Don Giovanni: Pondering Mozart s Mystery By GLENN WINTERS DON GIOVANNI. November The Editor s Notes. The Chairman s Corner.

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1 November 2018 A WINTERS TALE Don Giovanni: Pondering Mozart s Mystery By GLENN WINTERS WOLFGANG AMADEUS MOZART DON GIOVANNI INSIDE The Editor s Notes 2 The Chairman s Corner 3 Holiday Luncheon 3 At the Harrison 5 All versions of the Don Juan legend prior to Mozart s masterpiece treated the subject as a vulgar, lowbrow comedy. A few months before Mozart s opera premiered in Prague, a hack composer named Guiseppe Gazzaniga had a modest success with his opera Don Giovanni Tenorio. It s a bawdy slapstick, in keeping with tradition. In past eras, serious drama dealt with elevated subjects: good versus evil. Sex? That was for commoners with no taste. Mozart famously wrote a hybrid of comedy and drama, with a big innovation: he took the scene of Giovanni s damnation very seriously, with music that is truly terrifying. This newly substantive tone has led to a mystery, one which has inspired debate, arguments, dissertations, articles and books from Mozart s day to ours. Here s the gist of this mystery: in the final scene, God, in the form of the ghost of the murdered Commendatore, appears in Giovanni s home to mete out justice. Giovanni is warned: repent or face eternal punishment in Hell. In Giovanni s place, what would you say? I know what I d do: I d start apologizing over and over. I d fall on my knees and beg forgiveness. I d weep like a baby. Repent? Oh yes repeatedly, until the animated statue would finally say ENOUGH! I get it! Yet Giovanni says No. This begins an epic back and forth to music of unparalleled intensity: Repent! No! Yes! No! The cosmic clock winds down to zero, and off Giovanni goes to eternal perdition. WHY? Why didn t he just say, I m sorry? I see two possibilities. Continued on page 2 MEET THE ARTIST 25 and Counting Behind the Scenes 5 Guild Activities 6 The Junior Guild 7 New Guild Members 7 Board Bio 8 VOG Calendar 8 The Met Live in HD 8 By POWERS PETERSON Lillian Groag In staging Don Giovanni Lillian Groag approaches a special milestone. Don Giovanni marks her 24th production for Virginia Opera and the season will be her 25th year associated with Virginia Opera. In tribute to this venerable partnership, Virginia Opera has signed her and two of her former assistant directors, now full directors, to direct productions in Last season Lillian was at the directorial helm for The Girl of the Golden West. That production was identical to the one she originally crafted for Glimmerglass in The set, designed by John Conklin, later traveled to The New York City Opera (2008), Opera Omaha (2016), and Florida Grand Opera (2017) before making its Virginia Opera debut. To Lillian, that opera is memorable for its glorious music and its warm heart. It s the story and the music Photo by Alex Portenko Continued on page 4

2 November From the Cover First theory: He s making a courageous gesture. He doesn t understand why he should be punished for living as he pleased. Why do we have to follow GOD S rules? Who put Him in charge? Oh, right: God. How fair is THAT? Giovanni thinks. It s like playing Blackjack in Vegas: the house always wins. Giovanni s response is to say, I m not playing this game. I QUIT. In this attitude, he s like the Fallen Angel in Milton s Paradise Lost. Satan, having gotten the ultimate demotion, says this of being in Hell: Here at last we shall be free The mind is its own place, and in itself can make a Heaven of Hell, a Hell of Heaven Better to reign in Hell than serve in Heaven. Satan, too, has left the casino. Fine, he declares, now I have my own casino, and guess what? NOW I MAKE THE RULES. If this is Giovanni s response then he is, in a sense, a brave rebel, a true antihero in the classic mold. But then again, perhaps he s just a sick son-of-a-gun. Second theory: He s a psychopath. That s an antiquated term now out of fashion, first postulated by Dr. Julius Ludwig Augustus Koch, a psychiatrist, in (Modern psychologists prefer antisocial personality disorder. ) But it s still useful to examine the symptoms of what Dr. Koch named psychopathic inferiority. To wit: Lack of guilt or remorse Lack of empathy Inability to form emotional attachments or experience authentic emotional states other than rage Narcissism Superficial charm Dishonesty Manipulativeness Reckless risk-taking (Source: Mozart brought Giovanni to life in 1787, more than a century before Koch s theory. Yet, amazingly, Giovanni exhibits every one of the characteristics listed above with clinical accuracy. You could use Giovanni as a case study of the condition. Given all this, can his refusal to repent be attributed simply to the psychopath s inability to experience a normal human feeling like fear? Perhaps. Courageous flawed anti-hero or unfeeling headcase? Or something else? What say you? Glenn Winters Photo by DRA The Editor s Notes By POWERS PETERSON This month we welcome the return of long time Virginia Opera favorite, Lillian Groag. This acclaimed theater and opera director has become a Virginia Opera staple in her 24-year association with the company. And for her 25th anniversary with the company she will direct next year s opening production, Tosca. If you thought Dr. Glenn Winters couldn t find anything new to say about Don Giovanni, think again. His musings in A Winters Tale are a thought-provoking dissection of Don Giovanni s motivations and complex personality. Notice anything different? There s a new column on page 5, At the Harrison. It aims to give you some historical and current background on the upcoming opera and the artists. We re examining the subject of opera voices this season. So, Behind the Scenes introduces you to Shelby Rhoades, a multitalented professional without whom Virginia Opera wouldn t be as good as it is. Meet her on page 5. Last month membership chair Rick Shepard wrote Why the Guild? This month Gwendolyn Brown writes about the newly created Virginia Opera Junior Guild. Bob Kuhlo expands on these articles, detailing guild activities and events. One of these activities is the artists dinners. We ve served one cast and crew a terrific buffet meal, and we ll host another one soon. The lobby Gift Shop is open for business before every performance and during intermission. The events committee is already preparing for Guild Night in late October and for the annual Holiday Luncheon in early December. Coloratura changes and grows with your input. Tell me what you d like to learn about and topics you d like to see covered. Coloratura is nothing without readers. So talk to me at coloratura160@gmail.com. Wishing everyone a Happy Thanksgiving! Photo by DRA

3 November Chairman s Corner Fun Facts About By MARK E. BOARD I loved Street Scene...what a great start to this Don Giovanni season! Perhaps you noted our new ByADAM TURNER membership pamphlet, which was in your program. My thanks to Rick Shepard and Powers Peterson for developing this recruiting tool for the Guild. Rick Shepard and Gwendolyn Brown have done an outstanding job of cultivating first-time members and renewing our veterans and we re always welcoming new members! I encourage everyone to invite friends to our next event, Guild Night on Tuesday, October 30 th. This is free for Guild Members. The Guild has already contributed $4,000 to the operation of the Virginia Opera Company since the start of this fiscal year. We are poised to make another substantial contribution after receiving the disbursement from Festevents for our volunteer work this summer. Many thanks to all who volunteered at these fundraising events it was great fun! The Artists Dinner Committee co-chaired by Marianne Nicholson and Amber Taylor Reeves did an outstanding job of hosting our first sitzprobe dinner for the cast of Street Scene. We fed 90 people, a record number of performers and staff. The committee is gearing up to feed an estimated 65 folks for Don Giovanni. If you want to help in this effort, please contact Marianne at mnicholson900@gmail.com or call her at Mark your calendars for the joint Opera Guild and Symphony League Holiday Luncheon at the Norfolk Yacht Club on Saturday, December 8 th. Do your part to encourage support for the arts! You can also support the Opera by giving opera tickets as gifts for the upcoming holidays! Wouldn t tickets to the upcoming performances of The Elixir of Love be a great way to celebrate Valentine s Day? Or maybe welcome the start of spring with tickets to Madama Butterfly? You could also visit our gift shop for a hostess gift for an upcoming holiday event. We have a number of wonderful items to choose from. The Gift Shop is open prior to each performance at the Harrison Opera House and during intermissions. Support our opera company while finding that perfect gift! Have a wonderful holiday season and remember: supporting Virginia Opera begins with YOU! The character Don Giovanni is certainly no stranger to women of any historical age a wealthy seducer based on the legend of Spaniard Don Juan. The Don s fictional exploits became pervasive throughout European folklore and were the basis for Mozart s ruthless libertine. In the aria Madamina, il catologo è questo Leporello informs Elvira that Don Giovanni has slept with, to date, 1,003 women in Spain, 640 in Italy, 231 in Germany, and 91 in Turkey. With 24 hours left until the premiere of Don Giovanni, Mozart had not written a single note for the overture. He stayed up all night and at 7 a.m. the next morning he had finally finished the overture. The opera premiered in 1787 at the Prague Estates Opera in Bohemia (the Czech Republic) as Il dissoluto punito, ossia il Don Giovanni (The Rake Punished, Namely Don Giovanni). Don Giovanni is one of three operas written by Mozart with Italian librettist Lorenzo Da Ponte. The other two are The Marriage of Figaro (1786) and Così fan tutte (1790). GUILD EVENTS Holiday Luncheon By AMBER TAYLOR REEVES Come one! Come all! The Virginia Opera Guild s annual Holiday Luncheon in conjunction with The Virginia Symphony League will once again be held at the Norfolk Yacht and Country Club. The date is Saturday, December 8 th. Festivities will begin at 10:30 a.m. A cash bar will be available. Come mingle and enjoy early holiday shopping with the numerous temptations offered by the Opera Guild Gift Shop and the Symphony League Boutique. Following a plated lunch, we will be entertained by a vocalist from Virginia Opera and by a member of the Virginia Symphony. The Opera Guild and the Symphony League alternate chairing the event. The Guild heads the event this year. Events chair Amber Taylor Reeves is the organizer for the Guild and Tom Meurer for the Symphony League. Don your best holiday finery and come gather with us! Listen to enchanting music that will get your holidays started. You won t want to miss this sparkling event! As at past luncheons, the table arrangements by The New Leaf will be available for purchase. Tables can be reserved for parties of 8-10, so reserve early. Contact Amber Taylor Reeves at amberlaru@gmail.com. Guests are most welcome to attend, so invite your friends. Begin your holiday season with this seasonal delight. The Norfolk Yacht & Country Club Photos by DRA

4 From the Cover November together that matter. In directing any opera Lillian strictly adheres to the libretto because one always learns something from reading the original and being true to the narrative is critical. Not only the director, but also singers, can get into trouble if they don t understand the narrative, the actual word-for-word sequence each has to deal with. Lillian speaks Italian, French, Spanish, and English fluently and reads German, partly because of her upbringing and education. She was born in Buenos Aires to a Viennese father and an Italian mother. She was educated in Argentina, Uruguay, and the United States. Although she has no familiarity with Russian, she is willing to learn the language, especially if allows her to explore a Russian piece that attracts her. She will do anything I like contemporary or standard, so long as the music and the story get to me. Emphasizing the libretto, something that began with dramatic soprano Maria Callas, transformed opera in the 20 th century. All of a sudden, the words mattered. Meaning colors the voice. Don Giovanni is a complex, multidimensional character, as are all great characters in opera. Many current productions of Don Giovanni portray him as a lecher and a murderer. But Mozart and his librettist Da Ponte were not so simplistic and naïve as to write Don Giovanni as that. Their message is far more complicated and troubling. Close reading of the libretto yields the explanation. The men, Leporello included, want to be Don Giovanni; the women just want to be with Don Giovanni. Is that good or bad? It s complicated, but without textual adherence, operas lose their way. La Bohème and Turandot are two other examples of operas with multiple misinterpretations of the libretto. In the first act of La Bohème the four young university students banter about Greek and Roman history. One assumes they are tight for money only because they've decided to live La Vie de Bohème, as artists, instead of following the respectable professions their families would expect. Exactly like Alfredo in La Traviata, marriage doesn't ever become the point. Again, word-forword matters. The libretto of Turandot, which Lillian directed here in 2017, indicates it s not meant to be a realistic story. It s a fable about love, of knowing the real person in another person. That fable exists in every culture. The cold princess who asks three questions is neither cruel nor vindictive; she is instead afraid. She fears love itself and losing herself in another person. Then there s Lillian s 2005 Virginia Opera production of Wagner s Tristan und Isolde. It was complex to stage precisely because the dramatic action is all internal. Like Turandot, the subject is Eros, that once-in-a lifetime experience that doesn t happen to many people. The entire opera lives in the characters inner worlds. The music reflects this in that Wagner s very long resolution to the first Year! Opera 1993( Tosca 1995( Simón Bolívar 1995( Die Fledermaus 1996( The Flying Dutchman 1997( Julius Caesar 1999( Così fan tutte 2000( Rodelinda 2002( Elektra 2002( Die Walküre 2004( Fidelio 2004( Turandot 2005( Tristan und Isolde 2007( Agrippina 2007( Tales of Hoffman 2008( Il Trovatore 2010( Don Giovanni 2010( Così Fan Tutte 2011( Die Walker 2011( Aida 2013( The Marriage of Figaro 2015( La Traviata 2017( Turandot Turandot (2017) 2017( The Girl of the Golden West 2018& Don Giovanni chord is unresolved until the end of the third act. That first dissonant chord (the Tristan chord) is followed by another dissonant chord instead of by a consonant chord: Tristan and Isolde s unfulfilled love is mirrored in the lack of resolution in the music. The story is paramount in all of Lillian s work whether she s writing, acting, or directing. Having written and directed several plays and having translated many other authors works, Lillian has first-hand knowledge of how a story drives the audience s theater experience. As an actress, Lillian must bring that story to life on stage. She was nominated for a Helen Hayes Award for her performance in The Kentucky Cycle at the Kennedy Center in DC in 1994 and on Broadway later. Just as with plays, opera has something to say. It s incumbent on the soloists and the chorus to be aware of this and remain strenuously involved and alive. Each performer has to understand what s coming out of his or her mouth. Say what you mean and mean what you say. Why does Lillian Groag enjoy working at Virginia Opera? When I walk in to the Harrison Opera House, it s like walking into my own living room. I am so comfortable there. It s familiar and I know I ll be supported. The crews always do their best and, in my experience, they are unequaled anywhere. In 24 productions she s never experienced a moment of friction, and that counts a lot. So, welcome back, Ms. Groag! We eagerly anticipate your 25 th Anniversary with Virginia Opera. The Girl of the Golden West (2017) Ms. Groag dedicates this production of Don Giovanni to the memory of the late Dmitri Hvorostovsky, the magnificent Siberian baritone who was one of the greatest interpreters of the role of Don Giovanni.

5 November BEHIND THE SCENES From Juilliard s Loss to Norfolk s Gain By POWERS PETERSON Since this season s Behind the Scenes column focuses on the operatic voice, I spoke with Shelby Rhoades, Virginia Opera Principal Coach and Director of Emerging Artists. She began piano lessons at age 6 and continued classical training throughout high school. She began singing lessons at age 10. At age 16 she discovered she had perfect pitch, which she explains as having the absolute value of a pitch in one s ear. There s a direct correlation between perfect pitch and quickly understanding what is on the written score. Shelby received a Bachelor of Arts degree in Piano Performance from Anderson University (Anderson, IN) and a Master of Music degree in Chamber Accompanying and Vocal Performance from Ball State University (Muncie, IN). While playing lessons for a professor there, she learned she had the ideal skills to become a vocal coach: a voice, perfect pitch, and the ability to sight-read. Shelby analogizes those skills to having computer chips in one s brain. While working as a Coach-Fellow at the Aspen Opera Theater Center she met Edward Berkeley, a professor at the Juilliard School in New York City. Some years later, Juilliard offered her a position as an associate vocal coach. Shelby moved Shelby Rhoades to Manhattan. Fast-forward several years. While she was still on faculty at Juilliard, Maestro Adam Turner called to offer her this current position. Shelby moved to Norfolk. Being a vocal coach is a multi-level task in which Shelby commits to that singer as a whole. First, Shelby makes sure a singer has a grasp of the basic structure of the music, such as pitches and language. Next, she ensures a singer has air and voice working together. When a passage is technically difficult, such as coloratura, is when tools, such as practicing scales, are useful. Lastly, Shelby must know the singer s psychology. I work to increase a singer s confidence and morale, no matter what those were before the coaching session. As the Director of the Emerging Artists Program, Shelby is key to selecting the singers. From the approximately 600 applicants who file the initial webbased application Shelby selects 150 to audition in New York in early December. The numbers for each voice type in the minor or covering roles are dictated by the needs of the upcoming season. For example, the opera may audition 40 sopranos for 7 roles, 25 tenors for 5 roles, etc. Each applicant performs two arias, one of his/her choice and one of the selection committee s choice. Singers are judged on the quality of singing, stage presence and delivery, and overall artistry. Shelby wants to see and hear someone in whom VO s investments will result in his or her growth as a well-rounded operatic performer. After hearing all the singers, the committee selects to sing in the final round. After the auditions Shelby and Mo. Turner collaborate on the final selection of the approximately artists. From the quality of the voices heard in performances here it s evident that Shelby Rhoades is something special. The Production Conducted by Adam Turner Virginia Symphony Orchestra Virginia Opera Chorus AT THE HARRISON Director(( ( Lillian Groag Set Designer( ( Erhard Rom Lightning Designer( Ken Steadman Chorus Master( ( Deniz Uz Musical Preparation( Shelby Rhoades Don Giovanni Music by WOLFGANG AMADEUS MOZART Libretto by LORENZO DA PONTE The Cast Don Giovanni( ( Baritone(( Tobias Greenhalgh Il Commendatore( ( Bass( ( Nathan Stark Donna Anna( ( Soprano( ( Rachelle Durkin Don Ottavio( ( Tenor( ( Stephen Carroll Donna Elvira( ( Soprano( ( Sarah Larsen Leporello( ( Bass( ( Zachary Altman Masetto( ( ( Bass( ( Evan Bravos Zerlina( ( ( Mezzo-soprano( Melisa Bonetti Chorus:( ( ( Peasants, servants, young ladies, ( ( ( musicians, demons Poster for the Vienna premiere (1788)

6 November GUILD ACTIVITIES Two Hearts That Beat as One By BOB KHULO The purpose of the Virginia Opera Guild is to support the goals and objectives of Virginia Opera, particularly promoting interest in and attendance at its productions. Bylaws of the Virginia Opera Guild How does the Guild support the goals and objectives of Virginia Opera (VO)? The key words are promoting interest. The Guild gives its members and guests the opportunity to discover more about VO. Every Guild activity provides contact with performers, cast members, and educators. In addition, Guild members support the Opera by fund-raising, promoting subscriptions and attendance, helping artists, and operating the gift shop. Even Coloratura has grown from an internal Guild document to a widely distributed newsletter for opera lovers throughout the area. Every Guild activity has an educational function. Our parties feature an opera singer and arias from the vast opera repertoire. Guild Nights usually include Dr. Glenn Winters introducing the upcoming production, followed by a dress rehearsal. Or there may be a presentation by the director or other principal member from the artistic team of the upcoming production. Opera in the Park has an extensive program of opera favorites that remind fans of past productions and give newcomers an introduction to the beauty of opera. The Guild promotes contact with the cast and crew of VO productions. Guild members transport visiting artists to and from Norfolk International Airport and bring them to the Harrison Opera House for reception and orientation. We meet artists at the various guild activities and show them true Virginia hospitality. For example, at the artists dinner at the technical rehearsal the week of opening night. We provide a buffet dinner for cast and crew (sometimes up to 80 people) so they can return to rehearsal after a pleasant break. Some of us even house visiting artists in our homes for up to six weeks while they are here. Many lasting friendships have formed over the years and led to very rewarding relationships. In fact, one houser recently hosted the daughter of a previous guest a multi-generational relationship. Visiting artists often rate this aspect of working with VO as one of their favorite reasons for returning to Norfolk. The Guild directly supports VO financially too. Members operate the gift shop in the lobby of the Harrison Opera House and donate all profits to the Opera. The Guild conducts other fund-raising activities, including the ever-popular Merchant of Venice rummage sale and the Spring Fashion Show and Bazaar. In the late spring and summer, Guild volunteers operate booths to sell beverages as part of the Festevents profit-sharing program; all proceeds from these activities are donated to VO. Guild members are dedicated subscribers to VO. In the last season we promoted new subscriptions at the Guild tent at Opera in the Park, through direct mailings, and in a telephone campaign. This year nearly 70% of the guild members subscribed to the season. The Guild s Board of Directors had a 100% subscription rate. As individual Guild members, we bring guests to our activities to promote VO. We encourage donations and subscriptions. We bring friends to the opera with us and give tickets as gifts. We attend the Gala in the spring and we go to the popular Craft Beer Event in February. As we become more interested in the arts, we take on increasing responsibility in VO volunteer groups. This season brings the start of a new project in support of VO. To encourage younger generations to learn about and enjoy opera, the Guild is launching the Virginia Opera Junior Guild. Created as a volunteer community service organization, the Junior Guild is intended to promote VO and its activities. It will be open to high school students 16 and over in the Norfolk area. We intend to expand eventually to include the larger Hampton Roads area and college students. Last, but not least, is Coloratura itself. Initially a Guild-only publication, its audience now includes all VO subscribers and donors. The articles pertain to VO and Virginia Opera Guild. Some articles illuminate the careers of both visiting and permanent members of the VO and Guild families; other articles inform the audience of upcoming events and opportunities to participate. As you can see, the Virginia Opera Guild supports VO in many ways. If you want opera to continue its important role in our community, joining the Guild is a superb way to help. See you at the opera! Opera in the Park: Guild Tent Artists Dinner: The Chefs Merchant of Venice Wares Sunset on the River Registration Holiday Luncheon: Shopping Coloratura Photos by DRA

7 November GUILD ACTIVITIES The Virginia Opera Junior Guild By By GWENDOLYN BROWN When someone asked why would the Guild create a junior version, I replied, Why not? The current audience for opera is aging, which is all the more reason to expose younger people to this magnificent form of art. The idea of creating an Opera Junior Guild in Hampton Roads was to give the youth in our community opportunities to participate in and to develop an appreciation of opera. The Virginia Opera Junior Guild (VOJG) is a volunteer organization designed to provide students with hands-on opportunities to engage with grand opera both on stage and behind the scenes. Participation in the junior guild is a unique way to attract students to opera while they are in high school. The VOJG will help foster students creativity and self-worth while building a community of artsengaged young people. The VOJG s creation will also provide additional support to the Virginia Opera Association by promoting this incredible art form to this young group. When students experience opera, they discover the one genre that brings all the arts together. Opera is magical: it s music, drama, dance, art, and even literature. The junior guild organization offers both leadership and volunteer opportunities. Involvement strengthens a college admission application in term of community service. The incentives for students and for those of us in the Guild itself are phenomenal. Gwendolyn Brown and Amber Taylor Reeves discuss the Virginia Opera Junior Guild at Sunset on the River New Guild Members We welcome our first-time Virginia Opera Guild members. As with all members, their contact information will be listed in the electronic directory just published. Welcome, all! Are you intrigued about the Guild? Do you want to join us to support the Virginia Opera Association? Perhaps you would enjoy volunteering for a committee or for one of our activities. And don t forget to check us out on the Virginia Opera website. Jeff & Susam Bernger Norfolk Jeff Brown Norfolk Dr. & Mrs. Floyd Clingenpeel (Mary) Franklin Dottie Davidson & Kelly Wyatt Ernie Goe Norfolk Bill Griggs & Ernie Warinner Here s how to contact us: Dr. Mamie L. Johnson GUILD Contact Information Write us Virginia Opera Guild P.O. Box 11572, Norfolk VA Call us RSVP: , ext us vaopera.guild@vaopera.org Like us on Facebook: Virginia Opera Guild Melanie D. Mitchell Rose Marie Morehead Robert Titcomb & Carole Steinberg Bernita Townes Emma Tracy & Jesse Ingle Richmond

8 November BOARD OF DIRECTORS BIO Ruth Schepper Photo by DRA Ruth Schepper recalls that her most memorable opera occasion occurred at the New York City Opera. I was seated in the center front orchestra, watching Johann Strauss II s Die Fledermaus. Rosalinde was sung by a tall, stunning soprano. The gentleman to my right tapped me on the shoulder and said, Look up, to your left. And there, sitting in her designated First Ring box, was the great soprano Beverly Sills. Ms. Sills practically owned that role before she retired! Die Fledermaus isn t Ruth s favorite opera, though. It s Mozart s The Marriage of Figaro. Mozart and Da Ponte -- now that was a heavenly artistic marriage. The music is so integrated, so defining for each character. Both the solos and the ensembles move the tale along with nary a boring moment. Mozart and Da Ponte exhibited a rare insight into the emotional zeitgeist of women. As for social commentary, they were right on target. And then there s Cherubino, the funniest and most demanding pants role ever. Ruth s long-time interest in opera isn t limited to attending performances. She has been a member of the Guild for several years and joined the Guild s Board of Directors this season. Opera is worthwhile for me and for the community. This year she is involved with helping establish a junior opera guild for high school students. She has hosted a number of singers as part of the Virginia Opera s housing program and she recalls Virginia Opera s determined founder Edye Harrison fondly. Ruth attended New York University as an English major and George Washington University in the School of Business. She graduated from Old Dominion University with a Bachelor of Arts degree in Economics and then a Master s degree in accounting. She is a certified public accountant (CPA) and a certified government financial manager (CGFM). A lifelong pianist, Ruth just recently had her piano refurbished. She also plays guitar and the ukulele. In addition to her musical interests she is a movie buff, especially when it comes to going to the Naro Theater. Further, she adores fishing in our wonderful waters. Virginia Opera Guild Calendar The Met Live in HD Date Time Event Date Time Opera / Composer Conductor / Singers Oct 27 5:30 Artists Dinner for Don Giovanni Oct 30 6:00 Guild Night Oct 27 12:55 La Fanciulla del West / Puccini Armiliato / Westbroek, Kaufmann, Bosi, Lučic, Todd, Rose, Gradus Nov 2 8:00 Don Giovanni Nov 4 2:30 Don Giovanni Nov 10 12:55 Marnie / Muhly Spano / Leonard, Kelly, Graves, Davies, Maltman, Liverman Nov 6 7:30 Don Giovanni Dec 15 12:55 La Traviata / Verdi Nézet-Séguin / Damrau, Flórez, Kelsey Nov 28 4:30 Board Meeting Dec 8 10:30 a.m. Opera Guild & Symphony Holiday Luncheon Jan 31 4:30 Board Meeting Jan 12 12:55 Feb 02 12:55 Adriana Lecouvreur / Cilea Carmen / Bizet Noseda / Netrebko, Rachvelishvili, Beczala, Bosi, Maestri Langrée / Kurzak, Margaine, Alagna, Vinogradov Feb 3 5:00 Artists Dinner for The Elixir of Love Mar o2 12:55 La Fille du Régiment / Donizetti Mazzola / Yende, Blythe, Camarena, Muraro