America’s opera — it’s for everyone

Imagine not only experiencing, but also feeling every emotion inside of you as it plays out on the stage before your eyes and the music seeps deep into your soul. That is exactly what opening night of “La Traviata” felt like at the Kennedy Center on Sept. 13.

“Opera is one of the fastest-growing art forms,” said Mark Weinstein, executive director of the Washington National Opera, in an interview prior to Saturday’s performance. “It’s a multimedia art form in that it combines music, theater, ballet and dance.”

This was evident during Act II, scene ii of “Traviata.” A party scene at Violetta’s friend Flora’s, the scene included a gypsy dance, an intense exchange between main characters Violetta and Alfredo and a scene set so richly decorated in reds and purples, you couldn’t help but feel like a guest at Flora’s Mardi Gras-themed party.

The Washington National Opera is the only opera company with a congressional designation. Congress designated it as the country’s national opera company, Weinstein said.

Of all the classical art forms, opera is the fastest growing segment and the fastest growing demographic within the opera industry is 20- and 30-somethings, he said.

This is particularly evident in the WNO’s Generation O program. Generation O offers discounted $25 tickets to those ages 18 to 35. Many are orchestra-level seats, setting aside many of today’s economic barriers in order to provide seats that many young professionals simply cannot afford.

“It gets your blue-haired ladies in furs next to blue-haired punk rockers in jeans,” Weinstein said. “Both come together for the love of the art, and at intermission if they start talking, it will essentially help eliminate stereotypes.”

The Domingo-Cafritz Young Artists Program, under the leadership of WNO Artistic Director Placido Domingo, began in 2002 and is designed for singers, many of whom are American, aspiring to international careers, in addition to coach-accompanists, directors and conductors. Famous singers, directors and coaches work with Young Artists to help them on their journey from musician to artist, building careers along the way, according to the WNO website, www.dc-opera.org .

In addition to work with Domingo, Young Artists also work with such famed directors, conductors and singers such as Baz Luhrmann (“Moulin Rouge!,” “Romeo + Juliet”), Marthe Keller and Emmanuel Villaume.

On Nov. 15, the Carmen Family Look-in, a program geared toward children and families and starring the Young Artists, will take place. Domingo will conduct the performance.

Finally, the WNO offers a deep commitment to its neighbors through educational programs in schools and arts education, by trying to change children’s lives now, Weinstein said.

“I don’t believe in building an audience for tomorrow,” he said. “However, if a third-grader 22 years later grows up to be an opera lover through opera education, that’s great.”

Opera education enriches children’s lives, according to Weinstein. It can really make a difference in an inner-city school, if a class goes to see “La Boheme,” said Weinstein, using an example. “If one child decides to learn French, another wishes to visit France, we have allowed children to experience a world they may not have even realized was there — it’s thrilling,” Weinstein said. “We also teach teachers as well; we are the national model for opera education.”

On opening night of the season, the Saturday I attended “La Traviata,” the WNO also simulcast the performance at the Nationals’ stadium. “We are openness, we are non-elitism,” Weinstein said. “In addition to the stadium, our sponsors for the WNO stadium simulcast are Target and Rolex, your affordable luxury and luxury we all aspire to.”

Placido Domingo spoke at both the Kennedy Center and the Nationals’ stadium that night. During the last curtain call of the performance, the performers came out one last time clad in matching red Nationals baseball caps, a fitting nod to Weinstein’s mention of non-elitism.

Weinstein’s best advice to those wishing to give opera a try is to “just go.” Opera patrons don’t even have to read librettos extensively before attending a performance, since as of the WNO 1984-’85 season, English supertitles were broadcast above the stage, inviting new audiences to the opera.

“Try it, you’ll like it,” Weinstein encouraged. “See a real opera live. You don’t have to pay a fancy price either, with Generation O seats. Tastes change; you don’t like what you liked at 2 and 3 years old. You’ll never know until you try.”

Weinstein grew up singing in glee clubs, and in church choirs. “I was a Jewish kid that fell in love with Handel’s ‘Messiah,’” he said. He also worked at Catholic University’s summer opera series with Madame Butterfly.

A Harvard business school graduate, Weinstein began his career at Strategic Planning Associates, a firm whose offices gave a direct view of the Kennedy Center. Always an opera lover, Weinstein said he caught “the bug,” moved to New York and “lived a little less, but nourished my soul more.” While in New York, Weinstein worked with the late opera singer Beverly Sills at the NYC Opera. Before heading the WNO, Weinstein spent time with the Pittsburgh Opera.

“My experiences in New York and Pittsburgh have allowed me to get my dream job and come back to where I’ve always wanted to be, to help Placido with the Washington Opera,” he said.

Weinstein is most excited this season about Andrea Boccelli’s concert in November, which is close to nearly selling out. Weinstein also spoke about “Peter Grimes,” an opera by Benjamin Britten, what he called one of the “undiscovered jewels” in the repertoire for the 2008-’09 season.

Although “La Traviata” has since left the WNO stage, the other operas in the 2008-’09 season seem to be promising. Another performance worth mentioning is on Oct. 18. The company will host a concert performance at the French Embassy called “The Unknown Bizet.” For more information on ticket sales and the WNO, visit www.dc-opera.org .