The Evolution of
Knoxville Opera

As Knoxville Opera
commences its 2010
season, the fifth under the
leadership of Executive
Director Brian Salesky, you
can expect a few surprises.
Oh, there’s the requisite
tragedy, complete with the
“vocal pyrotechnics” that characterize bel canto opera,
according to Salesky. And there’s classic operatic comedy
as well. But the maestro’s tossed a little parody into the
mix, with a homegrown actor in the lead. Intrigued? You
should be.

The season begins with Donizetti’s’ Lucia di
Lammermoor, based on the novel, the Bride of
Lammermoor, by Sir Walter Scott. Donizetti, along with
Rossini and Bellini, make up the trifecta of 19th century
Italian composers whose works embody “bel canto,” which
means, most literally, “beautiful singing.” These men
composed opera during what is sometimes called the bel
canto era, which flourished from approximately 1800 to
1850. The genre is full of gorgeous long melodies with
sweeping embellishments and trills. Lucia di Lammermoor
opens Valentine’s Day weekend at the Tennessee Theatre,
the acoustically unparalleled venue for all of KO’s 2010
productions. Donizetti’s romantic Scottish masterpiece is in
Italian with projected English translations. Lucia sets the
theme for the season: viva bel canto!

On March 12, Salesky debuts a truly original
production of Gilbert & Sullivan’s The Pirates of Penzance.
While the staging is traditional—“Mona Lisa will not have
a mustache,” quipped Salesky—the casting is somewhat
surprising. Actor David Keith stars as the Pirate King,
bringing his own unique interpretation to the role. “David
is deeply committed to doing a great job,” said Salesky. “I
cast him not knowing he would be even more enthusiastic
about the project than I am.” Keith is best known for his
award-winning movies, such as An Officer and a
Gentleman. However, he’s no stranger to the stage, having
trod the boards on numerous occasions at the Clarence
Brown Theater. With Keith as the Pirate King, it’s Gilbert
& Sullivan with a Tennessee twist.

Pirates is, in fact, the perfect counterpoint to Lucia,
because it’s a parody of the tragedy. Mabel, in The
Pirate of Penzance, spoofs the high coloratura soprano
role of Lucia, in Lucia di Lammermoor. The operetta is
entirely tongue-in-cheek. Johnny Depp’s franchise
speaks to the universal popularity of pirates, those
archetypal swashbuckling, fun-loving adventurers.
Gilbert & Sullivan’s Pirate King is the quintessential
Cap’n Jack Sparrow. The fundamental of Pirates is
that it’s fun—savvy?

It was a bold move on Salesky’s part to add this third
production to the season’s offerings, despite the
lackluster economy. Because Salesky is Executive
Director as well as Maestro for Knoxville Opera, he
understands the bottom line. Equally adept with sheet
music and spreadsheets, Salesky saved KO from near
financial ruin when he came on board in 2005, putting
the company in the black during his first season. KO
has been subsequently debt-free for the last four years,
despite drop-offs across the board in corporate
sponsorships and individual donations during the
economic downturn. Needless to say, it’s a tough time
to raise money to support the arts. In fact, ticket sales
make up only 20 percent of the entire operation. With
prices starting at $15 for adults and $10 for students,
opera is an accessible art form here in Knoxville.

Salesky has a profound appreciation for the legacy he
inherited. Knoxville Opera was established in 1978.
Since then, the company has been lovingly nurtured by
a small cadre of devoted patrons. Over the years, the
founding angels have departed, so the torch has been
passed to the next generation of opera enthusiasts. “It
was with great humility that I assumed the
responsibility to keep Knoxville Opera healthy and

Continued ››

vibrant,” explained Salesky. “My vision
for KO is to adhere to the highest
standard of performance given the limits
of our budget. I’m proud of the work we
do, and I’m intensely committed within
that context.”

The current season begins with
Donizetti’s tragedy in February, moves
to Gilbert & Sullivan’s parody in March
and concludes with Rossini’s classic
comedy, The Barber of Seville, in April.
The centerpiece of KO’s ninth annual
Rossini Festival on the weekend of April
24, Barber is based on the play by Pierre
Beaumarchais. The convoluted story is
set in Spain and features the charming
local barber, Figaro, who must help a
nobleman win the heart of Rosina, a
sheltered ingénue.

One of the Southeast’s premier
cultural attractions, the Knoxville
Opera Rossini Festival celebrates opera
and Italian culture. The Festival
combines three operas: The Barber of
Seville and the vibrant Italian street
fair—a real-life opera—on Gay Street in
downtown Knoxville, the UT Opera
Theatre’s production of Puccini’s Gianni
Schicchi at the Bijou theatre, and this
busy thoroughfare is transformed for a
day into a carnival with four outdoor
stages, a variety of performing arts
groups, street vendors, crafts and
tantalizing Italian cuisine.

Salesky’s enthusiasm for opera is rivaled
only by his work ethic. During his tenure,
Knoxville Opera has evolved into an
organization committed to serving the
community both inside and outside the
Tennessee Theatre. Salesky is tireless in
his dedication to promoting opera as a
relevant art form. KO sponsors 75-100
education outreach events each year in
Oak Ridge and Knoxville, in addition to
its mainstay productions and the Rossini
Festival. New this year, Salesky added
something called “Knoxville Opera Goes
to Church… A Celebration of Talent”
which integrates opera with the music of
local congregations. The inaugural
concert brought together local African-
American church choirs and soloists with
Knoxville Opera and UT Opera Theatre
artists in a performance of gospel and
opera. The performance was held at the
Greater Warner Tabernacle A.M.E. Zion
Church. Admission was free.

“It’s an awesome responsibility,” said
Salesky of his charge to create musical
excellence with limited resources. “I
want to honor our founders and our
community.”

You might ask why opera is relevant to
our community at all. Salesky said the
bigger question is whether culture is
relevant or not. It’s a rhetorical question,
of course. “Opera is a glorious, glorious
art form. It can inspire, move and
educate. It feeds the soul, the spirit and
the intellect.” Of course, so can a great
cheesecake, according to Salesky. “Just as
everyone doesn’t like the same foods,
everyone doesn’t like the same art forms.”

Salesky’s personal favorite is not on the
roster this season, nor has it ever been
performed by Knoxville Opera. “My
favorite opera is Verdi’s Falstaff, based on
Shakespeare, because it’s the most
satisfying to study and perform from an
emotional, intellectual and philosophical
perspective,” said Salesky. “Falstaff is
ever-fascinating to me, because of its
self-depreciating humor and point of
view of life.” Salesky conducted Falstaff at
New York City Opera and also in Italy.

So, if Salesky’s passion is any
indication of the caliber of KO’s
upcoming productions, they will be
blockbusters. “I want to be happily used
up. I don’t want to have anything left or
leave anything behind when I’m done,”
he concluded. And you get the feeling he
means it. Opera’s an intense job. It’s also
a transcendent experience. Bravo! EK