 *

Oct. 8 Center for Nonprofit Management’sSalute to Excellence Awards6 p.m., Renaissance Hotel

Oct. 10 OPERA INSIGHTS PREVIEW TALK6 p.m., Jackson Hall, TPAC

BACKSTAGE TOUR for Season Ticket Holders 6:30 p.m., Jackson Hall, TPAC *THE PEARL FISHERS7 p.m., Jackson Hall, TPAC

Oct. 12 NASHVILLE OPERA GUILDPEARL FISHERS PREMIERE DINNER5:30 p.m., Waller Lansden Dortch & Davis *YOUNG LOVERS OF OPERA PRE-SHOW RECEPTION6:30 p.m., Jackson Hall Balcony Lobby *OPERA INSIGHTS PREVIEW TALK7 p.m., Jackson Hall, TPAC

BACKSTAGE TOUR for Season Ticket Holders 7:30 p.m., Jackson Hall, TPAC *THE PEARL FISHERS8 p.m., Jackson Hall, TPAC

Oct. 25 begins.

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NASHVILLEOPERA.ORG

ichael Nyman (b. 1944) is a British composer of minimalist music, pianist, librettist, and musicolo-

gist known for the many film scores hewrote during his lengthy collaboration withthe filmmaker Peter Greenaway and hismulti-platinum soundtrack album to JaneCampion’s The Piano. His operas includeLetters, Riddles and Writs; Noises, Sounds& Sweet Airs; Facing Goya; Man and Boy:Dada; Love Counts; and Sparkie: Cage andBeyond. He has also written six concerti,four string quartets, and many other cham-ber works, many for his Michael NymanBand, with and without whom he tours as aperforming pianist. He has said he preferswriting opera over other sorts of music.

Nyman was born in Stratford, London.He studied at King’s College and wasaccepted at the Royal Academy of Music inSeptember 1961, focusing on piano and sev-enteenth-century baroque music.

After school he settled into music criti-cism, where he is generally acknowledged tohave been the first to apply the term “mini-malism” to music in a 1968 article in TheSpectator magazine.

Nyman drew frequently on early musicsources in his scores for Peter Greenaway'sfilms: Henry Purcell in The Draughtsman’sContract and The Cook, the Thief, HisWife and Her Lover; Heinrich Ignaz Franzvon Biber in A Zed and Two Noughts;Wolfgang Amadeus Mozart in Drowningby Numbers; and John Dowland inProspero’s Books.

Nyman says he discovered his aestheticplaying Leporello’s aria, “Madamina, il cat-alogo è questo” from Mozart's Don

Giovanni on his piano in the style of JerryLee Lewis. To quote Michael Nyman “Thisdictated the dynamic, articulation and tex-ture of everything I’ve subsequently done.”

Michael Nyman’s popularity greatlyincreased after he wrote the score to JaneCampion’s award-winning 1993 film ThePiano. The album became a classical musicbest-seller, and he was nominated for both aBritish Academy Award and a GoldenGlobe.

Nyman also published an influentialbook in 1974 on experimental music calledExperimental Music: Cage and Beyondwhich explored the influence of John Cageon classical composers and enjoyed transla-tions in Spanish and French, and Catalan.

In the 1970’s, Nyman was a member ofthe Portsmouth Sinfonia–the self-describedWorld’s Worst Orchestra–playing on theirrecordings and in their concerts. He was thefeatured pianist on the orchestra’s record-ing of Bridge Over Troubled Water on theMartin Lewis-produced 20 Classic RockClassics album on which the PortsmouthSinfonia gave their unique interpretationsof the pop and rock repertoire of the1950’s–1970’s. He composed The ManWho Mistook His Wife for a Hat in 1986.

(Photo by Sheila Rock)

COMPOSER MICHAEL NYMAN

Nyman says he discovered his aesthetic playing Leporello’s aria,“Madamina, il catalogo è questo”from Mozart's Don Giovanni onhis piano in the style of Jerry Lee Lewis.

M

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BEST KNOWN FOR HISSCORE TO THE PIANO

FIRST TO APPLY THE TERM“MINIMALISM” TO MUSIC

MEMBER OF THE SELF-DESCRIBEDWORLD’S WORST ORCHESTRA

THE MAN WHO MISTOOKHIS WIFE FOR A HAT

the story

The mysterious functioning of the mind can say a lot about the heart. MichaelNyman’s The Man Who Mistook His Wife for a Hat is adapted from Dr.Oliver Sacks’ book of the same name. Based on one of Dr. Sack’s actual casestudies, this chamber opera is a sometimes comedic yet extremely poignantstory of a man coping with personal adversity by using the power of music toorganize and heal his shattered world.

i. PrologueThe neurologist delivers an address concerning his approach to neurologyand introduces the case of Doctor P.

ii. The First ExaminationDoctor and Mrs. P arrive at the neurologist’s clinic, having been referred byan ophthalmologist. A series of routine neurological tests is carried out,revealing little. As he prepares to depart, P makes several alarming mistakesand the neurologist resolves to see him again.

iii. The House CallBaffled by his first meeting with P, the neurologist determines to observe hispatient in the environment of his own home. The investigation continues asthe neurologist engages P in a variety of visual exercises designed to reveal thenature of P’s condition: geometric solids, cartoons, television, photographs,rose, glove, chess game.

iv. Testing Visual MemoryThe neurologist asks P to describe, from one end to the other, the buildingsand layout of a local street they both know well.

v. Paintings as Pathology? An ArgumentThe neurologist discovers that P is a talented amateur painter. Upon examining a portfolio of his paintings, he concludes that P’s illness is reflect-ed in these works, which have moved from representational figurative paint-ing to the purely abstract. This conclusion angers Mrs. P, who insists thatthe change in her husband’s painting style is an expression of his artisticdevelopment, not of his deepening illness.

vi. The PrescriptionAs P continues enjoying his tea, Mrs. P explains to the neurologist how herhusband manages, through music, to cope with daily life in spite of his perceptual problems.

vii. EpilogueThe neurologist delivers his concluding remarks on the case.

Dr. Oliver Sacks and anedition of his book

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THE MAN WHO MISTOOKHIS WIFE FOR A HAT

Friday, November 8, & Saturday, November 9 at 8 p.m.Sunday, November 10, at 2 p.m.

Noah Liff Opera CenterCo-sponsored by Judy and Joe Barker and Jessica and Zach Liff

Special “Talk Back” after the opera!After the performance, Director John Hoomes will host an interactive Talk Back with the cast and audience to explore

this fascinating, rarely performed chamber opera!

Download our specially prepared adult study guides for each opera at nashvilleopera.org!

OPERANASHVILLE

Get tickets! 615.832.5242 nashvilleopera.org

the artists

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Dr. P

MATTHEWTREVIÑObassNashville Opera:Tosca (2009)La Traviata (2011)

Arizona OperaAustin Lyric OperaOpera ColoradoLyric Opera Baltimore

Mrs. P

REBECCASJÖWALLsopranoNashville Opera:The Difficulty ofCrossing a Field

Arizona OperaFestival OperaWestwood ChamberOrchestra

Neurologist

RYANMacPHERSONtenorNashville Opera:Rigoletto

Long Beach OperaChicago Opera Theater

Utah OperaVirginia Opera

Accompanist& Chorusmaster

AMY TATEWILLIAMSNashville Opera Accompanist

1998-present

Nashville Opera:Elmer Gantry,Romeo and Juliet,Don Giovanni, LaBohème, Tosca,Rigoletto, AndreaChénier, The Girl ofthe Golden West,The Difficulty ofCrossing a Field

Conductor

DEAN WILLIAMSONNashville Opera:Samson andDelilah, Romeoand Juliet, The Girlof the GoldenWest, Cinderella,The Difficulty ofCrossing a Field

Seattle OperaChautauqua Opera

Opera Santa Barbara

Wolf Trap Opera

Stage Director

JOHNHOOMESNashville OperaGeneral & Artistic Director

1995-present

Nashville Opera:Elmer Gantry,Samson andDelilah, Salome,The Fall of theHouse of Usher,Andrea Chénier,The Girl of theGolden West, The Difficulty ofCrossing a Field

Arizona OperaFlorentine OperaLyric Opera Baltimore

Planned givingmeans opera foryour children’schildren

Since 1980 it has been a thrillingand sometimes hard road, yetNashville Opera has been fortunate.We have achieved major milestoneswhile creating legendary productionsand innovative programs, receivinglocal and national recognition forexcellence. We could not have donethis without you.

Great cultural organizations aregifts to a community, and they arebuilt by philanthropists with adream.

If you share that dream, help sus-tain Nashville Opera for future gen-erations by including our Fund forArtistic Excellence in your estateplanning.

Realizing a dream takes both plan-ning and work, and creating an estateplan can be an excellent way to makea transformational gift or honor aloved one. There are many options:as simple as a bequest in a will or alife insurance beneficiary designa-tion, or you can create incomeand/or reduce taxes. You choosehow to meet family needs while satis-fying your philanthropic desires, andyou benefit from the personal gratifi-cation of knowing you have investedin Nashville Opera’s long-term prosperity!

For more informationPlease contact the development staff at Nashville Opera: 615.832.5242 or development@nashvilleopera.org.

YOUR GIFT TOMUSIC CITY!

GREATART.

Left, soprano Kathryn Lewekas Queen of the Night andtenor Vale Rideout as Taminoin Nashville Opera’s power-house production of TheMagic Flute, 2013.

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Nashville Opera After School ProgramNashville Opera is offering its firstafter-school program with MetroNashville Public Middle Schools,serving as an Enhancement Partnerto Nashville After Zone Allianceand working with the VanderbiltCenter for Community HealthSolutions and PENCIL Foundation.The Opera will lead six workshopsincluding singing, acting, stagecombat, wig and make-up design,and set and costume design at I.T.Creswell Middle School. Studentswill have the opportunity toengage in demonstrations or create actual artistic elements.The program will include a sessionwith the 2014 Mary Ragland YoungArtists and an invitation to attendthe Opera’s final dress rehearsal ofRossini’s The Barber of Seville.

Osher Lifelong Learning InstituteThis fall and spring, Nashville Opera is excited topartner with Vanderbilt’s Osher Lifelong LearningInstitute. The Opera will offer two courses relating to our 2013.14 season, and approximately 100–150students will be enrolled in each. The first course willcenter on The Man Who Mistook His Wife for a Hat,the second on Rossini’s Barber of Seville. Eachcourse will have two to three classes and culminatein a night at the opera to see the discussed work.(Photo by Susan Urmy, Vanderbilt)

Met in HD needs wheelsSince 2008, Nashville Opera andMetropolitan Nashville PublicSchools (MNPS) have been part ofthe Metropolitan Opera’s HD Livein Schools program. Each seasonthe MET has provided 50 tickets forstudents to attend four of theSaturday screenings of their liveopera performances at the GreenHills Cinema. MNPS is currently trying to secure transportation forthe students this year. In order forthe program to continue inNashville, transportation must befound. If you can help, pleasecontact Director of Education andOutreach Chandra McKern atcmckern@nashvilleopera.org.

TRIAD CollaborationNashville Opera and Vanderbilt Kennedy Center’sTreatment and Research Institute for AutismSpectrum Disorders (TRIAD) are collaborating todevelop materials to support the inclusion of children with disabilities–including autism spectrumdisorder (ASD)–in the upcoming performances ofJohn Davies’ Billy Goats Gruff. TRIAD has helpedthousands of educators and families throughout theregion with behavioral and educational assessment,intervention strategies, and direct behavior analysis.This collaboration will create a visual program andstoryboard of the opera for educators and parents.There will also be a special free performance of BillyGoats Gruff for individuals with disabilities and theirfamilies February 15, 2014, at 2 p.m. at the Noah LiffOpera Center.

Opera On TourHCA/TriStar and Nashville Opera On Tour returns this season with John Davies’Billy Goats Gruff. The operatic retelling of the children’s classic tackles the issueof bullying and promotes the power of kindness. Our family-friendly 45-minuteproduction is sung in English and features music from operas by Mozart,Donizetti, and Rossini. The tour will travel to schools all over Middle Tennesseebeginning February 4, 2014. A list of FREE community performances will be available on our website later this fall. Visit nashvilleopera.org to learn more or book a performance at your school!

EDUCATION& OUTREACH

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NASHVILLEOPERA.ORG

CHANGING OF THE GUARDNashville Opera Guild’s leadership transition came a bit

early when President Ingrid Kessler (2012-2013) announcedthat she and her husband Bob were moving to Birminghamin November, where he will be taking a position in the med-ical center. Ingrid was a dedicated leader of the Guild,known for her attention to detail. She is greatly admired andwill be very much missed. Ingrid and Bob have lived inNashville for 29 years and supported the Nashville Opera manyof those years.

President Elect Morel Enoch Harvey, Ph.D., took the helmAugust 1, chairing the first Guild Board meeting of the newfiscal year August 7. At that meeting, Morel made the sur-prise announcement that she and her husband, HowardHarvey, would also be chairing La Bella Notte 2014. She willbe doing double duty!

Morel has been a long-standing member of the NashvilleOpera Guild and Board being first introduced to the groupby her mother in 1974. That was not her first exposure toopera, however. With her family, Morel was priveleged totravel abroad where she attended operas at the Old VicTheatre in London, as well as Glyndebourne. She has alsoseen operas in Sweden and China. Morel feels very honoredto be the new president of the Nashville Opera Guild and tosupport world class music and opera in our city.

A MAGICAL DINNERThe Guild’s Magic Flute Premiere Dinner was hosted by

Ellie Raths April 13 on the 26th floor of Waller LansdenDortch and Davis. Everyone remarked about the lovely bird-cage table décor, the delicious food, and the breathtakingview. All agreed, the 26th floor was the perfect backdrop to anexquisite pre-opera event. Many thanks to our gracious host-ess and her committee for a perfect evening.

MET AUDITIONSThe Metropolitan Opera National Council Auditions

(Mid-South Region, Middle and East Tennessee District)will be held Saturday, January 4, 2014, beginning at 11:00 a.m.in Collins Alumni Auditorium at Lipscomb University inNashville. The event is open to the public and can be anexciting way to see opera’s next generation at the beginningof their careers. Interested singers may begin the applicationprocess at metopera.org/MONCapp.

1. Guild President Dr. Morel Enoch Harvey, Opera COO NoahSpiegel, and Jeanne Smith. 2. Chair of the Magic Flute Premiere

Dinner Ellie Raths, center, with committee members Laura Beardenand Doris O’Neil. 3. Jonathan and Janet Weaver. 4. Nancy Hill and

Megan Godbey. 5. Jeff, Wells, and Patty Marvel.

OPERAGuildNASHVILLE

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2

5

3 4

1. Betty Thackston, Julie Pursell, and Judith Hodges. 2. Marion Couch with her award from Opera Volunteers International. 3. Judy Williams. 4. Opera Development Director Kristin Murphy and June

Bogle. 5. Dottie Threadgill and Dee Shepherd. 6. Ann Shepherd and Eugenia Moore. 7. Terry Lapidus and Dr.Helen Brown. 8. Blythe Wilson and Gloria Kleve. 9. Sue Claxton, Ann Brothers, and Patsy Weigel. 10. Host Ellen

Duncan and Chair Carla Nelson. 11. Dancey Sanders and Dr. Lois Jordan. 12. Nikki Peal and Debora Glennon.

OPERANASHVILLE

GuildSPRING MEMBERSHIP MEETING

Ellen and Townes Duncan graciously opened their home to the NashvilleOpera Guild for the Annual Membership Meeting, May 9. Carla Nelsonchaired the perennially anticipated event which welcomes new and renew-ing Guild Members. The Guild’s incoming slate of officers was elected andtheir generous annual contribution in the amount of $80,000 was present-ed to Nashville Opera Chief Operating Officer Noah Spiegel. Long-timeOpera Guild member, officer, and former president Marion Couch was pre-sented Opera Volunteer International’s Partner in Excellence Award for herremarkable service to the art form.

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NASHVILLEOPERA.ORG

THE PEARL FISHERSPREMIERE DINNER

The Pearl Fishers Premiere Dinner will takeplace on Saturday, October 12th, again at the verypopular 26th floor suite of Waller Lansden Dortchand Davis and hosted by Debora Glennon. It willfeature an exotic, tropical theme and promises tobe a wonderful time. The cocktail supper is theperfect prelude to the opera and is located conve-niently across the street from TPAC.Complimentary parking is available after 5 p.m. inthe City Center garage, just an elevator’s ride awayfrom the party in the penthouse. Please join us for

gourmet dining and a bit of socializingbefore the performance!

Call 615.832.5242 for reservations.

LA BELLA NOTTELa Bella Notte 2014 will be chaired by Morel

and Howard Harvey with the gala evening beingheld at the Hilton Hotel Downtown on January25, 2014. The Kick Off Party, which followed thefirst Guild Board meeting of the new fiscal year,revealed that the theme would be “The Splendorof Seville,” taken from Rossini’s The Barber ofSeville. Chairs of the many committees werenamed and dates were given for the Preview Partyto be held at Tiffany & Co. and the Patron Partyto be held at Sylvia Roberts’ home. A lovely lun-cheon prepared by caterer Kathy Schoeff wasshared by the Guild Board, volunteers, and Operastaff, and the air of excitement and anticipationwas felt by all as they sipped their mimosas. Theattire for La Bella Notte will be black tie with aSpanish flair.

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UPCOMINGEVENTS

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11 12

6 7 8

Executive Committee Ann Peldo CargilePRESIDENTBradley Arant Boult Cummings LLP

Donald HolmesPRESIDENT ELECTMapco Express / Delek

P. Michael SaintIMMEDIATE PAST PRESIDENTThe Saint Consulting Group

Jeffrey B. SmithVICE PRESIDENT, FINANCEErnst & Young

Carolyn SchottVICE PRESIDENTBaker Donelson BearmanCaldwell & Berkowitz, PC

Thomas RodgersSECRETARYBinford, Miles, & Rodgers (retired)

Dr. Morel Enoch HarveyOPERA GUILD PRESIDENTCommunity leader

Trustee of The Judy &Noah Liff Foundation

Board of DirectorsThomas J. Aaron DeLoitte & Touche

David G. AndersonHCA

Sue G. AtkinsonAtkinson Public Relations

Judy Liff Barker•The Judy & Noah LiffFoundation

Tyler Beaudoin•Morgan Stanley FinancialServices

Jason Bergeron•Frost Brown Todd, LLC

Barbara T. Bovender•Community leader

Jan Lewis Brandes, M.D.•Nashville NeuroscienceGroup

Joy CalicoBlair School of Music

Anita CashCommunity leader

Agenia ClarkGirl Scout Council ofMiddle Tennessee

Diane CoxWell Planned Events

Greg FirekRegions Bank

Beth FortuneVanderbilt University

Tamar GinzburgCommunity leader

John GlennonAvondale Partners

Martha Ingram•Ingram Industries

Cara JacksonBass, Berry & Sims

B. David JoffeBradley Arant BoultCummings LLP

Dr. Lois JordanMetro Nashville PublicSchools (retired)

Ken LeiserCB Richard Ellis, Inc.

Kent MoegerleSunTrust Bank

Berkeley NanceCentury Construction

Dr. Robert OssoffVoice Center, VanderbiltUniversity Medical Center

Gary Parkes•Parkes Realty

Raymond PirtleClaridge Company

Martin Renkis•Smartvue Corporation

JR RoperLexus of Nashville

Meredythe SweetCommunity leader

Talmage Watts•State of Tennessee, Officeof the Attorney General

Dr. William O. Whetsell•Vanderbilt UniversityMedical Center (retired)

Advisory Board P. Michael SaintCHAIR

Dr. Joseph H. AllenThomas G. AndrewsJoseph BarkerJune BogleJennifer BottorffJohn Auston BridgesDr. G. Helen BrownAnn S. BumsteadLeslie Douglas-

Churchwell, M.D.Ramon Cisneros

Nancy ColemanMarion Pickering CouchElizabeth Seigenthaler

CourtneyRuth Roberts CowanDouglas CruickshanksDr. Thomas R. DuncanCharles W. DunnJean EskindJudy FisherRichard H. Frank, Jr.

John E. GillmorJoanne HayesJ. Michael HayesDr. Henry C. HowertonJames V. Hunt, Jr.G. Brian JacksonZach LiffJocelynne McCallJames L. McGregorScott H. McKeanAnn Marie McNamaraRobert E. McNeilly, Jr. J. William MyersShelley PageElizabeth PapelCarol PentermanRichard E. RagsdalePaula RobertsMary Ellen RodgersRichard P. SchneiderBeverly SmallIrma SpiesBruce D. SullivanSue SwenssonElizabeth TippingM. Andrew ValentineJonathan G. WeaverGudrun WestMary G. Wieck W. Fred WilliamsGail WilliamsDr. Theodore E. WiltsieUzi YeminAlan Yuspeh

CARGILE

HOLMES

SMITH

SCHOTT

RODGERS

HARVEY

SAINT

LEADERSHIPNashville Opera Board of Directors elects new members and officers

• Life Board Member • New Board Member

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The National Endowment for the Arts announced 59 Our Town grant awards totalling$4.725 million and reaching 34 states in the Our Town program’s third year of funding.

Nashville Opera is one of those grantees and will receive $100,000 to support the MusicCity Opera Project. The project will engage both amateur and professional songwriters, com-

posers, arrangers, and lyricists/librettists in a competition to create new opera works through aseries of public programs performed in non-traditional settings throughout Nashville. Led by Nashville Operain collaboration with the City of Nashville, Metro Nashville Arts Commission, and Nashville Convention &Visitors Bureau, and enlisting music organizations such as the Nashville Songwriter’s Association International,the project builds upon Nashville’s campaign to diversify its artistic identity as “Music City” and is designed tobreak perception boundaries, educate, provoke debate, and shatter myths about opera.

Mayor Karl Dean said, “Nashville Opera’s selection as an NEA Our Town grant recipient means moreNashvillians will get a chance to experience this grand art form in diverse ways. The Music City Opera Projectwill foster relationships between the Opera and the deep variety of talented musicians who live and work inNashville and bring those dynamic collaborations to venues all around our city.”

Executive Committee Ann Peldo CargilePRESIDENTBradley Arant Boult Cummings LLP

Donald HolmesPRESIDENT ELECTMapco Express / Delek

P. Michael SaintIMMEDIATE PAST PRESIDENTThe Saint Consulting Group

Jeffrey B. SmithVICE PRESIDENT, FINANCEErnst & Young

Carolyn SchottVICE PRESIDENTBaker Donelson BearmanCaldwell & Berkowitz, PC

Thomas RodgersSECRETARYBinford, Miles, & Rodgers (retired)

Dr. Morel Enoch HarveyOPERA GUILD PRESIDENTCommunity leader

Trustee of The Judy &Noah Liff Foundation

Board of DirectorsThomas J. Aaron DeLoitte & Touche

David G. AndersonHCA

Sue G. AtkinsonAtkinson Public Relations

Judy Liff Barker•The Judy & Noah LiffFoundation

Tyler Beaudoin•Morgan Stanley FinancialServices

Jason Bergeron•Frost Brown Todd, LLC

Barbara T. Bovender•Community leader

Jan Lewis Brandes, M.D.•Nashville NeuroscienceGroup

Joy CalicoBlair School of Music

Anita CashCommunity leader

Agenia ClarkGirl Scout Council ofMiddle Tennessee

Diane CoxWell Planned Events

Greg FirekRegions Bank

Beth FortuneVanderbilt University

Tamar GinzburgCommunity leader

John GlennonAvondale Partners

Martha Ingram•Ingram Industries

Cara JacksonBass, Berry & Sims

B. David JoffeBradley Arant BoultCummings LLP

Dr. Lois JordanMetro Nashville PublicSchools (retired)

Ken LeiserCB Richard Ellis, Inc.

Kent MoegerleSunTrust Bank

Berkeley NanceCentury Construction

Dr. Robert OssoffVoice Center, VanderbiltUniversity Medical Center

Gary Parkes•Parkes Realty

Raymond PirtleClaridge Company

Martin Renkis•Smartvue Corporation

JR RoperLexus of Nashville

Meredythe SweetCommunity leader

Talmage Watts•State of Tennessee, Officeof the Attorney General

Dr. William O. Whetsell•Vanderbilt UniversityMedical Center (retired)

Advisory Board P. Michael SaintCHAIR

Dr. Joseph H. AllenThomas G. AndrewsJoseph BarkerJune BogleJennifer BottorffJohn Auston BridgesDr. G. Helen BrownAnn S. BumsteadLeslie Douglas-

Churchwell, M.D.Ramon Cisneros

Nancy ColemanMarion Pickering CouchElizabeth Seigenthaler

CourtneyRuth Roberts CowanDouglas CruickshanksDr. Thomas R. DuncanCharles W. DunnJean EskindJudy FisherRichard H. Frank, Jr.

John E. GillmorJoanne HayesJ. Michael HayesDr. Henry C. HowertonJames V. Hunt, Jr.G. Brian JacksonZach LiffJocelynne McCallJames L. McGregorScott H. McKeanAnn Marie McNamaraRobert E. McNeilly, Jr. J. William MyersShelley PageElizabeth PapelCarol PentermanRichard E. RagsdalePaula RobertsMary Ellen RodgersRichard P. SchneiderBeverly SmallIrma SpiesBruce D. SullivanSue SwenssonElizabeth TippingM. Andrew ValentineJonathan G. WeaverGudrun WestMary G. Wieck W. Fred WilliamsGail WilliamsDr. Theodore E. WiltsieUzi YeminAlan Yuspeh

NASHVILLEOPERA.ORG

NASHVILLE OPERA AWARDED $100,000 NEA GRANT

BEAUDOIN

BERGERON

BRANDES

PARKES

RENKIS

WATTS

YOU MAY HAVE SEEN THESE NEW OPERA BOARD MEMBERS WHEN THE CURTAIN WENT UP

Far left: Gary Parkes and his wife Eleanor as supernumeraries in Pagliacci, 2011.

Talmage Watts is a longtime chorus member, as is his wife Debbie Greenspan.They appear here in Il Trovatore, 2008.

Other Board leaders who have appeared as supernumeraries in Nashville Opera productions include Don Holmes, Tom Rodgers, and Chuck Dunn.

on stage

CNM NOMINATES HOOMES

The Nashville-based Center for Nonprofit Management(CNM) announced the nomination of John Hoomes, gener-al and artistic director of Nashville Opera, for the 2013SunTrust Bank: Business Acumen in the Arts Award. Theannual recognition honors arts organizations that havedemonstrated exceptional business practices in implementingarts initiatives which fulfill their mission, build their audi-ence, and create high community impact. John Hoomes isbeing recognized for his vision to add a fourth production toNashville Opera’s season, the Noah Liff Opera Center series,which features smaller scale, innovative, and brave modernworks; seldom seen operas; and new productions of rare orneglected works. The winner will be announced at CNM’sannual ceremony Tuesday, October 8, at the RenaissanceHotel and presented a cash prize of $4,000.

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John Hoomes, right,with Fred and Susan Williams

Specialty License Plates:Funding the Arts in TennesseeThe arts are getting cut from state budgets across America.In Tennessee, we are fortunate to have an additional sourceof funding. The extra revenue we receive from specialty andpersonalized license plate sales has been key to our survival.More than 70% of the money used to fund the 800+ grantsfrom the Tennessee Arts Commission last year was from thesale of these specialty license plates. For more, visittn4arts.org/specialty-plates.

Fat Bottom Brewerypatrons got a taste of

some robust operasinging at Beer &

Baritones, part of theOpera@ series, May 14.

1. Performing were baritonesJames Harrington, Corey

McKern, and Mark Whatley.2. Fat Bottom servers with a

sampling of beers. 3. Nashville Opera Board

member Carolyn Schott andher husband Gary.

In MemoriamDr. John B. Thomison, Sr.We remember Dr. JohnThomison, who served on ourAdvisory Board and was acherished member of theNashville Opera family. Hebrightened many lives with hiskindness and lasting impact on the opera and greatercommunity.

NASHVILLE OPERA MAGAZINE • Editor/Designer, Cara Schneider • Photography by Reed Hummell • Contributors: General & Artistic Director John Hoomes, COO Noah E. Spiegel, Karen L. Haas, Chandra McKern, Kira Florita, Kristin Murphy, Sarah Willard, Echo Propp, Nashville Opera Guild

NASHVILLE OPERA • Noah Liff Opera Center • 3622 Redmon Street, Nashville, TN 37209 • 615.832.5242 • 615.297.6337 fax • nashvilleopera.org

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What was the first opera you experienced?The first opera I saw was Tosca, but thefirst opera I experienced was in fact TheMagic Flute. My reaction was to embracethe Queen of the Night’s aria as the bench-mark for what a soprano can do.

What would you tell a first-time opera-goer? I would tell a first-time opera-goer to get agood seat. While every seat is a good seatfor opera, not every seat can properly intro-duce the art to a newcomer. I think whatmost people misunderstand about opera isthe extent to which the performance is asingular integrated performance and not aconglomerate of the music along with the

staging and other elements. It is easy toseparate the music from the performance ifyou sit far away.

If you could choose NashvilleOpera’s next production whichopera would you choose?I would not choose the next opera. I amalways excited to have it chosen for me bypeople who know better than I.

What music are you listening to? I am always listening to all kinds of music.I catch local bands very frequently.

What are you reading right now? I am currently reading both AmericanLion, the Andrew Jackson biography andthe third Harry Potter book.

It’s 10 a.m. on a beautiful Saturdaymorning, where are you?I am probably outside with my dog. Ifit is not so nice outside, I am probablycooking breakfast.

What’s one thing people would be surprised to learn about you? I think people are often surprised toknow that I sang classical music for yearsand went to college thinking I wouldsing professionally.

NASHVILLEOPERA.ORG

CURTAINCALL Get to know a fellow Nashville Opera fan.

ANJLEE KHURANA is an attorneywith Harris Martin Jones P.A.

Guests enjoy a Young Lovers of Opera Night Out at the Opera before the April 13 performance of The Magic Flute.

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BUY2O13.14SEASON + SINGLE TICKETSNOW!

NASHVILLE OPERA SINGS ON SOCIAL MEDIA!