For the first time ever, audiences will be able to tap into Virginia Opera’s world premiere of “Loving v. Virginia,” an operatic telling of the story of a white husband and Black wife, Richard and Mildred Loving, whose love changed the world and led to the landmark Supreme Court of the United States (SCOTUS) decision that made interracial marriage legal across the United States.
At a time when federal mandates have eliminated diversity, equity and inclusion (DEI) and the telling of certain parts of Black history, “Loving v. Virginia” serves as a courageous tale that sings truth to power, and highlights the power of strength, resilience and love.
“It’s a real reminder that real change can often begin in private and intimate spaces and with people refusing to give up on what matters most to them, and that is what we see in the case of Mildred and Richard Loving,” said celebrated mezzo-soprano Denyce Graves, director of the opera, which debuts at Harrison Opera House in Norfolk on April 25, launching a tour around Virginia venues.
There’s one more performance at Harrison Opera House on April 27, before the show heads to Fairfax at the Center for the Arts at George Mason University May 3-4, and then Dominion Energy Center in Richmond May 9-11.
A dynamic team has worked together to bring this story from an idea to the page and, ultimately, the stage for the Virginia Opera world premiere in collaboration with Richmond Symphony.
“The music is gorgeous. It’s written by Damien Geter, who is a native of Virginia, and Jessica Murphy Moo, who is the librettist,” Graves, a DMV native, told The Informer in an episode of WIN-TV’s “Let’s Talk.” “It’s, again, a story that really changed the Constitution. I am so fortunate to be working with a group of artists who all come to this project with their full hearts and completely committed to the telling of this story of love as resistance, and the fight for justice and the courage that ordinary people can effectuate change every day into our lives.”
For Geter, composing “Loving v. Virginia” was a labor of love, rooted in a longtime interest in the couple’s case.
“As a native Virginian, the historical significance of Loving v. Virginia has remained with me since I was a teenager, but I’m finding there are many who are unfamiliar with this landmark case,” Geter said in a statement. “Coming back home to Virginia and collaborating with Virginia Opera (the company where I first experienced opera) and working with Jessica Murphy Moo to tell the story of Mildred and Richard Loving is important not only for the sake of honoring their legacy, but also for ensuring the future of the art form.”
The artists were passionate about ensuring they truthfully paid homage to the Lovings’ lives, story and journey.
“We do want to honor the lives of these extraordinary human beings, Richard and Mildred and what they did in their lives,” Graves said. “Fortunately for us, there’s a lot that has been documented around this story, so we have it right there. I mean, it’s perfect to go into the operatic form, because opera is an art form that can really heighten the emotional intensity of storytelling. And so I feel like it’s a perfect medium for that… and [to show] how they changed the world.”
Similarly to Graves, Murphy Moo said the themes in “Loving v. Virginia” are wonderful to explore through the operatic medium, allowing audiences to further dive into the power of the artwork based on a true story.
“The vision they were working toward—equality, home, love—these subjects are part of opera’s vast terrain,” Murphy Moo said in a statement. “I know that Damien Geter’s music will make us all feel—in new ways—the weight and importance of the Lovings’ contribution to racial justice in America.”
The Importance of the Lovings’ Story Today
Graves noted the importance of the many artists working on this project—including soprano Flora Hawk and baritone Jonathan Michie, making their Virginia Opera debuts as Mildred and Richard Loving— having the opportunity to bring this true story from recent history onto the stage.
“Oftentimes in our work we’re telling the stories of mythological creatures, or perhaps from the 17th and 18th centuries, and these were real people, and some of whom are still alive today. And so along with that comes a very different experience,” Graves said. “It’s in English, and is a story that has impacted all of our lives. So this feels different… going into the telling of a story like this, and we want to make sure that we’ve got it right.”
The multi-award mezzo-soprano, director, wife, mother, educator and founder and artistic director of The Denyce Graves Foundation, explained the importance of a piece such as “Loving v. Virginia” today.
“It’s a story that’s still relevant today. They married in 1958 but the judgment came down in 1967; but it’s love, and love and equality are still being challenged. So the Lovings’ story reminds us of what is at stake and when freedom is denied and what’s possible when it’s reclaimed,” Graves said.
She also noted how hard the Lovings fought for love.
“It was a nine year battle for them before it went to the U.S. Supreme Court, but they felt really convicted about what it was that they were doing,” said Graves of the Loving v. Virginia case, which was argued in front of SCOTUS on April 10, 1967 and decided June 12 of the same year. “They could have both easily walked away from it, and in some ways their lives would have been maybe smoother, but they refused to walk away from each other.”
For Murphy Moo, working on the Lovings’ story was truly a personal passion project as she considered her own life.
“Mildred and Richard Loving made my own family possible,” the librettist said. “What an honor and responsibility it is to be part of a team telling their story. Think for a moment about what they achieved—they were only two people and yet they stood up to legalized racism and enacted lasting change. Their story is an inspiration.”
Praising the beautiful performances from the whole cast and the entire creative team’s work, Graves said people should come to see “Loving v. Virginia” for an artistic and didactic experience.
“I just want people to come and see, and to learn, if you don’t know about this story, what these two incredibly gentle, quiet, unassuming individuals did,” she said. “They did not set out to change the constitution. They just really wanted to love each other, and they wanted to live in peace.”
The director also said it’s important for audiences to come to the performances with an open mind and heart, in order to fully tap into the power of the Lovings’ narrative. She also offered a powerful reminder.
“It’s a love story and the powerful force that love is, and the fight really for justice and equality is an ongoing fight. And so I hope that the audiences are inspired by the telling of this story, and know that we still have to protect and uplift the rights of others, and the freedom to be able to love whom it is that we want to love,” Graves said. “And love is so incredibly needed, particularly in the times in which we find ourselves.”
Having worked on many productions over the years, Graves emphasized this is a piece audiences don’t want to miss.
“I really, really want to encourage people to come. It’s worth your time. It will change your life,” she told The Informer. “It will change your heart and make you see things very, very differently.”