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E BY MICHELLE RIPLEY “Witl1 the excellent
l work that UK
’  consistently turns cut,
f Throughout the country and abroad, opportunity to train along·side the renowned our new company has a .
  Diana Davidson is known for her superior mezzo-soprano in preparation for UK Opera Stfmlg   to
‘  opera talent. Yet in her native Lexington, she Theatre’s Carmen. [mild upim,"
? is known more for being an inspirational “\X/hen I first returned to Lexington,"
  teacher and devoted volunteer; her neighbors recalls Davidson, “I came to a UK Opera I i
i and friends have yet to see her at her best. Theatre production and was most impressed.
i That is, until now. There was wonderful talent both on stage and
  Davidson made her first Lexington in (orchestra) pit. But they didn’t have much in
‘ opera appearance in the title role of UK Opera the way of technical support. So I pitched
  Theatre’s production of Carmen in january. in behind the scenes.”
I For I5 years, Davidson lived in New Davidson`s contribution has grown .
gi York, San Diego and San Francisco and from applying make-up to establishing the
~  appeared with many of the major opera Opera of Central Kentucky, a professional
i  companies in the nation including the regional company. This marks Davidson’s ,
l Cleveland Opera, the Los Angeles Opera second start-up venture; her first was an opera
, Repertory Theatre, the Chamber Opera company in San Diego. _
i  Theater of New York and the National Opera “Professional opera on the highest
  Company. She also has appeared with the level is sagging in quality," said Davidson.
l  touring components of the San Francisco “One of the problems is the lack of
  Opera and the Miami Opera, two of the five professional training ground on the regional
.  international companies in the U.S. level. With the excellent work that UK
A  Davidson retumed to Lexington three consistantly turns out, our new company has a
  years ago in a deliberate attempt to steady her strong foundation to build upon."
K  booming career. “The voice is a fragile UK Opera Theatre combines both
  instrument and does not fully develop until local and student talent and is produced
P  your late 30s,” she said. “But this business has jointly by the School of Music and
` a tendency to suck you up and bum you out Department of Theatre, both units within the
° long before this. I want the chance to reach UK College of Fine Arts. As in past years,
  my potential.” professor Phillip Miller was Carmen's
·  Until Davidson returns to New York in conductor and musical director; professor
ls the fall, she is concentrating on improving as Phyllis jenness is assistant musical director, i
l an artist rather than a performer. She and professor Russell Henderson is stage
q. continues to train in Califomia with her voice director. New to the opera business is David
  coach whom she shares with the great soprano Spaeth, a faculty member of UK`s College of
.  Roberta Peters. She also teaches at UK, Architecture. He designed the expressionistic
something she finds most rewarding. “Last fall set.
Eben my TONS Studgilts [l?Ol§ht I YES l€?;/'lng, Michelle Ripley “84 is director ofpulvlic relations for both the
[ eynclrcu atc 3 E€“f‘O.“ `n OPCS WOU UK College of Fine Arts and the Singletary Cemerfm the
stay, she recalls. This is one of the most Am
T  treasured memories of my entire career." `
Their efforts obviously worked, at least
for the moment. Now her students have the  
l
 
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