Oyez, oyez, oyez (the call of the court to order). The significance of the landmark Supreme Court’s unanimous ruling in the Loving v. Virginia case is so powerful, it can overshadow everything else. Before that decision in 1967, interracial marriages were illegal in Virginia and about forty other states. In the opera, when Mildred Loving is asked how she felt when the decision came down, she said simply, “I feel free”. In doing so, she proclaimed hope for all of us and brought tears to my eyes. However, I went to Sunday’s premiere of Virginia Opera’s Loving v. Virginia determined to set the significance aside to a degree and put my primary focus on one issue: was it a good opera? This led to some disagreements with my wife and copy editor Deb at intermission, me being the critical one. However, by the end of the opera, we were in total agreement. This is an exceptional opera that deserves and needs to be seen. The Supreme Court’s decision represented a growth spurt for American democracy, but the Lovings expressed what it meant in human terms; they asked only that they be allowed to live together with their family in Virginia.
Flora Hawk as Mildred Loving and Jonathan Michie as Richard Loving in love. Photo by Dave Pearson Photography; courtesy of Virginia Opera.
Loving v. Virginia was co-commissioned by Virginia Opera and the Richmond Symphony, as a fitting commemoration of Virginia Opera’s 50th anniversary season this year. Five years ago, they decided to commission an opera with a subject associated with Virginia. In fact, over his tenure with VO, Artistic Director Adam Turner has selected several works for performance that had ties to Virginia. He and Lacey Huszcza, President and CEO of Richmond Symphony, gave opening comments. Composer Damien Geter, a native of Virginia, and librettist Jessica Murphy Moo accepted the commission in 2022. To direct the opera, VO brought on board world-famous opera star turned director, Denyce Graves-Montgomery; she is black and a native of Washington DC; her husband is a white physician, and they live in Virginia. He repairs the heart, and she inspires it.
A family gathering around the table. Melody Wilson as Musiel Byrd Jeter, Christian Bolling as Sidney, Flora Hawk as Mildred Jeter Loving, Cordelia Mesecher as Donald, Phillip Bullock as Theoliver “Jake” Jeter, and Adelaide Harr as Peggy. Photo by Dave Pearson Photography; courtesy of Virginia Opera.
Making and staging an opera of the Loving’s story presented challenges. It takes place over nine years in different stages, with scenes in their home areas in both Virginia and DC, scenes in courts in both venues, and jail cells, aspects more easily accommodated in a movie. In fact, there was an excellent film in 2016 titled Loving; actress Ruth Negga was nominated for an Academy Award for her performance. In brief, in 1958 an interracial couple in Center Point, Virginia were unable to marry because of Virginia’s 1924 Racial Integrity Act disallowing marriage between whites and people of color; anyone with one drop of blood not white in their body was considered colored under the law. Richard and Mildred got married in DC which allowed their marriage and returned home to Virginia. They were arrested in their home in the middle of the night and placed in jail. In their court hearing, after pleading guilty they were sentenced to one year in prison each to be suspended if they did not appear in the state together for a period of 25 years. They relocated to DC but unhappy with living in the city with their children, they sought relief through the ACLU for help to move back to Virginia, which eventually led to the 1967 court decision vacating their convictions, finding the law unconstitutional, and changing miscegenation laws in place in a majority of the states in the US. The opera effectively presents the facts of the case but focuses on the human impact of the law and their struggles. The Loving’s story is a shocking reminder of the degree to which racial prejudice pervaded life in America in a time so close to our own. Having seen the movie, learned the facts of the case, and witnessed the human toil shown in the movie, I was eager to learn what the opera had to offer that was different and if it was done effectively.
Flora Hawk as Mildred in jail surrounded by members of the chorus representing the masked faces of the “Law”. Photo by Dave Pearson Photography; courtesy of Virginia Opera.
Upfront, this is one of the best organized performances of an opera that I have seen; early on I thought the action had a Broadway show vibrancy. Except for the intermission, there is no break in the action or the music; actors and staff move the stage props representing doors, bleachers, court steps, furniture, and jails around as needed swiftly while screen images of a Virginia country view or a DC city view provide backdrops for the action; costume changes seem to appear out of nowhere. Very clever was the use of masks on several members of the chorus to illustrate the cold, impersonal, officiousness of legal proceedings. Sometimes the stage was filled with actors and chorus supernumeraries moving about. From intimate scenes of two people expressing their feelings for each other to a threatening scene of a cross burning to a child injured in traffic to a DC street scene of a demonstration for equal rights, this was a directing tour-de-force. The human flow of the story was always moving from beginning to climax, and the ending simple silhouette of Richard and Mildred at peace, embracing alone in front of the landscape of the Virginia countryside was one I will long remember. Kudos to Director Graves-Montgomery and all her associates on the creative team.
Flora Hawk as Mildred and Jonathan Michie as Richard being sentenced by Benjamin Werley as Judge Bazile. Photo by Dave Pearson Photography; courtesy of Virginia Opera.
Composer Damien Geter’s music was beautifully played by 51 members of the Richmond Symphony led by Conductor Adam Turner, foreshadowing and reflecting mood, emphasizing emotions, adding embellishing scenes with beauty. The libretto of Jessica Murphy Moo told the story well and blended skillfully with the music. The melodic music had modern elements that helped connect with the story, including an electric guitar in the mix, and marvelously-used sections of the orchestra in expressive ways. Maestro Turner impressively kept the singers and music moving together. Having the music playing and maintaining the narrative flow through on-stage scene changes was brilliant. I offer no criticisms but one wistful longing: writing beautiful arias is and should be enough, but I wish a couple of them had more of a hit tune quality that I would remember long after the performance ended, to increase attendance and keep audiences returning; this opera deserved that and maybe I worry for nothing. Regardless, I will long remember Loving v. Virginia and recommend it without reservation; I expect it to be played many more times around the country, and given its universality, around the globe.
Troy Cook as lawyer Bernard Cohen, Jonathan Michie as Richard, Flora Hawk as Mildred, and Christian Sanders as lawyer Philip Hirschkop celebrate the victory. Photo by Dave Pearson Photography; courtesy of Virginia Opera.
A large, excellent cast made the most of each opportunity of singing and acting. Soprano Flora Hawk who played Mildred has a bright soprano voice that floated along in the higher registers with graceful ease, carrying the musical beauty and emotion along with it. Baritone Jonathan Michie who played Richard Loving sang well and was so believable in the role I felt like he was someone I know. Their duets were a highlight of the performance. Those in supporting roles were impressive in singing and in their characterizations. Mezzo-soprano Melody Wilson portrayed Mildred’s mother in a fashion that made it seem more of a starring role. Baritone Philip Bullock presented as a wise and caring father of Mildred. Contralto Alissa Anderson as Richard’s mother added a concerned and caring duet with Richard. Baritone Troy Cook and tenor Christian Sanders portrayed the ACLU lawyers with humor and conviction who, fresh out of law school, brought the case to the Supreme Court. Mezzo-soprano Tesia Kwarteng played Mildred’s adventurous friend with a caring spirit. Tenor Benjamin Werley who portrayed the Sheriff and Judge Bazile so convincingly that during the standing ovation at the end, when he stepped forward, there was a volley of good-natured boos. The Virginia Opera Chorus was an important element in this production, singing impressively and enhancing the production overall; kudos to Associate Conductor and Chorus Master Brandon Eldredge.
Flora Hawk as Mildred Loving and Jonathan Michie as Richard Loving at peace. Photo by Dave Pearson Photography; courtesy of Virginia Opera.
Loving v. Virginia is a story that could be told from many viewpoints, perhaps focused on expressing outrage at our history of racism, praising the court system, or as a passionate love story. Composer Geter and librettist Moo chose to focus on the human elements regardless of race, the love of home, of children and family, and the enduring love of life mates, on what it means to be human, and what we need as humans - the freedom to be who we are. The opera successfully brought home that message in a way that was felt. The audience on Sunday was quick to its feet to applaud after the performance was over, with shouts of approval and appreciation. Join in if you can and feel welcome if you can’t.
The Fan Experience: Virginia Opera scheduled premiere performances of Loving v. Virginia for April 25, 27 in Norfolk, May 3, 4 in Fairfax, and May 9, 10, 11 in Richmond. The opera is sung in English with subtitles in English shown on a screen overhead. The performance lasted about two and a half hours including one intermission.
An informative background pre-opera talk on the Loving v. Virginia case was given 45 minutes prior to curtain time by Sheryll Cashin who is the Carmack Waterhouse Professor of Law, Civil Rights, and Social Justice at Georgetown University.
Virginia Opera’s 2025-2026 season will include performances of Rossini’s Cinderella, Heggie’s Intelligence, and Verdi’s Aida. Once again, not all of VO’s offerings will be presented in Fairfax; Aida is only scheduled for performances in Norfolk and Richmond.