Reflections: 32 Years with UNL Opera

By Bill Shomos

When asked to put together some reflections on my 32-year tenure as Director of UNL Opera for this newsletter, I found myself at a bit of a loss. Mary Beth and I have countless cherished memories. Perhaps a good way to focus my reflections is to address a question that has frequently come up since I announced my retirement: “Which has been your favorite opera to direct?” Well, the answer is easy: “The one I’m currently working on!” But if I had to make a list, here are some productions that come to mind.

La Bohème (2026) A heart-tugging tale of a group of starving artists trying to navigate their way through love and life, composed by Puccini at his musical best…what a thrill to close out my directing career to full houses in Friend and Ord, Nebraska, as a part of UNL Opera’s mission to bring opera to rural communities throughout the state. Thank you, Rhonda Seacrest, for making this richly rewarding experience possible.

Amahl and the Night Visitors. I’ve been directing Amahl for over 20 years, so it must be on the list. It’s a beautiful uplifting opera that we’ve introduced to about 12,000 fifth-graders from Title 1 Lincoln Public Schools. The wonder and delight I have seen in the eyes of those children always reminds me just how impactful this artform can be.

Mozart’s Marriage of Figaro, a perennial favorite of mine to direct, was my first show in Kimball Hall (1995) and featured my first UNL student Kenneth Floyd commanding the stage in the title role. A few years later a young Jamie Reimer singing the Countess, stopped the show with her Dove Sono aria during one of those evenings in the theatre when seemingly nothing could go wrong.

For many years my lead scenic collaborator was Laurel Shoemaker. In 2008, she brilliantly designed UNL Opera’s Dead Man Walking (Jake Heggie), based on the writings of the anti-death penalty activist Sister Helen Prejean. Adrienne Dickson and Thom Gunther led a cast that delivered some of the most emotionally raw performances I’ve ever witnessed.

Laurel also designed Monteverdi’s Coronation of Poppea (2012). Perhaps above all others, this is the opera that we really got right. We updated the story from ancient Roman history to the edgy contemporary style of Jack Vetriano paintings, and everything worked.

The Cunning Little Vixen (a.k.a. the miracle of fall 2020). While the pandemic forced many opera programs on-line or to completely shut down, UNL Opera produced, in person for a live audience, Janacek’s cycle-of-life tale, exploring man’s relationship with nature…outdoors on the greenspace of Kimball Hall.

O Pioneers! (1999, 2012, 2023) and The Gambler’s Son (2019): two new and truly Nebraskan works composed for UNL Opera by my colleague Tyler White. Presenting The Gambler’s Son in Cozad, Nebraska, where the story takes place was an unforgettable experience. A thousand thanks to Jane Rohman for her vision in that endeavor.

Poulenc’s Dialogues of the Carmelites (2024). With Michael Cotton’s words, his musical direction, and the love he invested in every note he played on piano for that intimate production in Howell Theatre, the opera was a testament to the power of “good will to every person, humble patience, and a spirit of reconciliation.”

But again, every production I’ve directed has, in its own time, been my favorite. I am so grateful for every student, every colleague, every designer, every technical person, every audience that UNL Opera has afforded me the opportunity to work with and serve these past 32 years.