Like the mythological Phoenix rising from its predecessor’s ashes, Knoxville Opera’s popular Rossini Festival International Street Fair rose once again last weekend to draw throngs of fun-and-entertainment seekers to the streets of downtown Knoxville. Unable to operate since 2019 because of health and safety precautions stemming from the Covid-19 pandemic, the festival was one of the first civic-level cultural gathering opportunities to make a genuine return.
With attendance figures for the festival now in the 30,000+ range, festival-goers today would find it difficult to comprehend the metamorphosis that the Rossini Festival has undergone since its beginning in 2001 as something quite different. Those first festivals were directly tied to opera productions being staged at the Tennessee and Bijou Theatres and promoted Italian food and culture with just a few vendors providing food/drink for the enjoyment of opera-goers.
In many ways paralleling the recovery and resurgence of Downtown Knoxville itself in the last two decades, the festival grew almost exponentially over the ensuing years, eventually losing its Italian character, ethnic cuisine, and cultural tie-ins. However, at the same time, thousands and thousands of Knoxvillians were being infused with, and reminded of, the cultural opportunities available in the city, not just from opera and classical music professionals, but from local amateur and professional organizations embracing choral and instrumental music, jazz, and dance. For many local groups, performing on an outdoor stage at the festival became one of the most important events in their annual programs. Admittedly, though, as the Street Fair has grown in popularity and complexity, and away from its original intention, it has also become a logistical weight on KO that is probably unsustainable.
The End of an Era—the Beginning of a New One
While Knoxvillians and visitors were basking in the beautiful weather, music, and carnival-like atmosphere of the Rossini Festival Street Fair, an era in Knoxville Opera’s existence was coming to an end. Brian Salesky, KO Artistic Director since 2020 and its Executive and Artistic Director since 2005, is stepping down as KO’s 2021-22 season comes to an end. One has only to examine the history of the company over those 17 years to grasp his accomplishments: successful leadership through the early days of financial peril, growth and success of the company’s notable community and educational programs, recognition and support of young operatic talent at the beginning of big careers, and the attraction of ever-increasing audiences to its main stage opera productions.
As a flourish, the month of April found Salesky leading several concerts as finales to his notable tenure with KO, concerts featuring his admitted favorite opera composer, Giacomo Puccini. First came “Puccini in the Cathedral”, a program at Knoxville’s Cathedral of the Most Sacred Heart of Jesus, that featured the Knoxville Opera Chorus in some of Puccini’s lesser known choral works with a religious, rather than operatic, context.
The real finale—and certainly one to remember—came on Friday evening as Maestro Salesky and KO presented the “Puccini Gala Concert” at the Bijou Theatre. With the theme of one selection from each of Puccini’s twelve operas, this wildly enjoyable and impressive concert featured four soloists along with Maestro Salesky conducting the Knoxville Symphony Orchestra on stage. Two of the four soloists were familiar faces and voices known fondly to Knoxville Opera audiences: soprano Rochelle Bard and baritone Scott Bearden.
Ms. Bard and Mr. Bearden have a long history with KO, including a previous gala concert honoring the company’s 40th Anniversary. Bearden, known for his ear-catching power and clarity, probably holds the record for lead guest artist appearances, having sung with KO in Pagliacci, Otello, La Fanciulla del West, Hansel and Gretel, Tosca, Maria Stuarda, and Aida. Bard turned heads with her title role performance in the KO production of Norma, later returning to Knoxville to do the same in Il Trovatore and Maria Stuarda.
The other two singers were making their KO debuts—soprano Amy Shoremount-Obra and tenor Adam Diegel—and each made gigantic impressions on the KO audience that matched the size and sheer beauty of their voices. The pair was stunning in two extended sequences: the Act III finale from Tosca, as well as in the Act IV of Manon Lescaut.
In case we had forgotten the crystalline beauty and power of Bard’s voice, she took on two of Puccini’s classics: “Un bel di…” from Madama Butterfly, preceded by the haunting “Donde lieta usci” from La Bohéme. Later, she sang a sensationally beautiful “Senza mamma” from Suor Angelica.
One of the better dramatic singers that have graced Knoxville’s opera stages, Mr. Bearden was joined by Ms. Shoremount-Obra for the Act II Poker Scene from La Fanciulla del West. Even this abbreviated concert performance staging proved each of them to be compelling singers with considerable acting chops—as if we really needed additional proof.
The KSO got its own “solo” opportunity, and deserved applause, with the intermezzo “La Tragenda” from Puccini’s first stage work, the opera-ballet Le Villi from 1884.
In what was, perhaps, the perfect finale to this Gala Concert, Mr. Diegel and his colleagues combined for “Nessun dorma” from Turandot. Aside from the emotional impact of the melody, the aria was a stirring showcase for Diegel’s magnificent and powerful instrument. One can only hope that both he and Ms. Shoremount-Obra get a return invitation to a Knoxville Opera production in the future.
Last December, Knoxville Opera announced the changes in the company’s artistic direction as Salesky steps down—changes that promise to be a metamorphosis, if not a complete reexamination of the company’s place in Knoxville’s cultural scene. With the official beginning of the 2022-23 season in July, Jason Hardy will be KO’s General Director and CEO, with an artistic triumvirate of Dean Anthony as KO’s producing director, Elizabeth Moore as music coordinator, and Keturah Stickann as artistic advisor. With major branding announcements planned for the Knoxville Opera annual meeting on June 16, stay tuned for news of next season’s productions and a new look and feel for opera in Knoxville.
